credits Chris Plant/catweasel, Claudia Paz, Nicholas Cheung, Cesar Castro
I was commissioned to program this Art piece and Interactive Installation design by Claudia Paz and Nicholas Cheung for BCP institutional building in San Isidro, the center of the commercial district of Lima - Perú
Ecue drives the LEDs from a DVI feed from vvvv and also does the scheduling, the touch panel is made of 72 Sensacel tiles.
There are 5 layers of iFlex 270pixels high and 9 wide, and the poles have archi points at their tips making a total of 26,182 pixels
credits stain, ::vtol::
“...the time is out of joint” - Shakespeare
This staging is an algorithmic interpretation of "Comedy of errors" by William Shakespeare where luminescent lamps perform the play in accompaniment of generative sound and graphics - all based on the original text.
Here lamps are actors, and projected scenery represents constantly flowing river. Text is the structural basis and joint of the time.
TURBA is a networked system consisting of 64 neural oscillators, which have been randomly linked and are subject to variables of interconnection.
Thus, any behavior generated by these oscillators is programmed explicitly: no sound, no movement, no pattern are products of a specific and previous approach, but are the result of the network structure and their connective processes. None of its components is the engine or timer for that behavior, but all act contagiously among them.
The oscillators perform, but have no plans.
But if this system receives feedback from the cadences that he generates, the work creates disturbingly similar rhythms to the movement of an organic body, carrying the workpiece to emergent behaviors of synchrony, chaos or collapses ...
To Be Reproduced is an interactive video installation that revisits the classic painting Not to be Reproduced a work made in 1937 by the Belgian surrealist painter René Magritte. The installation reflects on the pervasiveness of virtual spaces that have become an integral part of our daily social lives, and the way data traces are used to build sophisticated reproductions of the user.
In To Be Reproduced the viewer enters a hybrid space where the physical and the virtual world are closely intertwined. Positioned in front of the mirroring plane the viewer is enveloped in a virtual space where it meets a faceless digital reproduction of itself. As other participants are mirrored correctly the viewer takes on the role of the person depicted in Magritte’s painting.
This uncanny representation of the faceless user in a graphical point cloud refers to the voyeuristic nature of modern communication culture and to the data traces that are used to generate sophisticated consumer profiles. Instead of depicting people by mimicking nature, models are in-formed by analyzing metadata.
credits elliotwoods mimison
Kimchi and Chips create phantoms of light in the air, crossing millions of calibrated beams with their work Light Barrier, 2014. The light installation creates floating graphic objects which animate through space as they do through time.
A fascination with natural light drove the technique of the impressionist painters, they explored new qualities of colour and the trail of time. Kimchi and Chips' study of digital light discusses a new visual mechanic, their installation adding to the visual language of space and light. As the artist's inquiry deepens, brush strokes become descriptive like code, detailing reality and allying light with canvas.
Light Barrier was co-commissioned by FutureEverything and the British Council. It premiered at New Media Night Festival, Nikola-Lenivets 4–6 June 2014.
Additional images and video from Alexander Delovoy and Tom Higham.
credits Sebastian Huber, Johannes Timpernagel, Michael Burk, Moritz Haberkorn, büroberlin, & more
EPILOG is an interactive room installation applying light, sound and haze. By immersing into a 25-minute constantly transforming world of moving images and sounds, you are invited to swing into interaction by physically replying to the moving patterns – either on your own or together with others.
An interactive floor projection reacting to your movements in real time gets the visitor moving and, through the movement creating three-dimensional spaces made of light.
Tracking cameras, fog and a smooth double-projection are spawning searchlights, reactive light walls and rays bouncing off your body.
Each of the eleven scenes follows a unique principle: Whether you are chased by a simulated, abstract school of fish, or your movements brand into the fog and leave behind a swath out of light. Real time generated sound illustrates the movements and intensifies the immersive experience.
credits elliotwoods mimison
A vertical flag of fabric is stroked by the wind, displaced by curves aof air pressure, swinging back and forth. As it sweeps, it extrudes a trail of light which draws a moon floating in space. The flag renders this moon from another reality, the silk surface acts as a boundary between 2 realities, intermediating the laws of the 2 realms.
Inspired by the 2 moons of Haruki Murakami's 1Q84 and the flags of space travel, the artists present a portal into another existence where another moon orbits. This other place is made material by the fabric of the flag.
Long exposure photography trades the dimension of time for a dimension of space, extruding the moon into existence on a set of photographic prints, the technology capturing a painting, enacted by the details of the wind.
Lunar Surface begins a new line of enquiry for drawing into the air for studio Kimchi and Chips, forming artistic collaborations between technology and nature. The fabric is tracked by a 3D camera whilst a projector replays a response onto it according to its evolving shape.
credits SILO Lab.
I’ve become curious about how individuals would feel when they could not get to see familiar objects any longer. Incandescent lamps have been forgotten among people. They are replaced with the other things due to some logical reasons, and regulations have kept them from being produced in more numbers. Well, I did not use incandescent lamps that much. Although I did not cherish them that much, I am giving my farewell to those who are becoming hard to be found.
VENUE & SUPPORT
GENTLE MONSTER, QUANTUM
ARTNET Devices, Incandescent lamps x 78
Frame made of wood waste
Dear vvvvsers, I am pleased to introduce to you one of the first (if not the only) video-clip production in Greece, made by free and open-source software. Specifically, in order to complete the project vvvv and DirectX11/HLSL were used for both the initial composition of the image and the addition of visual effects. Furthermore, Blender was utilized for the editing, post-processing and final export of the film.
Visitors pass different zones while moving through the exhibition.
The Intro shows illustrations of 8 Objects representing the technologies to be discussed in the upcoming „TING“-Debates combined with contradictory quotes reflecting on the relationship between democracy
Then a basic wooden block, analog to the digital pixel, becomes a haptic tool for visitors to trigger digital interactions within the exhibition and to cast their votes within the TING.
Moving further a section with iconic objects serves as case study area, that demonstrates that the value and impact of the technologies behind can be interpreted in many positive and negative ways.
There is not one meaning or truth, but many possible uses and impacts.
The centerpiece of the exhibition is the grand amphitheater-like space of the TING
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