FLORIAN HECKER
فلوريان هيكر
フロリアン·ヘッカー
Sound Installation
In his installations, live performances and publications, Florian Hecker deals with specific compositional developments of post-war modernity, electroacoustic music as well as other, non-musical disciplines. He dramatizes space, time and self-perception in his sonic works by isolating specific auditory events in their singularity, thus stretching the boundaries of their materialization.
Their objectual autonomy is exposed while simultaneously evoking sensations, memories and associations in an immersive intensity. Some of his works incorporate psycho-acoustic phenomena, disorienting listeners’ spatial perceptions and expanding their conception about sound. Hecker’s most recent recording, Speculative Solution ( Editions Mego, 2011), brings together Hecker’s sonic practice and psychoacoustic experimentation with philosopher Quentin Meillassoux’s concept of ‘hyperchaos’ – the absolute contingency of the laws of nature.
During his residency at MIT, Florian Hecker will research a new sound piece that takes the concept of the “auditory chimera” as point of departure. Originally developed at MIT by Bertrand Delgutte, senior research scientist at the MIT Research Laboratory of Electronics, the concept of the auditory chimera inspires an exploration of the relationship between pitch perception and sound localization. Hecker will create a text and sound piece that incorporates the recordings of material read by students. Using an anechoic chamber he will work with students to explore the experiential nature of psycho-acoustic practice.
Peppercorn
Upload not complete
The work magnifies the process of virtual and real fusion, which is the process of uploading human consciousness to digital space. When the visual perception has been lost, can people still recognize the body through the touch and sound of wind, sound and vibration everywhere? Experiencers use non-visual senses, experience media art, and cooperate with the Taiwanese Non-Visual Aesthetic Education Association to create a digital space where the computer can fully understand the location of the experiencer in the space, allowing the experiencer to listen, move, touch objects, feel the vibration and come to know the space.
Thomas Hirschhorn
Pixel Collage
La National Gallery of Kosovo ha l’onore di presentare la mostra personale “Pixel-Collages” di Thomas Hirschhorn, che comprende 5 grandi collage, un’ampia selezione di piccoli collage e materiali di riferimento presentati in una vetrina. L’esposizione del recente lavoro di Hirschhorn in Kosovo oggi, con immagini di confronto e confronto con tecniche mediatiche false e mascherate, è un’affermazione, simile agli argomenti che Hirschhorn mostra nei manifesti che accompagnano i ‘Pixel-Collages’, più precisamente in: ‘ Perché è importante – oggi – mostrare e guardare immagini di corpi umani distrutti’
Stine Deja
poster sky3
Deja’s work is so effective because it engages with the aesthetics of new technologies in order to critique their sociological, psychological, and physical impact on our embodied selves. At times idealistic and others damning, Deja avoids sorting technology into a
good-bad binary, but instead allows both ends of that spectrum to proliferate, allowing visitors to her supersensory exhibitions come to their own conclusion. She just asks “Technology enhances
and simplifies communication, but are we really more connected?”
Wolfgang Buttress
The Hive Kew Gardens
“The proposal involves the idea of ’temporary’ in an interesting way. It uses the temporary aspect of the installation to carefully engage with the purpose and short and long-term needs of the land,” said the judges. Originally designed for the Expo 2015 from Milan, The Hive was transferred to Kew Gardens, in central London, for two years, where it was part of an event space. Designed to give visitors a glimpse into the life of working bees, the pavilion was built with 169,300 individual aluminum components equipped with hundreds of LED lights. As the meadow surrounding the structure grows, several species of plants begin to flourish, bringing with them the sounds of real bees that enhance the multi-sensory experience of the pavilion.The aesthetic and symbolic installation represents its namesake, with the aim of showing visitors the importance of protecting the honeybee.
BILL BRANDT
بيل براندت
比尔·勃兰特
빌 브란트
ביל ברנדט
ビル・ブラント
Билл Брандт
BOUROULLEC
Буруллек
ブルレック
Algues
NERI OXMAN AND CHRISTOPH BADER & DOMINIK KOLB
Vagabonds
De nombreux projets d’Oxman utilisent des techniques d’impression et de fabrication 3D. Ils incluent le pavillon de la soie, filé par des vers à soie sur un cadre en nylon, 3 Ocean Pavilion, une plate-forme de fabrication à base d’eau qui a construit des structures de chitosane, 4 G3DP, la première imprimante 3D pour verre optiquement clair, et un ensemble de verre produit par elle, 5 et collections de vêtements imprimés en 3D et utilisables dans les défilés haute couture. Voyager vers des destinations au-delà de la planète Terre implique de voyager dans des paysages hostiles et des environnements mortels. La gravité écrasante, l’air ammoniacal, l’obscurité prolongée et les températures qui feraient bouillir le verre ou geleraient le dioxyde de carbone, éliminent presque toute probabilité de visite humaine.
lauren dimaya krystal li heidy cordero arias
every time the stars align
FILE LED SAO PAULO 2018
“Every Time the Stars Align” fuses different natural elements of crystals, plasma and flowers in a lava lamp environment. Red crystals freeze with rigid edges and thaws into a relaxing mood. Plasma liquid rises and falls reflecting a lava-like quality. Flowers fluctuate between a spectrum of color symbolizing intense human affections. Contradicting and uniting flat and deep spaces, the three elements compose and decompose.
5000 points
gif
ANNA SOKOLOVA
Corridor
CLEMENT VALLA
Открытки из google earth
Валла утверждал, что собрал серию из 60 «сюрреалистических» изображений или, по крайней мере, которые производят такое впечатление, в течение длительного периода «игры» в Google Планета Земля. «Эти изображения являются своего рода зеркалами для забавного дома. странные иллюзии и отражения реального. «Несмотря на сильные искажения, которые легко напоминают сюрреалистическую картину, изображения работы не имеют никаких манипуляций с такими инструментами, как, например, Photoshop». Изображения представляют собой скриншоты Земли с базовыми настройками цвета » , «Это построение трехмерных карт на двухмерной основе, создающее эти невероятные и непреднамеренные искажения».
ANDY HUNTINGTON & DREW ALLAN
CYLINDER (SOUND SCULPTURE)
“Cylinder” surgió de un deseo de crear objetos complejos que partiesen de los abrumadores detalles que tiene la naturaleza. Andy Huntington y Drew Allan querian crear formas generadas algoritmicamente de una forma rápida usando técnicas capaces de esculpir objetos extremadamente complejos. Sin embargo, en lugar de utilizar código para generar la complejidad, se dedicaron a capturar la complejidad natural que nos rodea.
jo ann callis
Since she emerged in the late 1970s as one of the first important practitioners of the “fabricated photographs” movement, Jo Ann Callis has made adventurous contributions in the areas of color photography, sculpture, painting, and digital imagery
Michele Spanghero
Dià
Dià (from greek διά, through) is a sculpture installed on a piece of no man’s land on the top of mount Pal Piccolo on the border between Italy and Austria, where World War I was fought. The double-trumpet shaped sculpture symbolically connects, both visually and acoustically, the first lines’ trenches. Two arched doors, that refer to the entrance of the shelters and trenches, turn into cavities to listen or observe the surrounding landscape. The work, conceived as a symbolic link between the two fronts, combines the dimensions of silence and sound: dià is indeed a device that invites audience to interact with the two cavities as a megaphone or a peephole, to start an intimate dialogue through the sculpture.
Winy Maas and Rob Nijsse
The Pixel Power
A investigação, cujos resultados foram apresentados nesta exposição, centrou-se na procura de novos princípios de organização de grandes estruturas, exemplificada com um edifício alto. Foi realizado por manipulações sistemáticas das correlações entre as esferas pública e privada, respectivamente representadas de forma abstrata pelo pixel fechado e ‘o pixel aberto’. Essas transformações exploraram diferentes hierarquias possíveis, entre os pixels abertos e fechados, bem como as partes e o todo, questionando aspectos como a redução dos espaços públicos ao átrio do céu e ao pedestal, o domínio do núcleo ou a repetição dos pisos . Todos os experimentos foram conduzidos com a premissa de que seus resultados devem permanecer abstratos, binários e mensuráveis. Eles trataram apenas das inter-relações entre aberto, fechado, vazio e cheio. A tarefa não definiu nenhum programa específico, nem objetivou a realização de um projeto elaborado. Os resultados podem ser entendidos como um conjunto de Nolli Maps tridimensionais de cidades inexistentes, representações de realidades urbanas complexas, que articulam relações entre espaços cheios e vazios – neste caso volumes. O uso do tijolo LEGO como ferramenta de modelagem permitiu medir os volumes e estimar sua capacidade de facilitar um projeto arquitetônico potencial. Fornecendo um esboço válido para uma elaboração posterior das relações exploradas em uma proposta de design.
