Alan Warburton

Spherical Harmonics
Spherical Harmonics is about the strange power of the CGI image. It’s a fantasy under construction, full of digitally created memories, counterfeit physics and controlled accidents. A place where reality fails because it’s too perfect. Spherical Harmonics sits stylistically at a halfway point between the glossy product displays of Oxford Street and the workhouse construction of Soho’s post production scene.

Eric Singer/LEMUR

LEMUR GuitarBot
File Festival
The “LEMUR GuitarBot” is a robotically controlled electric slide guitar-like instrument. It is comprised of four independently controllable units which can pick and slide extremely rapidly. Resembling neither a traditional robot nor a guitar, it is a new type of instrument with markedly different capabilities than a human guitarist.

Thom Kubli

Brazil Now
BRAZIL NOW is a composition that addresses increasing militarization and surveillance within urban areas. Its geographical and acoustic reference is São Paulo, the largest megacity in Latin America. The piece is based on field recordings that capture the symptoms of a Latin American variant of turbo-capitalism with its distinctive acoustic features. Eruptive public demonstrations on the streets are often accompanied by loud, carnivalesque elements. These are controlled by a militarized infrastructure, openly demonstrating a readiness to deploy violence. The sonic documents are analyzed by machine learning algorithms searching for acoustic memes, textures, and rhythms that could be symptomatic for predominant social forces. The algorithmic results are then used as a base for a score and its interpretation through a musical ensemble. The piece drafts a phantasmatic auditory landscape built on the algorithmic evaluation of urban conflict zones.

Ronald van der Meijs

Odoshi Cloud Sequence
A symbiosis between nature and culture is created against the backdrop of the Japanese garden in the pond of the Amstelpark. This artwork explores new possibilities to generate sound and composition that are controlled by slow, unpredictable and unexpected elements of nature which are highly respected in Japanese culture. The diversity of natural sounds gives the work an almost meditative character, while the dependance on natural factors evoke a tension between longing and acceptance. This sound installation engages, as a natural sequencer, in a dialogue with the water, sun wind and clouds. It refers to Japanese garden culture by using the principle of the Japanese bamboo water tumbler.

Bigert & Bergström

Scenario Scenery
Scenario/Scenery is a performative art installation in which the sculptural parts both act and serve as scenery. The work is inspired by the early theatre weather machines, which stood in the wings and were used to create sound effects of rain, wind and thunder. In Scenario/Scenery, these machines have mutated and been fitted with modern solar panels, which means that the energy that powers them is generated by the machines themselves. The work is designed as a theatrical stage where wind, rain, lightning and thunder machines together perform an act controlled by the rig of halogen lamps suspended above.

Urbanscreen

Spektrum
SPEKTRUM is an interplay of light, music and the performers. The use of projections in a theatrical context was a very pleasant experience for us, for when projections are used indoors, they can be controlled so precisely that amazing changes of perspective are possible. Once the stage is perceived as a platform, once as a white cube, once the spatial perception itself is completely challenged. As the three different elements of the performance merge into one unified language, SPEKTRUM is able to be many things at once: playful and yet fierce, touching and yet disturbing. Less a narrative than an emotional and sensory experience SPEKTRUM challenges the mind of the spectator in a quite a poetic way.

Kasuga

DMX Linear Actuator Slim
The motion study with the DMX Linear Actuator Slim demonstrates a synchronized kinetic sculpture with 25 components (vertical and horizontal mount) and a sphere fixture (black and white). Controlled by the DMX LA Designer software, multiple motion sequences, pattern generators and text and image contents are transferred onto the array. Furthermore, interaction with the kinetic sculpture is made possible via the Leap Motion Sensor, the Kinect Sensor and other mobile devices via the OSC protocol.

Eirik Brandal

Waldian
Waldian is a standalone, wall hanging sound and light fixture capable of playing a near infinite amount of melodic permutations over a predetermined musical scale, complemented by emerging light patterns from twelve separate LEDs spread across the sculpture. In technical terms, Waldian contains two oscillators, an envelope generator and a voltage controlled amplifier, all controlled by impulses from a network of logic gates akin to those of early computers. These impulses are essentially the nerves in the electronic ecosystem, deciding over pitch and amplitude changes as well as creating bursts of light to highlight the entrances of each note. Finally, there is a tube overdrive stage that creates harmonic and subharmonics based on how far away the two oscillators are from each other in frequency. Most parameters are customizable, such as the aforementioned pitch, amplitude and overdrive, but the responsiveness and envelope of the light bursts can also be adjusted, directly affecting the appearance of the light patterns.

Intermedia Chef

The Half
New media artist group, Intermedia Chef is trying to explore dynamic artwork generated by computer-controlled sound in the aspect of data visualization. The sound installation artwork transits sound wave into physical movement. Overmore, they are aiming that the sound wave energy turns out a kinetic type of visual art.

Iart

Light Cloud
The Light Cloud at the Merck Innovation Center detects visitors’ movements in the room and translates them into many different moods. The generative sculpture stimulates and facilitates intense encounters between people and technology. The room-filling installation consists of four curved strands that are concentrically superimposed and slightly shifted in relation to each other. OLED elements that are attached to the strands and controlled by sensors react to the visitors’ movements and to sound compositions. In combination, this generates a complex mosaic in which sound and light interact playfully and the viewers leave traces.

Liam Young

Where the City Can’t See
Directed by speculative architect Liam Young and written by fiction author Tim Maughan, ‘Where the City Can’t See’ is the world’s first narrative fiction film shot entirely with laser scanners, designed in collaboration with Alexey Marfin. The computer vision systems of driverless cars google maps, urban management systems and CCTV surveillance are now fundamentally reshaping urban experience and the cultures of our city. Set in the Chinese owned and controlled Detroit Economic Zone (DEZ) and shot using the same scanning technologies used in autonomous vehicles, we see this near future city through the eyes of the robots that manage it. Exploring the subcultures that emerge from these new technologies the film follows a group of young car factory workers across a single night, as they drift through the smart city point clouds in a driverless taxi, searching for a place they know exists but that the map doesn’t show.

Karen Lancel & Hermen Maat

Paranoid Panopticum

Entering The Paranoid Panopticum you will run across your own fixation on control. While you will be able to control the visual by mirror and video- projection, a shift in the perception of reality takes place. Controlling changes into fear of being controlled, maximizing control becomes its own threat. In the Paranoid Panopticum you are haunted by your own mirrored projections. You can play with your own projection in a paradox based on the myth of Echo, Narcissus and his mirrored image. At the moment where Narcissus commits suicide, the mirrored image of the visitor is ‘suicided’. At this point the story starts over again.

Ong Kian-Peng

Particle Waves
“Particle Waves” is a kinetic sound sculpture comprising of a 4×3 grid of 12 individual kinetic bowls. Within each bowl contains tiny metal beads of various sizes, creating noises as the bowl rotates in various angles. The noise from a single bowl forms collectively to become a soundscape, reminding us of waves and oceans. The bowls are arranged in a 4×3 grid and controlled as a whole by a microcontroller running a wave algorithm. This creates a continuous wave-like kinetic motion over the grid, at the same time creating a spatialized soundscape. This installation is a continuous attempt of exploring the correlation between sound and nature.

Ray McClure and Casey McGonagle

Visual Voice Virtual Reality
VVVR (Visual Voice Virtual Reality) is a voice controlled tool for self exploration and well being. It combines virtual reality and audio effects to temporarily free the mind from language and cultivate awareness of the present moment. In VVVR two people sit across from one another and are represented in the virtual space with corresponding avatars. When either person makes sound it is translated into glowing geometry that flows from their mouth. The vocal audio is harmonically processed and fed back through the headphones.

JORG NIEHAGE

Samplingplong
File Festival

Randomly selected, acoustically usable finds (electronic junk, relays, plastic toys,compressed air valves, pneumatically operated components) are combined with cables and tubes. Via a device controlled by computer, they are turned into interactive instruments. An improvised ensemble evolves, from which – per mouse-over and mouse-click -short miniature compositions of dense rhythmic clicks, hisses, whirs, hums and crackles can be elicited. A tapestry of sound bursts forth from the floral-like web of cables and tubes. The installation can be used by the projected mouse-cursor: rolling over the improvised instruments causes small sound events. Activating the installation by rolling over its parts enables the user to play spontaneous improvisations. Clicking these objects starts short programs of loop-like compositions. Small “techno-compositions en miniature”, rhythmic patterns of analog (or real) sounds; a physical low-tech simulation of electronic, digital music, perhaps an ironic comment on interactivity.

Verena Friedrich

THE LONG NOW
A soap bubble usually remains stable for only a few moments – it is a perfectly formed sphere with an iridescent surface that reflects its surroundings. As one of the classical vanitas symbols the soap bubble traditionally stands for the transience of the moment and the fragility of life. THE LONG NOW approaches the soap bubble from a contemporary perspective – with reference to its chemical and physical properties as well as recent scientific and technological developments. THE LONG NOW is aimed at extending the lifespan of a soap bubble, or even to preserve it forever. Using an improved formula, a machine generates a bubble, sends it to a chamber with a controlled atmosphere and keeps it there in suspension for as long as possible. The project is presented in the form of an experimental set-up in which the newly created soap bubble oscillates permanently between fragility and stability.

Kohei Nawa

Biomatrix
“Biomatrix” is an installation of endles scycles of eruptive cell bubbles emerging on the surface of liquid silicone oil. This circulation of the colored liquid evokes the behaviour of magma or blood, and due to the high viscosity of silicon oil, illustrates the movement of the material at a speed deceptively slower than the viewer’s expectation. The electrically controlled pool becomes an interface that amplifies visual impact, and infinitely produces cell patterns. An orderly grid formation appears as a digital matrix, while closer observation reveals irregularities such as sporadic and simultaneous effervescence and plosive sounds breaking the surface tension.

Lien-cheng Wan

Reading Plan
“Reading Plan is an interactive artwork with 23 automation book flipping machines. When audiences enter the exhibition room, these machines will start to turn pages automatically and read the context at the same time. The updated figure to show that average student numbers per primary school in years 2016 in Taiwan is 23 students. I included a metaphor classroom in this artwork. In Taiwan, when people go to school, they don’t have much decision power to decide what they want to read and study. It is like being controlled by a huge invisible gear. The education direction led by authorities always prioritizes industry value and competitiveness. They want create a money-making machine instead of self exploration and humanism thinking.” Lien-cheng Wan

Di Mainstone & Joanna Berzowska

Skorpions
LUTTERGILL
Skorpions are a set of kinetic electronic garments that move and change on the body in slow, organic motions.They breathe and pulse, controlled by their own internal programming. They are not “interactive” artifacts insofar as their programming does not respond to simplistic sensor data. They have intentionality; they are programmed to live, to exist, to subsist. They are living behavioral kinetic sculptures that exploit characteristics such as control, anticipation and unpredictability. They have their own personalities, their own fears and desires.

JORIS STRIJBOS

SVNSCRNS
SVNSCRNS is a commissioning project that is initiated by Klankvorm after a concept by Joris Strijbos. The project consists of the realization of a kinetic audiovisual installation for which artists are invited to realize content. The installation can be used for live performances as well as for playing prearranged compositions. The installation consists of seven rotating projection screens and speakers that can be controlled from a central point. Custom build software and hardware are accessible for artists from different backgrounds to experiment with this new dynamic field for audiovisual composition. Light, sound and movement come together with different forms of digital media to create a multi sensorial experience for the audience. In this way the project functions as a platform in which makers and creators of all kinds can collaboratively explore this kinetic audiovisual medium. The result is a slow moving robotic structure which can display different sorts of media but in it’s presence will have a strong influence on the experience of the spectator.

Behnaz Farahi

Synapse
Synapse is a 3D-printed helmet which moves and illuminates according to brain activity[…] The main intention of this project is to explore the possibilities of multi-material 3D printing in order to produce a shape-changing structure around the body as a second skin. Additionally, the project seeks to explore direct control of the movement with neural commands from the brain so that we can effectively control the environment around us through our thoughts. The environment therefore becomes an extension of our bodies. This project aims to play with the intimacy of our bodies and the environment to the point that the distinction between them becomes blurred, as both have ‘become’ a single entity. The helmet motion is controlled by the Eletroencephalography (EEG) of the brain. A Neurosky’s EEG chip and Mindflex headset have been modified and redesigned in order to create a seamless blend between technology and design.

WOW inc

Neuro Surge
Measuring about 9 meters in height, the work pierces through the atrium of the ‘shiseido’ ginza building from the first to the second floor and creates an unprecedented display of light with the use of new advanced fibers. WOW inc. attached 150 fibers with a .9 millimeter diameter to a laser module. The laser module transmits light through the fibers, which can be controlled by touch. The interactive work visualizes the complex transmission of sensory nerves and information into a dynamic light show.

Marianthi Papalexandri-Alexandri

Untitled VI
für drei Männerstimmen und Klangobjekte
In Untitled VI the vocalists are singing with modified resonant tubes and motors the Greek word “akousate” that means to listen attentively. What happens when voice and singing are mediated and controlled with motor driven resonant bodies? How does this act of singing change the physical and imagined presence of the voice? How does it affect the process of intensive listening to one’s own voice, to one another, and to external sounds? Exploring these questions, Papalexandri encourages hearing the resonances between different voices and bodies.
text: Dr. Zeynep Bulut

VTOL

Silk
The installation is tracking the real time changes in the market activities related to cryptocurrencies Bitcoin and Litecoin – independent and uncontrolled by any state peer-to-peer payment systems. Constantly changing currency rate of of Bitcoin against major world currencies is influencing the strain of strings in installation and the way the picks are hitting them. The robotic system of the artwork is directed by a computer algorithm: influenced by dynamic changes of data, the installation sounds like a complex sound instrument.

Adam Basanta

the sound of empty space
The sound of empty space explores relationships between microphones, speakers, and surrounding acoustic environments through controlled, self-generating microphone feedback. Amplifying and aestheticizing the acoustic inactivity between technological “inputs” and “outputs” – stand-ins for their corporeal correlates, the ear and mouth – the notion of a causal sound producing object is challenged, and questions are posed as to the status of the ʻamplifiedʼ. By building flawed technological systems and nullifying their intended potential for communication, the ear is turned towards the empty space between components; to the unique configurations of each amplifying assemblage.

DUMBTYPE

LOVERS
Computer-controlled, five-channel video/sound installation with five video projectors, eight-channel sound system, and slide projectors […] As an image, a pair of lovers often suggests a castle of exclusion. With the sexual liberation of the last few decades, the word now has more to do with physical coupling than with the sublimity of “true love.” AIDS has added a new dimension of wariness to this pairing. The life-size dancers in Lovers are drained of life. Projected onto the black walls of a square room, the naked figures have a spectral quality. Their movements are simple and repetitive. Back and forth, they walk and run with animal grace. Their actions become familiar over time, so that it is a surprise when two of the translucent bodies come together in a virtual embrace. These ostensible lovers–more overlapping than touching–are not physically entwined.

morton subotnick

silver apples of the moon
image detail : Buchla 100 synthesizer
Morton Subotnick helped bring the modular voltage-controlled synthesizer to a state of readiness for performance and  recording and was the first composer to take advantage of the new instrument’s potential. Composed in 1967 specifically for release on Nonesuch, Silver Apples of the Moon was Subotnick’s first full-length LP of electronic music, and the album became an international sensation.

Ana Montiel

Taking in her paintings is like opening your eyes after a nap in the sand. The colourful masses on her canvas appear to be in motion, plunging the spectator into a semi-conscious state. Beyond the merely pictorial, Ana Montiel’s works read like spiritual, dreamlike invitations, that hit you with a feeling of satisfaction and involuntary entrancement. Any tangible form looks acid-washed; a silhouette or a ray of sun gives way to a sfumato of light and pigments. The artist is interested in the conceptual issues of perception and phenomenology, based on the premise that reality is nothing but a collective and controlled hallucination.

GUY BEN-ARY, PHILIP GAMBLEN AND STEVE POTTER

Silent Barrage

Silent Barrage has a “biological brain” that telematically connects with its “body” in a way that is familiar to humans: the brain processes sense data that it receives, and then brain and body formulate expressions through movement and mark making. But this familiarity is hidden within a sophisticated conceptual and scientific framework that is gradually decoded by the viewer. The brain consists of a neural network of embryonic rat neurons, growing in a Petri dish in a lab in Atlanta, Georgia, which exhibits the uncontrolled activity of nerve tissue that is typical of cultured nerve cells. This neural network is connected to neural interfacing electrodes that write to and read from the neurons. The thirty-six robotic pole-shaped objects of the body, meanwhile, live in whatever exhibition space is their temporary home. They have sensors that detect the presence of viewers who come in. It is from this environment that data is transmitted over the Internet, to be read by the electrodes and thus to stimulate, train or calm parts of the brain, depending on which area of the neuronal net has been addressed.

Agnes Meyer-Brandis

Cloud Core Scanner

Her current installation IN THE TROPOSPHERE LAB provides insights into the material produced under conditions distant from earth. The exhibition tells of the formation of clouds and shows conditions and combinations of art and science during zero gravity. With the exhibition by Agnes Meyer-Brandis, the project space of the Ernst Schering Foundation once again presents a contemporary art project that stimulates interdisciplinary debate and builds bridges to scientific research. The lab as a gravimetric document of the “Cloud Core Scanner” experiment shows a world alternating between controlled and bound-less states – artistic research in search of the reality level of constructions of the matter that surrounds us.

Robin Baumgarten

line-wobbler
file 2019
‘Line Wobbler’ is a one-dimensional dungeon crawler with a custom controller made out of a steel spring and a five-metre long LED strip display. The entire game runs on an Arduino, with sound, particle effects and 120+fps. ‘Line Wobbler’ is an award-winning experiment in minimalism in game design, making use of novel input mechanics, retro sound, and the incorporation of physical architectural space into the game. In the game, players navigate obstacles and fight enemies to reach the exit, in a series of increasingly difficult levels. Movement is controlled by bending the Wobble controller forward and back, while enemies are attacked by flicking the spring at them. Obstacles such as lava fields, conveyor belts and slopes challenge the navigation skills of the player.

Studio Drift

L’Orfeo.
Dutch National Touring Opera’s production of L’Orfeo.
Artist Lonneke Gordijn, together with director Monique Wagenmakers and choreographer Nanine Linning, created a new interpretation of L’Orfeo.
The kinetic sculpture EGO, specially developed for LOrfeo, is a handwoven block controlled by algorithms and motors. The block has the ability to shift its shape and state, embodying Orfeo’s perspectives and thoughts. The oldest opera combined with modern cutting edge technology.

Ed Maximus

For Colored Girls
Photographer Ed Maximus is well known for his ventures in the fashion world, but his latest project For Colored Girls has sparked a tidal wave of interest and support, especially after it’s feature in Vogue Italia. Maximus has stated that the project centers on the narrative of black women being controlled by themselves despite oftentimes having their bodies politicized and policed by outside forces.more

Marcel·lí Antúnez Roca

Afasia
File Festival – Hypersonica
Afasia is a surreal robotic performance that evolves Greek myths, and brings up the tragedy onto-machinal. Marcel.lí Antúnez Roca (Moià, 1959) is well-known in the international art scene for his mechatronic performances and robotic installations. In the 90′s his vanguardist mechatronic performances combined elements such as Bodybots (body-controlled robots), Systematurgy (interactive narration with computers) and Dresskeleton (the exoskeleton body interface). The themes explored in his work include: the use of biological materials in robotics, telematic control, the expansion of body movements with dresskeletons and microbiological transformations.

Martina Menegon

when you are close to me i shiver
sound design: Alexander Martinz
“when you are close to me I shiver” is an algorithmically controlled live simulation, a real-time generated virtual reality that takes place in a version of the future in which humans, out of desperation, gather in masses on the last remaining piece of land. Inspired by the walrus scene in the documentary “Our Planet” narrated by David Attenborough and produced by Silverback Films, the project proposes an intense scenario encompassing our environmental and personal crises. It reflects on how we identify and connect ourselves in different realities while addressing the human condition in a world in ecological and therefore social crisis. On the tablets, virtual cameras scan the environment from various point of views, like surveillance drones. On the main screen, a similar camera randomly targets and focuses on different situations while a familiar voice-over narrates the tragic story.

lucy mcrae

future dayspa
The Future Day Spa is a personlised, physiological experience delivering controlled vacuum pressure to the body replicating the feeling of being hugged. Guided by a therapist, participants hand their bodies over to a part–human, part–machine process inducing a state of relaxation. A collaboration between Qualcomm’s Inventor Lab, we integrated technologies for capturing biometric data to understand the physiological benefits of a treatment.

DOUG AITKEN

ダグエイケン
道格·艾特肯
sonic fountain

A large round hole—if it were a hot tub, it would be comfortably orgy-sized—has been gouged roughly out of the slick concrete floor of 303 Gallery and filled with milky gray water. Attached to the black duct-work and girders of the ceiling directly above it is a square of pipe surrounded by a speaker array. In the center of the square and at each of its corners is a computer-controlled spigot, dripping, spitting or jetting out, in a rhythmically complex 15-minute cycle, milky water pumped up from the pit in a closed circuit. This is Doug Aitken’s Sonic Fountain.

RICHARD DUPONT

理查德·杜邦
리처드 듀퐁

Manipulating 3-D scans of his own body on the computer, Mr. Dupont then marries digital fabrication methods like rapid prototyping and computer numerically controlled milling with traditional plaster casting and other laborious hand work to make figures that can appear both archaic and futuristic. One of his standing nudes, similar in posture to the Kouros statues from ancient Greece, appears to melt into ripples when viewed on one axis, suggesting the psychic experience of man in the modern world.

ARNE SVENSON

阿恩史云逊
Арне Свенсон
THE NEIGHBORS

Arne Svenson is self taught as a photographer, but his sensibility was largely formed by his early work as a therapist/educator working with severely disabled children. His vision embraces the unusual, quirky individuality of people and places and represents them with beauty, clarity and reverence. He creates most of his work within the controlled environment of the studio, and even when he ventures out to record the world, his vision is informed by the interior quality of his studio. Svenson works serially and obsessively on discrete projects which vary greatly, yet share these qualities. A sense of humor and fatalism allows Svenson to move freely from one obsession to the next, always manifest with extreme craft, diligence and love.

ARNE SVENSON

阿恩史云逊
Арне Свенсон
THE NEIGHBORS

Arne Svenson is self taught as a photographer, but his sensibility was largely formed by his early work as a therapist/educator working with severely disabled children. His vision embraces the unusual, quirky individuality of people and places and represents them with beauty, clarity and reverence. He creates most of his work within the controlled environment of the studio, and even when he ventures out to record the world, his vision is informed by the interior quality of his studio.

dan corson

Nebulous
The site-specific piece takes form as two large ‘clouds’ made of electronically controlled switch-glass, semi-transparent glass discs and LED fixtures. Corson ties in two distinct concepts to the work, dealing with seattle’s notoriously temperamental weather patterns and digital storage. more

T-HR3 Humanoid Robot

Toyota Motor Corporation
Toyota has revealed its third generation humanoid robot, the T-HR3, which can be controlled and synchronized with the operator’s movements. The user wears data gloves and an HTC Vive VR headset that’s linked to cameras to show the robot’s perspective. T-HR3 stands 1.54 meters tall and weighs 75kg ( 5 feet, 1 inches / 165 pounds) and was developed to explore the possibility of assisting humans in the home, medical facilities, construction sites, disaster areas, and even in space.more

ANOUK WIPPRECHT

Pseudomorphs

The “Pseudomorphs” (literally means false form) is made out of a neckpiece that is driven by pneumatic control valves to color the white absorbing dress underneath in different colors and prints. In this way the dress reacts itself and is therefore an uncontrolled matter.

Ursula Neugebauer

tour en l’air
With “tour en l’air”, the Berlin artist Ursula Neugebauer returns to an unforgettable childhood experience: Donned with the first long skirt in the fast turn around your own axis, to experience a previously unknown body feeling – and to get to know a new form of stability in the rotation.
Tour en l’air is an impressive installation at the intersection of fashion, art and architecture. Decorative busts slip into several floor-length red taffeta dresses and come to life thanks to computer-controlled electric motors. Although the individual components are of purely mechanical and material origin, the overall composition appears as a poetic expression of the human: namely a magical dance.

Kevin Cooley

Controlled Burns

GREG LYNN

格雷格·林恩
גרג לין
グレッグ·リン
그렉 린
Грег Линн
GREG LYNN a été un innovateur dans la redéfinition du support de conception avec la technologie numérique et a été le pionnier de la fabrication et de la fabrication de formes fonctionnelles et ergonomiques complexes à l’aide de machines CNC (Computer Numerically Controlled). Les bâtiments, les projets, les publications, les enseignements et les écrits associés à son bureau ont eu une influence sur l’acceptation et l’utilisation de matériaux et de technologies de pointe pour la conception et la fabrication. Alors que les opportunités de conception s’étendent aujourd’hui à de multiples échelles et supports, son studio Greg Lynn FORM continue de définir la pointe du design dans une variété de domaines. Son travail fait partie des collections permanentes des plus importants musées de design et d’architecture au monde, notamment le CCA, la SFMoMA, l’ICA Chicago et le MoMA.

HERMAN MAAT

Paranoid Panopticum

The viewer activates the «Paranoid Panopticum» by entering its small corridor between two «walls». Recorded through the mirrored wall by a video camera, the viewer’s image is projected onto the opposite wall, where it becomes part of a story freely adapted by Alfred Kreijemborg in his play titled «An Echo Play» (1923), based on the Greek myth of Narcissus. Instead of returning the affections of the nymph Echo, the protagonist falls in love with his own reflection. Like with the image of Narcissus on the water, the viewer’s own reflection appears now – and the viewer observes only himself. The Panopticum, the terminus of a circulatory prison complex, is controlled from a watchtower not visible for the prison inmates. Having consciousness controlled here causes in effect the self-control among the prisoners. The paradox in this experience – control and society’s surrendering to its own mechanisms – forms the basis of Maat’s installation. Whether as the observer or observed, the viewer is consistently extradited to the panoptic omnipresence of his own all-pervading reflection.

Matt Denton

Animatronic Teen Head & Arm
Project: The Worlds End

Waldo Mason “Decapitated Teen “Blank” Head This is the first reveal of the Blanks in THE WORLD’S END after Gary, played by Simon Pegg, gets into a fight with a teenager in the Cross Hands toilet culminating in the teen’s head being knocked off against a urinal! The head was a self contained radio controlled animatronic model, with eye movement & blinks, frown, jaw open & close and slew. The mechanics were built by Gustav Hoegen & supervised and performed by Matt Denton.”

ART+COM

Mobility
The installation spans a corridor of 7-metres width. On the left wall one hundred prosthetic hands arranged in a matrix revolve around their own vertical axis, the movements being controlled by motors. The mirrors they hold reflect the beam of a strong light across the space and onto the opposite wall. What initially seems like an asynchronous, chaotic pattern of movement soon reveals itself as a complex, computational choreography: at first the hundred light spots move around a central point, akin to the celestial dynamics of the planets or the flight pattern of a swarm of insects and creating the impression of a three-dimensional space. Then suddenly this organic oscillation converges to form a Chinese character denoting movement and action.

Jiun-Shian Lin

the Reversed Eye

‘The Reversed Eye’ is a cheek-controlled wearable device made by Jiun-Shian Lin in 2013. It provides participants upside-down left-right reversal sight and rear vision in their everyday life, attempting to turn the ordinary life experience into an aesthetic one.

Shih-Yuan Wang, Yu-Ting Sheng, Dr. Alex Barchiesi and Vyacheslav Kryvosheya

Transient Materialization
Created by Shih-Yuan Wang, Yu-Ting Sheng, Dr. Alex Barchiesi and Vyacheslav Kryvosheya with guidance from Prof. Jeffrey Huang at the Media and Design Laboratory LDM, EPFL / SINLAB, Transient Materialization explores the relationship between digital and material-based digital fabrication through n-hedron structure composed mainly of soap foam that is blown, through a mixture of air and helium, into a foam structure.The project questions structure’s materiality and examines its physical performance and ephemeral characteristics. In the first phase of the project the team achieved a programmable foam structure and presented various configurations of dynamic and transformable foam structures. The fabrication interacts with the algorithm, which involves a mixture of air and helium (controlled by pneumatic valves) and additive chemical substances and thickening agents.The aim of the project is to take architecture beyond the creation of static forms and into the design of dynamic, transformable and ephemeral material experimental processes.

ELEVENPLAY + Rhizomatiks Research

24 drones
24 Drones is a video demonstration of the incredible drones made by Rhizomatiks and their ability to move around 3d space in ways never before seen. With intricate sensor systems both on the drones and in the room the drones are constantly checking their surroundings and mapping them in order to move without colliding with each other or a speaker who stands in the middle of the swarm of drones directing them with gestures and movements. The movement of the drones is not only controlled and safer than ever, the drones awareness of their surroundings makes them appear conscious and gives them a sense of personality.

TAMAS WALICZKY

Marionettes
FILE FESTIVAL 

“Marionettes” is a seven-minute computer animation about collapse. Marionettes are controlled by strings: if there is no string, they collapse. Nobody animates the body. If nobody animates the body, it will be animated by natural forces. Mass. Gravity. Collision. Randomization. In this animation, the animator does not animate in traditional terms. Thus, we might say it is an anti-animation.
The forces that control the movements of the marionettes are calculated by physical simulation algorithms. Therefore, these movements are strictly mathematical ones. They are dramatic, too. They visualize collapse in its physical and – amazingly enough from puppets animated by machines – psychological sense.

MARTIN KALTENBRUNNER

reactable
file festival

The ReacTable is a collaborative electronic music instrument with a tabletop tangible multi-touch interface. Several simultaneous performers share complete control over the instrument by moving and rotating physical objects on a luminous round table surface. By moving and relating these objects, representing components of a classic modular synthesizer, users can create complex and dynamic sonic topologies, with generators, fi lters and modulators, in a kind of tangible modular synthesizer or graspable fl ow-controlled programming language. The instrument was developed by a team of digital luthiers under the direction of Dr. Sergi Jordà. The “Interactive Sonic Systems” team works in the Music Technology Group within the Audiovisual Institute at the Universitat Pompeu Fabra in Barcelona, Spain. Its main activities concentrate on the design of new musical interfaces, such as tangible musical instruments and musical applications for mobile devices. The reactable intends to be: collaborative: several performers (locally or remotely), intuitive: zero manual, zero instructions, sonically challenging and interesting, earnable and masterable (even for children), suitable for novices (installations) and advanced electronic musicians (concerts). The reactable hardware is based on a translucent, round multi-touch surface. A camera situated beneath the table continuously analyzes the surface, tracking the player’s fi ngertips and the nature, position and orientation of physical objects that are distributed on its surface. These objects represent the components of a classic modular synthesizer. The players interact by moving these objects, changing their distance, orientation and the relation to each other. These actions directly control the topological structure and parameters of the sound synthesizer. A projector, also from underneath the table, draws dynamic animations on its surface, providing a visual feedback of the state, the activity and the main characteristics of the sounds produced by the audio synthesizer.

HENRYK GORECKI

הנריק גורצקי
헨릭 고 레츠 키
亨里克·戈雷茨基
ヘンリク·グレツキ
Хенрик Гурецкий
symphony of sorrowful songs

Symphony no.3, Symphony of Sorrowful Songs is an hour-long work that demands the attention of the listener. It is made up of three movements, all labelled Lento, their slow, deliberate pace having a ritualistic prayer-like quality, with the intensity of Gregorian chant. They have an extremely slow deliberate harmonic progression and build to a slow controlled climax.

1024 architecture

VORTEX

Architectural fragment made from scaffolding, VORTEX has a raw wood skin highlighted by 12 lines of LED light as many generative and constructive project’s lines. Merging organic materials with new technologies, this hybrid architectural artwork wraps around and embraces the footbridge between the complex’s two buildings, revealing and enhancing the venue’s dynamic energy while working as a live visualizer of energy consumption.VORTEX evolves like a living organism; it breathes, trembles and emits pulses of light created using 1024’s MadMapper software. Manually controlled via a joystick, the structure can be synchronized to music and also displays its location’s energy consumption through a series of illuminated tubes. It ultimately answers to the ambient environment around it, capturing the Darwin Ecosystem Project’s unique energy consumption footprint, and converting it into data that is processed to spawn realtime visuals.
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Nieto Sobejano Arquitectos and realities:united

Contemporary Art Centre in Cordoba
BUILDING FAÇADE WITH AN INTEGRATED LIGHT AND MEDIA INSTALLATION

To transform the façade into a light and media display without fundamentally changing its solid appearance as envisioned by Nieto Sobejano turned out to be the biggest challenge in the project. The façade is accordingly designed to deliver a tactile and solid appearance in the daytime while it turns at night into a unique and dynamic communication wall that reacts very specifically to the architecture. The 100-meter façade consists of 1,319 hexagonal, recessed and pre-fabricated “bowls” on different scales. Each of the bowls serves as a reflector for an integrated artificial light source. The intensity of each lamp can be controlled individually, forming a huge irregular low-resolution grey scale display. The thorough immersion of the “pixel-bowls” – like negative impressions – in the volume of the façade turns the architectural scheme itself into a digital information carrier. During the day, the façade shows a three-dimensional landscape with no sign of being a media facade. Additionally, this tectonically modulated surface topography is characterized by a playful composition of light and shadow that constantly changes with the movement of the sun.

intel, sms audio and sid lee

heart bot
Heart Bot is an experimental drawing machine controlled by the heart rate of its audience. Commissioned by Sid Lee New York to launch a new collaboration between Intel and SMS audio at the New Museum in New York.

YURI SUZUKI

尤里铃木
يوري سوزوكي
beatvox
File Festival

By EPFL + ECAL lab in collaboration with Yuri Suzuki Direction: Nicolas Henchoz Designer: Yuri Suzuki Engineering: Gavrilo Bozovic, Fanny Riedo Software development: Gavrilo Bozovic, Fanny Riedo, Eric Morzier A microphone-controlled drumkit. Renowned as an artist for his projects questioning the materiality of sound, Yuri Suzuki has his own way of looking at augmented reality. For Berlin, he is creating an installation which will enable anyone to control a set of drums with their own voice. He harnesses the principles of augmented reality to interpret them in the realm of sound.

John Cage

Music of Changes

Music of Changes was the second work Cage composed to be fully indeterminate in some sense (the first is Imaginary Landscape No. 4, completed in April 1951, and the third movement of Concerto for prepared piano also used chance), and the first instrumental work that uses chance throughout. He was still using magic square-like charts to introduce chance into composition, when, in early 1951, Christian Wolff presented Cage with a copy of the I Ching (Wolff’s father published a translation of the book at around the same time). This Chinese classic text is a symbol system used to identify order in chance events. For Cage it became a perfect tool to create chance-controlled compositions: he would “ask” the book questions about various aspects of the composition at hand, and use the answers to compose. The vast majority of pieces Cage completed after 1951 were created using the I Ching.