Le Paradoxe de Xerox
La mode interrogative à l’ère des devoirs super intelligents. Le « paradoxe de Xerox » est l’effet inverse de la technologie. Craignant un avenir sans papier, une enquête de Xerox Parc a conduit, entre autres, à l’IUG (Graphical User Interface) qui, à son tour, a entraîné une augmentation substantielle de la production de matériel imprimé.
Pianographique
Pianographique is a series of collaborations of real time visual artist Cori O’Lan and Maki Namekawa. The visualisations are not videos that are more or less synchronous to the music and it is also not the musician’s playing to prefabricated material, they are jointly created together in the moment of the performance. As with most of Cori O’Lan’s visualizations, all graphic elements are derived directly from the acoustic material, i.e. the sound of the music. For this purpose, the piano is picked up with microphones and these signals are then transformed by the computer into a multitude of information about frequency, pitch, volume, dynamics, etc… This information, in turn, is used to control the graphics computer, create graphical elements or modify them in many ways. Since these processes take place in real time, there is a direct and expressive connection between the music and visual interpretation. The visualization is actually not “created” by the computer but much more by the music itself – the computer is rather the instrument, the brush operated, played by the music.
The Roe’s Room
opera movie
In this “absolutely singular autobiographical film opera” (Time Out London), multi-talented composer, writer, director and artist Lech Majewski presents a stunning, intimate, and ultimately magical work of unbridled creativity. A ravishing ode to the imagination, THE ROE’S ROOM is a place where the energy of youth and the eternal power of the natural world triumph over the banalities and deprivations of the commonplace.Within their apartment, a father, mother and son bear the dulling yoke of an ordinary urban life. His mind and heart borne aloft by the cycle of the seasons and the images and music within him, the son transforms his cloistered existence into a richly poetic emotional utopia. As autumn arrives, cracking flakes of plaster become falling leaves. With spring, a cold hard floor comes alive with meadow grass and love beckons in the form of a beautiful young girl’s outstretched hand.
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.
STEVE WILHITE
R.I.P
dancing baby
GIF (JIF)
graphics interchange format
The inventor of the Gif file has revealed that the world has been mispronouncing his creation.
Steve Wilhite, who invented the Gif file in 1987, told the New York Times that the word is pronounced “jif” not “giff”.
“The Oxford English Dictionary accepts both pronunciations. They are wrong. It is a soft ‘G,’ pronounced ‘jif.’ End of story,” he said.
The internet has reacted strongly to Wilhite’s claim, pointing to a range of evidence from the White House announcing their allegiance via a note on their Tumblr: “Animated GIFs (Hard ‘G’)”, to simple common consensus.
Others have suggested that the hard ‘G’ relates to the acronym that the word springs from, which stands for Graphical Interface Format.
The Gif has enjoyed a surge of success in the last five years thanks to Buzzfeed-style listings of puppies and kittens and ‘live-giffing’, a form of on-the-spot reporting that had its first major outing during the 2012 presidential debates.
Wilhite may be the parent of the Gif, but most agree that the creation has outgrown its creator.
When even the White House is on the other side of the debate, it seems it might be best if Wilhite concedes defeat with grace.
톰슨 & 크레이그 헤드
Belief
Belief is made from information found entirely on the worldwide web. In fifteen minutes, this two-screen installation presents a series of fragmented broadcasts about belief, all sourced from the video sharing community YouTube. A compass floor projection interacts with the montage showing where each clip originated in relation to the geographical location of the artwork. With a little help from Google Earth viewers are placed at the centre point of this cinematic data visualisation.
Reverse Blinking
Imagine that your head is captured inside a photo camera. It is completely dark. Only when the shutter opens en closes, you see the world in a flash. The shutter moves so fast that nothing has time to move. Everything where you point your gaze at, becomes like a photograph. A memory. Something that has been, but isn’t anymore. You see people as frozen figures, whole streets as untouched moments. Life as a sort of dia show. “Reverse Blinking” creates this experience. It is a completely closed helmet with two shutters in front of the eyes. They are controllable by the user. Reverse Blinking works on batteries and can be freely used in or outside the museum. It is best used where there is a lot of movement and people. “Reverse Blinking” is part of a series of art works, through which the artist tries to add video and photographical effects to our natural way of seeing.
克劳斯奥伯迈尔
the concept of … (here and now)
In front of a giant screen, two dancers interact with a cohort of cameras… Their movements are captured by infra-red sensors and projected onto the screen, whereby their bodies become the canvas on which new images take shape. The result is a shifting kaleidoscope of strange, living, quasi-mathematical visual worlds which sometimes seem to be emanating or even escaping from the dancers’ bodies. “Who decides which movement to make: the man or the machine?” Blurring the line between the real and the virtual, Klaus Obermaier loves to subsume his performers’ bodies and physicality in a disconcerting digital universe. With his latest creation, the choreographer/artist has taken a bold new step. He has constructed a system of projectors and infra-red sensor-cameras, trained upon the movements of two dancers. The performers thus find themselves thrown headlong into a living, moving graphical universe: their movements are projected onto the screen, but at the same time their bodies are illuminated by more projected images. This is a true artistic performance, pushing well beyond the frontiers of a standard dance recital, or even a contemporary dance show. A corporeal, temporal performance. A choreography which makes subtle use of its raw materials, deftly combining lights, video, perspectives and the real-time power of bodily movement.
IN THE WORLD OF HANAFUDA
IN THE WORLD OF HANAFUDA CARDS is a photographic, video and set design installation exhibition created by Eliška Sky Kyselková. The exhibition project intends to be a gate and homage to Japanese aesthetics and the beauty of nature. The visuals are inspired by Japanese card game Hanafuda, where each set of cards graphically portrays one month of the year with fauna & flora of that season.
The Present Condition
The landscapes of ‘The Present Condition’ derive from a journey of more than 15,000 km by land by the artist between the two geographical extremes of South America. The video is suffused with a surreal atmosphere, where real and imaginary spaces intersect. Concepts such as human intimacy, desire, work, the savage capitalism that builds cathedrals in the desert, the perverse bureaucracy and the construction of the border wall are just some of the elements that are mixed in a striking and suggestive mosaic of images.
Akhnaten
Portrait Trilogy:Einstein; Akhnaten; Gandhi
According to the composer, this work is the culmination of his two other biographical operas, Einstein on the Beach (about Albert Einstein) and Satyagraha (about Mahatma Gandhi). These three people – Akhenaten, Einstein and Gandhi – were all driven by an inner vision which altered the age in which they lived, in particular Akhenaten in religion, Einstein in science, and Gandhi in politics.
The text, taken from original sources, is sung in the original languages, linked together with the commentary of a narrator in a modern language, such as English or German. Egyptian texts of the period are taken from a poem of Akhenaten himself, from the Book of the Dead, and from extracts of decrees and letters from the Amarna period, the seventeen-year period of Akhenaten’s rule. Other portions are in Akkadian and Biblical Hebrew. Akhnaten’s Hymn to the Sun is sung in the language of the audience.
OPERA
Ричард Барбридж
リチャードバーブリッジ
리처드 버 브리지
ريتشارد بيربريدج
masks
Richard Burbridge, an influential British fashion photographer. Unfortunately any biographical info on him was impossible to find, but guessing by some of his early work, he has been a staple of the fashion industry for some time now. He is an absolute genius with lighting, and whether it’s commercial or editorial, we love all of his work. Richard Burbridge was part of 90s fashion bible i-D, and shot some of my favourite covers for the magazine from 1999 to mid-2000s, has also brought his hyper technical lighting and perfectionism to The New York Times T Magazine, V Magazine and Italian Vogue. He is represented by Art + Commerce.
move
File Festival
MOVE is an interactive installation divided into six distinct modules, JUMP, AVOID, CHASE, THROW, HIDE and COLLECT. Each module offers a single-user interaction, based on a verb corresponding to the action the participant is invited to perform. Each verb corresponds to a common procedure acted out by avatars during videogame play. Each module offers an interaction with abstracted shapes (circles, rectangles) behaving according to simplified rules of physics (collision, friction). Each module is color-coded with consistency, where the color red is used for the graphical element that poses the core challenge. Each module increases difficulty in a similar linear manner.What makes MOVE unusual is that unlike most computer vision or sensor based games like Eye-toy or Dance Dance Revolution, the participant IS the avatar, he is not seeing a representation of herself or an indirect result of her actions on a separate screen but instead interacts directly with the projected graphical constituents of the game. Because those graphical elements are non-representational they do not allow for a projection in a fictional space. The combination of abstracted shapes and direct interaction reinforces in the player the focus on the action itself (JUMP, AVOID, CHASE, THROW, HIDE or COLLECT) instead of an ulterior goal.
Museum Motus Mori
“In 2018 we started our new project Motus Mori, in which Katja is going to research and preserve movements which are in danger of extinction. Motus Mori is a longterm project (2018-2020) that consists of an ungoing research with multiple presentations like a choreographical TED-talk, mobile movement laboratories, field researches with divers groups of people, large movement expositions, city- rituals… This way Katja and her team will work on a growing collection of endangered human movements.”
ديانا جامبوا/
戴安娜甘博亚/
Диана Гамбоа
Diane Gamboa has been producing, exhibiting, and curating visual art in Los Angeles for more than 20 years. From 1980 to 1984, she photographically documented the punk rock scene in East Los Angeles. Between 1980 and 1987, she was a member of ASCO, a conceptual multi-media performance art group. During this time she also organized numerous site-specific “Hit and Run” paper fashion shows. Created as easily disposable streetwear, Gamboa’s paper fashions became quite popular, and some were even exhibited in museums.
三春松永
МИХАРУ МАЦУНАГА
Japanese designer Miharu Matsunaga has followed in the footsteps of polka dot queen Yayoi Kusama and covered everything with dots! For her college graduation project Miharu created an elaborate body of work using pattern that engulfs every surface from the human body to entire rooms. The result is a vibrating decorative surface that references everything from topographical maps to an ultra zoom of skin pores.
The New Sculpture
Jonathan Monk was born in Leicester in 1969. Monk received a BFA from Leicester Polytechnic in 1988 and an MFA from Glasgow School of Art in 1991. In his work, Monk adopts the esthetics and practices of 1960s Conceptualism, but infuses the tradition with humor, levity, and autobiographical elements.
精美雕塑艺术 非常设计师网
The work of Laurent Craste lies at the crossroads of two mediums, participating in the world of visual arts, but never stepping beyond its borders. Ceramics, linked by tradition to crafts, requires a technical knowledge and know-how so restrictive that artists are prompted to remain within canonical forms, never pushing their limits. Video art, the recent avatar of the moving image, does not always acknowledge its main ancestor, cinema. The innovative aspect of this work is the combination of the two mediums with the addition of humorous or dramatic short stories, encompassing an autobiographical element that never descends to self-righteousness.
Marcelo Moscheta is an artist based in Campinas, Brazil. As a traveler who looks at the world like the romantics of the 19th Century or the Great Explorers of the Artic, he has made installations, drawings and photographs born from his time in remote locations. Through uncommon materials and techniques his works addresses the notion of ephemerality and mankind’s efforts to understand and recreate physical and geographical aspects found in natural environments. He is interested in the landscape as a representational system from where man can measure his own world. Drawing, printmaking, photography and installations are his main media.
oh, dear
Her pictures describe oniric situations, enchanted, sometimes spooky, but always with a touch of glam. In applaying different photo techniques as mirrored images, photo overlapping, refined photo processing, Elle Moss depicts lonely worlds, often autobiographical, almost exclusively feminine, in which all the characters tell feelings about suspension and alienation, entering into undefined space-time dimensions.
サラ·シュナイダー
Сара Шнайдер/
שניידר שרה
사라 슈나이더
سارة شنايدر
Centro de Rehabilitacion en Austria
“The project developes an architecture that uses rules of natural growth and connects both growth and ornament, with a landscape environment, topologically and calligraphically. The ornament creates a symbiotic relationship with the existing environment by framing existing topographic features and at the same time giving a feedback to the landscape by creating topographical irregularities.”
伊恩·克劳福德
איאן קרופורד
이안 크로포드
Iain loves to capture images that have a strong graphic and textural quality, often searching out the graphical symmetry in chaos, while still maintaining the personality and emotion of the subject. His career has lead him to shoot campaigns for many of the world’s top brands and receive commissions from a host of top international magazines.
Birgit Jürgenssen’s multifaceted artistic practice spans painting, drawing, photography, Polaroids, rayographs, printed graphics, collages of different materials, body projections and installations. Her work is characterised by visual wit and a great deal of self-deprecation, which the artist referred to as a kind
of “autobiographical strategy”.
Trace II
Trace II is a sculptural device that alludes to scientific discoveries and the experimental apparatus of science. It is essentially a mechanical computer that draws its analogue programme from a revolving plaster head. The carefully balanced mechanism slowly measures the topography of a cast human head and translates its undulations onto a rotating cylindrical surface. The result is an evolving topographical diagrammatic depiction that is truly unique every time.
Captura de pantalla
With an autobiographical nature, Chuls focuses on the study of gender, with femininity being the protagonist. In its beginnings it reveals to us a special interest by the history of our feminine ancestry and its revalidation. To gradually be motivated by themes related to their daily lives that are currently taboo or are in continuous debate. more…
disc.o
File Festival
disc.o is a multiplayer music instrument with eight CD player and corresponding speakers
arranged in a circular spatial installation. Sequentially switched Light spots in combination with
graphical cutouts in the CDs are creating noise patterns based on the principle of optical sound.
cgi masks
Madrid-based 3D artist Lee Griggs created some fascinating topographical illustrations using 3D animation and rendering software Maya Xgen and Arnold. Each piece is comprised of countless >spheres, cylinders, or cubes that have been extruded and colored to create images reminiscent of ocean floors, bacterial growth, or even weather patterns.
untitled antarctica: ice gouge
A suspended video sculpture made out of glass, ice gouge, is informed largely by topographical submarine seismic data pulled from beneath the icy waters around Antarctica. While it evokes the terrain shaped by glaciers, ice gouge also denotes the icebergs that shape-shift into asymmetrical forms as they break down over time into water.
جنيفر روبل
제니퍼 루벨
ジェニファールベル
Portrait of the Artist
Jennifer Rubell, the American artist and niece of Studio 54 co-founder Steve Rubell, brings a maternal touch to this year’s Frieze Art Fair with her autobiographical piece Portrait of the Artist. The pristine white nude, cast from steel-reinforced fibreglass, reclines like an odalisque at the Stephen Friedman Gallery stand. The sculpture is a replica of Rubell’s own eight-months-pregnant body, except it is eight metres high: the large belly, which is carved out to leave an egg-shaped void, can accommodate a fully grown adult. Spectators are able to clamber into the artwork and curl up inside as if they are the artist’s unborn child.Rubell’s intention was to create a monumental gesture of unconditional motherly love. There is a feminist statement here, too: Rubell has appropriated a style and scale historically reserved for male leaders to show, she says, “an emotion that is intensely personal and un-heroic”. The artist adds that watching members of the Frieze audience enter in the sculpture’s womb is “tremendously satisfying” – in her eyes the enlarged form was “incomplete until the first viewer entered”. Amid the hustle of Frieze’s mini-city there is something undeniably appealing about the opportunity to put your feet up in the foetal position in the name of art. Not to mention the comfort factor.
Harmophon
This video only shows a short part of a longer incoming installation, which explores the relationship between 2 Harmonic waves in different graphical/musical ways.98 pair of points trigger notes depending on the collision position in the Y axis.Panning depends on the X position. For this piece the phase and velocity of booth waves are synchronised to collide in a harmonic chord.In the installation it would be possible to see/hear more complex relationships with longer running time.The chaotic converges in harmonic, the complexity converges in simplicity.