yes there will be singing
From the beginning, I never wanted to work with just Bill Viola-style hidden projectors projecting on to screens. I wanted to work with architecture and with corners and doorways and windows. A lot of Robert Morris’ writing was important to me – still is. He talks about presence, about presence in the work of art and about being present, and that’s been really influential for me. — Diana Thater
SLOW HOUSE
To either side of the “picture window” are two antenna-like stacks: the chimney is to the right, the video apparatus to the left. At the summit of the left stack sits a live video camera directed at the water view and feeding the monitor in front of the picture window. The electronic view is operable; the camera can pan or zoom by remote control. When recorded, the view may be deferred— day played back at night, fair weather played back in foul. The composite view formed by the screen in front of the picture window is always out of register, collapsing the opposition between the authentic and mediated.
Windows of the Soul
In de installatie Windows of the Soul gebruikte Sonia Falcone haar spiritualiteit als centraal thema en presenteerde ze dit op de XVII Bienal de Arte de Santa Cruz de la Sierra, in 2010. De video-installatie was gemaakt van dunne, verticale blokken die rond zes meter en ongelijk uitgelijnd. Op de blokken projecteerde ze video gemaakt van korte en kleurrijke componenten die elk een deel van haar persoonlijke leven vertegenwoordigden. Ze mengde kunstmatige en natuurlijke landschappen om de eenheid en het belang van beide in het menselijk bestaan te benadrukken, en de boodschap die ze wilde overbrengen is dat leven mooi is, vanaf het moment van conceptie door alles wat de mens doet en voelt in zijn leven. Haar missie was om hoop te sturen en aan te geven dat er een belofte is voor een betere toekomst.
Joshua Tree Residence
Whitaker has envisioned an “exoskeleton” made of shipping containers painted bright white. The containers appear like a starburst, with cuboid forms pushing out in all directions.The home is intended to offer a connection to the sun-baked landscape, while concurrently providing a sense of protection and privacy. Square windows frame views of the blue sky and rugged terrain. In some areas, faceted ceilings give the effect of being inside a crystalline form.
Marsha
Marsha is a AI SpaceFactory’s NASA-award-winning design and prototype for a 3D printed Mars habitat. The prototype was printed nearly autonomously in 2019 within a 30-hour construction window. “Our 3D print technology uses a recyclable biopolymer composite which outperformed concrete in NASA’s strength, durability, and crush testing. ASTM lab tested and certified to be two to three times stronger than concrete in compression, our space-grade material is also five times more durable than concrete in freeze-thaw conditions.” Ai-Spacefactory
Disappearance
In this work the movement of a large video monitor mounted on an industrial fork-lift truck creates a virtual representation of a larger than life size ballerina. As the forklift moves the monitor up and down the ballerina is presented from head to toe, and as the forklift truck rotates the ballerina also appears to turn. In this way the monitor functions as a window that gradually reveals the virtual presence of the ballerina who is dancing in the same axis as the rotating forklift truck. Also visible inside the motor compartment of the forklift truck is a small rotating ballerina figurine in front of which a video camera moves up and down. This mechanism is electronically synchronised with the movement of the forklift itself and provides the closed circuit source for the video image of the ballerina that is seen on the monitor screen. Disappearance evokes and celebrates the memory of the ballerina on a music box (a first generation robot) and generates her virtual reconstruction to the extent that the machinery of reproduction itself now incarnates her pirouettes.
video
SPACE INBETWEEN
The series of spatial structures are a combination and overlapping of basic architectural-elements (roof, floor, wall, window, and ladder) and furniture feature (platform with different level for seating, laying, leaning). The shape and form represent contemporary architecture with simplicity of form but complex spaces. These structures can be seen as a transition between inside and outside. It provides variety of posture and different level with intimate space.
マイケル·クラーク·カンパニー
Tate Project Part I ]
The choreography rehearsed and performed in 2010 paired the rigour of classical steps with contemporary movement, a juxtaposition that paralleled Clark’s training as a ballet dancer at the Royal Ballet, and his later anti-hierarchical, anti-authoritarian choreographic experiments. Balletic poses, jumps and steps were isolated from traditional narrative sequences and made strange through repetition. The graceful leaps and turns of the trained dancers seemed awkward and uneven, just as they were often out of sync and oriented in different directions. This choreography paralleled the performance space, which was demarcated by geometric and striped floor mats designed by Charles Atlas, which resembled the large windows at the back of the hall and the black beams that extend vertically from floor to ceiling.
ויליאם פורסיית
ウィリアム·フォーサイス
威廉‧科西
윌리엄 포사이드
УИЛЬЯМ ФОРСАЙТ
Swinging Pendulum
Suspended from automated grids, more than 400 pendulums are activated to initiate a sweeping 15 part counterpoint of tempi, spacial juxtaposition and gradients of centrifugal force which offers the spectator a constantly morphing labyrinth of significant complexity. The spectators
are free to attempt a navigation this statistically unpredictable environment, but are requested to avoid coming in contact with any of the swinging pendulums. This task, which automatically initiates and alerts the spectators innate predictive faculties, produces a lively choreography of manifold and intricate avoidance strategies.