Dans High Breed, Jacopo Godani présente une création élémentaire dont la chorégraphie – abstraite et esthétique pure – sert de principal moyen d’expression artistique. Avec une intensité physique riche en action et en exactitude, virtuellement mathématique dans sa précision, Godani introduit la quintessence de l’identité de l’entreprise.
The Geometry of Musical Rhythm: What Makes a “Good” Rhythm Good? ” is a book on the mathematics of rhythms and drum beats. It was written by Godfried Toussaint, in order to study rhythms mathematically, Toussaint abstracts away many of their features that are important musically, involving the sounds or strengths of the individual beats, the phasing of the beats, hierarchically-structured rhythms, or the possibility of music that changes from one rhythm to another. The information that remains describes the beats of each bar (an evenly-spaced cyclic sequence of times) as being either on-beats (times at which a beat is emphasized in the musical performance) or off-beats (times at which it is skipped or performed only weakly). This can be represented combinatorially as a necklace, an equivalence class of binary sequences under rotations, with true binary values representing on-beats and false representing off-beats.
Delusional Crime and Punishment
Who created life? I think this is the question everyone has been asking themselves since childhood? At least I have many doubts, the subjective feeling of the existence of consciousness allows us to face the world from that source. Why do humans eat like this for energy? Why not get energy in other ways? Why do you need energy to exercise? Why is this so joyful and so painful? What is the need for pain, pleasure, fear, excitement, etc.?Upon careful analysis, it appears that the source of many desires comes from the design of our physical structure. If God designed human beings, why was he designed that way and why was he designed as a biological mechanism for sin and hell? Why do human beings have desires because of such a physical structure and even they don’t understand self-control, they have sins, and they have to go to another hell of punishment system to atone for their sins? Who created this series of systems?
SUNG ROK CHOI
Great Chain of Being
The great chain of being, an ancient philosophical concept, attempted to explain the structures and relationships of the world as a form of hierarchy or set of strata. This philosophical idea is here expressed in the form of the entities that constitute the contemporary world. The philosophers of the past believed that the structure of the world had at its top a god, and that beneath there were angels, animals, plants, and elements. But this conception of the world, as a result of the changes in civilization and culture, resulted in the elements that constitute the world undergoing a transition and sustaining an unforeseen hierarchy. The works of art depict the contemporary structure in the form of robots, machines, people, animals, and virtual or digital entities. Within virtual systems, these entities undergo a process of creation, arrangement, use, disposal and recycling, through which they emerge and disappear. The work depicts the stories emerging from these processes, against the background of a systemically designed landscape akin to a factory.
“Movrin’s main inspiration has always been his childhood, where tradition, God and meat were the subject of everyday life. As an only son of a butcher in a small Slovenian town, surrounded by woods and bears, his growing up marked him with a roughness that he transcends in his designs with a special kind of romanticism. In this hard provincial life meat became his medium of expression, as a child he would carve steaks in a way that would appeal to his bewildered eye. There were, however, also fresh issues of Vogue magazines in the house, brought from trips to Trieste, that stirred up his imagination.” Black Sheep
Humans see figures in clouds: animals, faces and even god. This kind of perception also appears in machine vision. Face-detection algorithms sometimes find faces where there are not any.’Cloud Face’ is a collection of cloud images that are recognized as human faces by a face-detection algorithm. It is a result of machine vision’s error but they often look like faces to human eyes too. Humans, yet, know these are not actual faces. Humans rather imagine faces from the clouds. Here, the error of machines and the imagination of humans meet.
What hath God wrought?
The title of the installation is a line from the Book of Numbers in early modern English. It was the first message transmitted by telegraph in 1844, the first communication technology on the basis of electricity and binary coding. The artwork is fed by the 100 most used words in Thomas More’s book ‘Utopia’, feeding the correspondence between a series of telegraphs. The telegraphs translate the words into sound and light. Written rolls of paper drift to the floor. Slowly but surely, mistakes slip into the closed system and the meaning of the words alters. The Morse orchestra deals with the rationalism of the Renaissance and its belief in progress and posits by contrast an aesthetic of a self-regulating system in which the fault rules and defect becomes beauty.
Chronos the god of time, permanently destroys and recreates. He who symbolises evanescence and return, was the thematic point of departure for the creation of the kinetic media installation Chronos XXI. The piece is a ‘finger exercise on antiquity’ by our Creative Director Joachim Sauter and was created during his residency at Villa Massimo in Rome. A pendulum continuously swings in front of a monitor. This motion controls the slow synthesis and destruction of depictions of Chronos on the monitor. Chronos appears in various interpretations by painters of the late Renaissance, Baroque and Classicism – as a man who disrobes Veritas, as a performer of volatile music, or docking Cupid’s wings, or as children and crop eating, a scythe and an hour glass carrying, beardy and winged old man.
H²élyos takes you into an imaginary world where unreal monsters coexist. These Titans are looking for a single goal, the light of the god H²élyos. He is the eye of the world. He is the one who sees everything. This project was originally designed as a 360-degree experience for The Immersive Art Festival, devoted to immersive digital design […] It used all the atelier technological power : 140 video-projectors, 50 speakers, 3000 m2 of projection surface.
Underground Circuit is a collage of hundreds of video clips shot in the subway stations in New York. Station to station, the movement of the commuters in the outer rings suggests the repetitive cycle of life and urban theatricality and texture. The inner-most ring includes people sitting on the bench waiting; the central drummers act as the controller of the movement, inspired by the concept of the Four-faced Buddha in Chinese folk religion, the god who can fulfill and grant all wishes of its devotees. For the installation, the video is projected onto the gallery floor and mapped onto a cube with relief in the middle of the projection area. The installation invites audiences to sit on the central cube as Voyeur-gods, to observe the anonymous characters in the projected urban labyrinth.
gods and Pilgrims
New media artist Vvzela Kook works in various audiovisual media,including performance, theatre, computer graphics and drawing to explore contemporary performing arts such as the possibility that dance and computer-generated arts could co-exist. Kook’s video works combine technology with her artistic practice to reproduce and convert urban cityscapes into an integrated virtual experience. The condensed textures in her works connect with multiple sensual levels in our perception and reintroduce the unexplored potential of video as a medium
Until the Lions
In this partial adaptation of poet Karthika Naïr’s book Until the Lions: Echoes from the Mahabharata, an original reworking of the epic Mahabharata, Khan uses kathak and contemporary dance to tell the tale of Amba, a princess abducted on her wedding day and stripped of her honour, who invokes the gods to seek revenge. In an epic theatrical piece, Khan explores the notion and the physical expression of gender, bringing together some of the stellar artistic team behind his solo DESH: writer Karthika Naïr, visual artist Tim Yip, lighting designer Michael Hulls and dramaturg Ruth Little.
Inspired by the cloud formations and weather events, this mathematized cloud plays with visitor’s perception. Movement through the structure generates a series of dynamic interference views in its deep fabric, drifts and ruptures in visibility. A sea of redirecting vectors is pulling the visitor like an invisible gravity force through the fabric.
Our perception — the only true reality. Creation as a feeling that generates the image, expressed in the form. Beauty manifesto calling to go beyond that limit imagination. The aesthetics of art can not be reduced to a clear set of building blocks with which you can strengthen or weaken the perception of contrast. Beauty should not be subjected to analysis, that is communication and the call to participate in the transformation of the emotional to the visible.The process of creating — is the alignment of the mosaic, many repetitions of simple and pure elements, which form a collection, harmonious in its incompleteness.
GLASSED A LA MUFFATHALLE
Auch in seiner aktuellen Performance „Glassed“ gibt sich Yann Marussich wieder nahezu bewegungslos und setzt seinen Körper Extremen aus. Ein riesiger, grünleuchtender Kubus beherrscht die Bühne. Begleitet durch die Live-Musik von Franz Treichel, dem Kopf der bekannten, Schweizer Post-Industrial-Band „The Young Gods“, erhebt sich dieser und gibt langsam den Blick auf den Künstler selbst frei. Marussich kommt, in einen feinen Maßanzug gekleidet, aber das Gesicht bis zur Gänze unter einer riesigen Halskrause verborgen, darunter zum Vorschein. Die Halskrause, die man eigentlich Hunden nach Operationen anlegt, ist bis obenhin mit 25 Kilo Glas angefüllt. Während der Performance versucht sich Marussich immer wieder unter großen körperlichen Anstrengungen dem Glas zu entledigen.
We shall see Him as He is
”Beloved, now are we the sons of God, and it doth not yet appear what we shall be: but we know that, when He shall appear, we shall be like Him; for we shall see Him as He is”. the First Epistle of St John, Chapter 3 verse 2
Tavener converted to the Russian Orthodox Church in 1977. Orthodox theology and liturgical traditions became a major influence on his work. He was particularly drawn to its mysticism, studying and setting to music the writings of Church Fathers and completing a setting of the Divine Liturgy of St. John Chrysostom, the principal eucharistic liturgy of the Orthodox Church: this was Tavener’s first directly Orthodox-inspired music
Batter My Heart
Gerald Finley (J. Robert Oppenheimer)
Batter my heart, three person’d God; For you
As yet but knock, breathe, knock, breathe, knock, breathe
Shine, and seek to mend;
Batter my heart, three person’d God;
That I may rise, and stand, o’erthrow me, and bend
Your force, to break, blow, break, blow, break, blow
burn and make me new.
Mathieu Merlet Briand
Google red marble
Digital native et issu d’une famille d’agriculteur, Mathieu s’intéresse à l’influence des technologies sur la perception de notre réalité contemporaine. Il s’interroge sur la matérialité d’internet et ses représentations. Il cherche à traduire l’expérience du web surfer, l’imagination de l’internaute face à ce flux infini d’informations.
Dans ses projets se dégagent de façon récurrente des questions environnementales. Inspiré par la lecture de l’essai philosophique d’Ariel Kyrou « Google God » de 2010, il interroge cette image presque divine associés aux géants du web.
Il utilise comme médium les big datas. Via ses algorithmes qu’il développe, par des processus de recyclage et des analogies à la nature, il façonne des flux de données afin d’en créer des matérialisations tangibles. Abstractions, reliques, cristallisations ou fragment du World Wide Web, son travail protéiforme se matérialise principalement en sculptures et installations multimédia.
Influencé autant par l’histoire de l’abstraction, les artistes du Land Art, que par les Nouveaux Réalistes, ses créations sont associées au Culture Digital, au mouvement Post-Digital ou Post-Internet Art.
Empyrean: In ancient cosmologies, the Empyrean Heaven, or simply the Empyrean, was the place in the highest heaven, which was supposed to be occupied by the element of fire (or aether in Aristotle’s natural philosophy). The word derives from the Medieval Latin empyreus, an adaptation of the Ancient Greek empyros (ἔμπυρος), meaning “in or on the fire (pyr)”
Empyreum (The Divine Comedy, Gustave Doré )
The Empyrean was thus used as a name for the firmament, and in Christian literature for the dwelling-place of God, the blessed, celestial beings so divine they are made of pure light, and the source of light and creation. Notably, at the very end of Dante’s Paradiso, Dante visits God in the Empyrean.
oh my god!
Während seiner Residenz begann Marclay auch mit Guitar Drag, einem 14-minütigen Video, das einen Pickup zeigt, der eine verstärkte E-Gitarre, die mit einem Seil über eine Straße in Texas gebunden ist, zu ihrer aggressiven Zerstörung schleppt. Die vielschichtige Videoarbeit verweist auf die Praxis, Gitarren während Rockkonzerten zu zerschlagen, und zeigt Marclays Interesse an der Erfindung neuer Klangarten. Das Stück entstand auch als Reaktion auf den Mord an dem 49-jährigen James Byrd Jr. aus Jasper, Texas, durch drei weiße Supremacisten im Jahr 1998 und die weit verbreiteten Auswirkungen der Tragödie. Um Hassgewalt zu bekämpfen, unterzeichnete Präsident Barack Obama 2009 das in ihren jeweiligen Erinnerungen genannte Gesetz zur Verhütung von Hassverbrechen von Matthew Shepard und James Byrd Jr. Guitar Drag schwingt nicht nur mit unseren akustischen und visuellen Sinnen mit, sondern untersucht gleichzeitig mehrere Ebenen von Geschichte, Rasse, Geographie und aktuellen sozialen Themen.
후세인 샬 라얀
Animatronic Fashion mashup
Furthering his technological trend, Chalayan unveiled the collection entitlledReadings, on screen, eshewing the conventional runway. The dresses themselves are highly structured, creating bold silhouettes from which the laser beams radiate. They are embellished with Swarovski crystals that either deflect the lasers, or take in their light, depending on the angle of the laser. The effect is hauntingly beautiful; where lasers shine directly into Swarovski crystals, they resemble glowing embers, yet where they are deflected the laser beams project into the surrounding space, evoking phantasmagorical new-age sun gods.