Soundform No.1
“Soundform No.1” is a minimalistic soundscape and kinetic art installation that transforms heat energy into a poetically evolving, spatiotemporal composition. All the sound in this installation is created thermo acoustically by activating heating elements inside quartz glass tubes hung in the space. As the glass warms, a nickel-titanium spring reacts instantly, pulling the cylinder upright. At the correct angle, airflow becomes unrestricted, and a thermo acoustic phenomenon, known as a Rijke effect (named for the professor who discovered the phenomenon in 1859), creates an audible tone.

lost in pascal’s triangle

artificial islands

pascal triangle

Echo Lens
Emerald Lake, Canada
Hybrid, Vincent Leroy’s work oscillates between the real and the virtual, the natural and the artificial, drawing its inspiration from both nature, which often sites his work, and from the digital world. Whether its kinetic sculptures, immersive installations or monumental works, movement is almost always Vincent Leroy’s raw material. The kind of movement that inspires life, amazement, and a permanently shifting viewpoint.

Bloom Nebula
Incorporating LEDs, electronics, and custom code, this sequenced light sculpture exemplifies Villareal’s latest inquiries into natural and synthetic systems.

Oracle Collection
The performance centered around ORACLE, a digital palm reading given by model and iconic muse Axelle Doué. The surrounding luminous dresses embodying the four elements— air, earth, water, and fire—come alive during the reading, with mirrors reflecting them into infinity. The pieces are crafted from diverse materials, both natural and synthetic. Well beyond typical textiles, Clara Daguin implements optical fibers, pleating, embroidered circuits, addressable LEDs, sculpted resin, home-grown alum stone crystals, Swarovski Elements, silk organza, microcontrollers and radio frequency modules.

Spring/Summer 21
The spring 2021 collection reflects that mentality, and highlights the more commercial offerings of the brand, which are normally buried underneath his over-the-top runway styling. Carryover styles — such as quilted jackets, padded vests, parkas, shirts and hoodies with cutout hole and lace trim details — are available in pine green, beige, raisin purple, and midnight blue, and take center stage in the look book. Even Green’s signature frame-like constructions around the body have been toned down. Instead of using experimental and colorful materials, Green has hung deconstructed parts of a shirt or a jacket on metal frames. The effect is of two people interacting in one sculpture.

Henryk Górecki
Concerto for Harpsichord and String Orchestra Op. 40
Harpsichord: elisabeth chojnacka
Less than nine minutes long, the bipartite Concerto for Harpsichord (or Piano) and String Orchestra, which the composer sometimes called a “prank”, is a veritable volcano that carries the listener away from the very first bars with its immense energy. Its repetitive, motoric nature and rhythmic vigour suit the specific, slightly clattery sound of the harpsichord which is usually somewhat amplified, complemented by the chordal texture of the strings. In both parts, the mood of the piece clearly draws on the highlander music of the southern Podhale region, of which Górecki was a great admirer. In the context of his monumental sacred music from the same period, this Concerto is like the artist’s brief “respite”. It reflects the whirl and “profane” energy of a folk dance.
Elżbieta Chojnacka, to whom the piece was dedicated, has always stressed that every performance of the Concerto, which she has played throughout the world, ends with an encore. The piece meets with such acclaim from the audience, and is one of the most striking – and most joyful – compositions in the composer’s output. “A spectacular plaything”, as Teresa Malecka has described the piece.

Elements
Elements is an experimental art film by Maxim Zhestkov about nature, physics, art and love. More than 2 billion elements / particles governed by tensions and forces of nature were used to tell stories and show emotions through the motion of collective behavior.
The film is a trial to explore the idea that everything around us and inside us is made from simple elements / blocks which can be arranged in complex relationships and become compound structures. We could project this idea into emotions, behaviours, thought processes, relationships, life, planets and the 23.

Digital Grotesque III
Em sua série “Digital Grotesque”, Hansmeyer fabrica espaços arquitetônicos com a ajuda de algoritmos personalizados de aprendizado de máquina. Esses espaços não são pensados ​​no sentido usual: o papel do artista era apenas colocar em movimento e supervisionar os processos digitais que levaram à sua criação. É uma estratégia que tem mais a ver com “gerar” espaço do que plotá-lo no papel ou usar um software CAD. Ao aproveitar algoritmos, o artista pode produzir estruturas com um grau de complexidade que rivaliza com o mundo natural.24

بيتر غريناواي
彼得·格林纳威
פיטר גרינווי
ピーター·グリーナウェイ
피터 그리너웨이
Питер Гринуэй
The Pillow Book
Beautiful to behold and impossible to forget, THE PILLOW BOOK is auteur Peter Greenaway’s erotically-charged drama about love, death, revenge and the indelible nature of our earliest memories. Each year on her birthday, Nagiko (Vivian Wu) would became her father’s canvas, as he painted the creation myth in elaborate, elegant calligraphy on her body. Years later, she continues the practice with a succession of lovers, including a bisexual translator (Ewan McGregor) who becomes a pawn in an escalating game of vengeance against her beloved father’s exploitative publisher. Told in a series of chapters and featuring innovative cinematography and picture-in-picture techniques, Roger Ebert called THE PILLOW BOOK “a seductive and elegant story [that] stands outside the ordinary.”

cinema full

Sun and Moon Room
Sun and Moon Room in the Art Museum of Nature and Human Non-Homogeneity, located in Bungotakada City, Oita, houses one of the interactive art installations designed to extend one’s physicality in contact with the nature. The concept of this work is a room where visitors can play with sunlight. As visitors walk through the room, small apertures on the ceiling automatically open and close, following their movements. The aperture system is designed to envelop the visitors’ bodies in light and to change the shape of the light cast at their feet, mimicking the waxing and waning of the moon. Visitors’ movements are detected by sensors, which trigger to open only the apertures located in the direction of the sun. The room is controlled to create an interior condition that represents the weather of the moment using a program for analyzing live data released by the Japan Meteorological Agency.

Sunshowers
(AI) infinite simulations
FILE FESTIVAL SP 2019
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‘Sunshowers’ is the third in our series of real-time animation artworks. It is inspired by the opening chapter of Akira Kurosawa’s film Dreams which follows a young boy as he explores a forest and stumbles across a fox wedding (Kitsune no Yomeiri). Our piece explores ideas of animism and techno-animism by assigning life in the form of artificial intelligence to all of the objects, both natural and man-made, within the virtual world. The piece unfolds in real time with the characters themselves deciding which paths they will follow.

Shenzhen Genzon Technology Innovation Center

Aedas

Cette image vivante implique les possibilités infinies dans l’intégration de la technologie, de l’énergie et de l’innovation. La conception propose des ascenseurs-navettes et des terrasses partagées le long du côté centripète de chaque tour pour engendrer un environnement de bureau relaxant à expansion verticale. La zone ouverte s’étend longitudinalement et se rejoint naturellement au fond; accentué par l’éclairage intérieur, des contours d’étamines dorées émergent et les panneaux de verre incurvés se présentent comme des pétales, faisant allusion à la muse florale du projet.

Vers un parlement du vivant II
Les plantes et les objets qui constituent l’oeuvre animée ont tous été glanés dans l’aménagement en face de la Maison de la culture, cet été, où l’installation est présentée. Que sont-ils devenus maintenant que l’automne s’est installé? Le sol qui accueille les plantes et les fleurs en train de dépérir fourni ses données de pH à l’installation qui module le rythme de l’animation selon son alcalinité ou son acidité. La nature agit sur sa propre sa représentation, elle a le dernier mot sur l’oeuvre initiée par un humain.

MAN-NAHĀTA
Computational growth across material and urban scales offers a framework for design through self-organization, enabling the generation of vast, diverse forms exhibiting characteristics like those that emerge through the biological growth processes found in Nature. In this project, we construct an oriented volume spanned by surface normals of the shape at every point. The value of the oriented volume drives the iterative deformation of the shape. Depending on the parameterization of this process, we can obtain distinctly different growing forms. Importantly, the emergence of these forms is driven only by the time evolution of a geometric operator acting on the shapes iteratively, thereby connecting geometry and growth through an algorithm. To form the Man-Nahata landscape, the buildings of the urban landscape are transformed through repeated morphological closing operations, where the field of influence follows a gradient from the center to the outskirts of a circular region.

The Garden
The Garden is a living artwork that embraces the dichotomy between the natural environment and a synthetic man-made experience. Aitken’s The Garden installation brings the viewer into the center of the artwork and asks them to physically immerse, participate and become the subject of the installation. Set inside a dark warehouse space the viewer walks inside, their eyes adjusting to become aware of thick lush jungle growing under artificial grow lights. Walking closer, the viewer enters inside the jungle and discovers a huge rectangular glass cube. Inside the glass room is a man-made environment replete with generic elements of modern life: tables and chairs, a cabinet, a sterile tableau set under bright raking lights.

Everything Was Forever, Until It Was No More
Das ursprüngliche Konzept des Projekts wurde von der illusorischen Natur der Zeit inspiriert, wie sie von Julian Barbour definiert wurde. Dieser britische theoretische Physiker untergräbt die Bedeutung der Zeit, während er eine Vision eines zeitlosen Universums heraufbeschwört. Eine der Grundideen dabei ist, dass die Gegenwart als dreidimensionale Momentaufnahme wahrgenommen wird und die chronologische Abfolge von Ereignissen nichts anderes als das Ergebnis unserer Erinnerung an individuelle „Jetzt“ ist. Daher ist Zeit laut Barbour nur ein Gefühl der Zeitlichkeit, verstärkt durch Aufzeichnungen dessen, was wir glauben, dass es in der Vergangenheit existiert hat.

Ritual
An undisclosed location. Dry land under a scorching sun. Something abominable has happened here in recent memory. Now a ritual is taking place. The remains of what was once human are flickering in darkness. Nature is reclaiming what is hers. She is savage and unforgiving. She is laughing at us. Her sinister laughter echoes in the emptiness. Ritual re-imagines the notion of site-specificity within the mediated landscape. The digital and physical work for this exhibition sit in a forgotten mining town somewhere in the California desert. The viewer is invited to interact with Triantafyllidis’ new live simulation, sculptures and custom electronics blurring the line between the real life and online experience

L’Alter-monde
Evocación de un jardín cibernético diseñado en múltiples escenarios, Realness contempla una potencial simbiosis entre el ser humano y un estado de naturaleza redescubierta. A través de la ecosofía y el mutualismo entre especies, este trabajo explora la posibilidad de identificarnos con una naturaleza mutante, un estado de devenir vegetal o la experiencia de vidas infrahumanas.

META ISLANDS
Shaun Hu is een nieuwe mediakunstenaar gevestigd in New York City. Zijn kunstwerken zijn nauw geïntegreerd met technologie en onderzoeken de relatie tussen mens, natuur en samenleving in het tijdperk van digitale technologie vanuit een uniek perspectief.

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Shaun Hu is a new media artist based in New York City. His artworks are closely integrated with technology and explore the relationship between humans, nature and society in the age of digital technology from a unique perspective.

Aquateque
Aquateque è un cortometraggio che esplora il fiume Ruhr attraverso una varietà di nuove tecnologie multimediali. Il progetto combina strumenti AI e AR per esplorare modi sostenibili di creare materiali digitali che fondono natura e calcolo. Il variegato ecosistema circostante viene catturato attraverso strumenti di programmazione audio, visivi e 3D e trasformato in uno spazio aumentato generativo.

Système Environnemental Encapsulé
Cette machine est entièrement équipée d’une machine à brouillard comme pour envelopper les plantes dans un brouillard des deux côtés et d’un système d’alimentation en eau goutte à goutte qui peut être activé en fonction de la situation afin de maintenir l’état d’une plante et de contrôler la température et l’humidité intérieures. De plus, la forme cylindrique peut capturer entièrement la lumière naturelle à des angles de 365 ° depuis les verres, et elle peut correspondre à la croissance des plantes en ayant la plus grande échelle de hauteur de la série. Les ventilateurs au plafond jouent le rôle du vent et une plante peut écouter la musique des haut-parleurs étanches. La machine absorbe des éléments essentiels – pluie, vent, lumière et son – par des moyens artificiels et complète un petit monde où son cycle écologique est condensé. Cela nous permet d’admirer la beauté des plantes en n’étant pas affecté par l’environnement extérieur.

I frequently entertain the idea that everything we perceive might actually not be real at all, that the world around me could actually just be my senses lying to me. The idea that “reality is a hoax” completely freaks me out, so naturally it became the concrete starting point for my collection. From this, I began to develop different ways of “imagining” garments, of finding ways of putting things that are not really there into existence. I wanted to blur the lines of real versus imagined//artificial. Print was the best facilitator of this goal.

2°C
2°C is a unique AI generated art installation imagined through the mind of a machine. Utilising machine learning algorithms trained on thousands of archival images of geometric structures of man made cities and naturally occurring organic corals forms, the AI takes this learned data to visualise an otherwise unseen coral city. 2°C is about coral bleaching, one of the phenomenon mainly caused by rising sea temperature brought about by climate change. To prevent the massive, irreversible impacts of ocean warming on the coral reefs and their services, it is crucial to limit the global average temperature increase to below 2°C above pre-industrial levels.

ad/ab Atom

Kurokawa then analyses, filters and distorts this data into an artistic rendering of an atomic space in which the laws of quantum mechanics would theoretically be visible. “The term ‘ad’ in the title means ‘to/toward’ etymologically as a prefix in words of Latin origin and ‘ab’ means ‘away from'”. he explains. “It is recombinant of neologism ‘adatom/abatom’ which means ‘to atom/from atom’, where the laws governing nature blur“.

Moses und Aron
Oper in drei Akten Arnold Schoenberg
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Jean-Marie Straub
homage
R.I.P
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Moses und Aron, known in English as Moses and Aaron, is a 1975 film by the French filmmaking duo of Jean-Marie Straub and Danièle Huillet based on the unfinished opera of the same title by c. During its 1975 run at US festivals, it was also known as Aaron and Moses, and was frequently reviewed as such.
It is one of three films based on Schoenberg works Straub and Huillet directed, the other two being Einleitung zu Arnold Schoenbergs Begleitmusik zu einer Lichtspielscene , a short film made directly before Moses und Aron, and, over two decades later, an adaptation of the one-act comic opera Von heute auf morgen. The film retains the unfinished nature of the original opera, with the third act consisting of a single shot with no music as Moses delivers a monologue based on Schoenberg’s notes.The film was shot on location in Italy and Egypt. It utilized the same team of cinematographers as Straub and Huillet’s Chronicle of Anna Magdalena Bach. The soundtrack and cast of the film is the same as the 1974 recording conducted by Michael Gielen (Philips 6700 084).The original German version of the film was dedicated to Holger Meins, a former cinematography student who joined the Red Army Faction in the early 1970s and died on hunger strike in prison. This dedication was censored by German broadcasters for the film’s first transmission in 1975. The English subtitles of Schoenberg’s dense German libretto were prepared by assistant Gregory Woods, who is credited on the DVD.The film was shown at the 1975 Cannes Film Festival, but was not entered into the main competition.

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cinema full

Nature Morte
Nature Morte focuses on Nauman’s long relationship to his own studio, a variation on his four unique multi-projection videos, Mapping the Studio (2001). Three viewing stations, each consisting of an iPad linked to a wall-sized projection, provide an interactive exploration of the 3D studio space. Only now the artist is absent, and the participant becomes performer as he/she manipulates the large scale video projections on an iPad using touch control. The participant is free to navigate anywhere throughout the space, selecting broad vistas or individual objects. Using a hand-held 3D scanner, Nauman recorded hundreds of images that allow participants to select an object and locate close-up anything found there, and further reorient the image to see an object from above and below, and at times inside-out. The resulting mobility intensifies the experience of the viewer/performer. Presenting a static, but immersive re-creation of his studio space, Nauman’s pieces once again play at the tenuous lines between the body and space, perception and physical material.

Primordial
Primordial is a generative artwork made from code, depicting a stylised, coloured take on cellular microscopic life. The flow of organisms projected onto the floor are audio responsive, moving and growing to the pulse of sound. These creatures navigate the space in their own freeform way, naturally encouraging viewers to flow into the exhibition.

Biomimicry
For the ‘Biomimicry’ film, Iris van Herpen and Dutch National Ballet explore the symbiotic relationship between the metamorphic force in which fashion and dance interlace. The film, directed by Ryan McDaniels, sees the mesmeric dancer JingJing Mao undulating into liquescent shapes and transcending into graceful figures that reflect her myriad of movements. The concept of the creation stems from the notion of biomimicry — the design and production of materials and systems that are modelled on biological processes. In line with Iris van Herpen’s continuous pursuit to materialise the invisible forces that structure the world, the film focusses on the bond between humanity and nature.

Noesis
This project was made by inspiration from law of nature and cosmology such as, “View from Inner Earth” ”Wrapped up in Nothing” “Re-mix the Border” “Constructal Law” “Emerging Moments” “Universal Architecture”, and “Superstring Theory”.Science and art have been getting closer in media art scene. Visualization of data and visualization of wave shapes has been actively pursued.

ECHO CHANT
In a universe from which no particle escapes, every voice eventually fades away. No matter how loud or often a call shouts or how urgent the message is. At least… in theory. But what about real life? As a roaring voice in full force rises from a protest over a square, it sets billions of atoms in motion above a crowd. “No justice, No Peace!” The message of vibrating particles charged with kinetic energy empowers the mass and shakes the established order on a verge of collapse. All according to the laws of nature. Dutch artist Lotte Geeven listened to these hotspots of change around the world after the streets and squares had been swept clean and silence had returned. Looking for an echo.

The Light Pavilion
The Light Pavilion by Lebbeus Woods in collaboration with Christoph a. Kumpusch, in the Raffles City complex in Chengdu, China, by Steven Holl Architects.
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The Light Pavilion is designed to be an experimental space, one that gives us the opportunity to experience a type of space we haven’t experienced before. Whether it will be a pleasant or unpleasant experience; exciting or dull; uplifting or frightening; inspiring or depressing; worthwhile or a waste of time, it is not determined by the fulfillment of our familiar expectations, never having encountered such a space before. We shall simply have to go into the space and pass through it. That is the most crucial aspect of its experimental nature, and we – its transient inhabitants – are experimentalists.Lebbeus Woods and Christoph a. Kumpusch

Les 1000 vies d’Isis
Les 1000 vies d’Isis (The 1000 lives of Isis) highlights the birth of an imaginary character created entirely by computer. A virtual identity whose daily life is imagined in images. The fictitious staging of these moments photographed in the South of France interrogates Photography and Portraiture by introducing a questioning on the nature of images, their link to reality and to the identity of the living.

Kati Katona est une artiste multimédia basée à Budapest. Son travail est axé sur la génération, animation procédurale et 3D, art de l’installation interactive, mappage de projection et conception sonore. Kati s’inspire fortement des éléments de la nature, des structures biomorphes et des algorithmes trouvés dans la nature. En tant qu’artiste visuelle, elle a participé à divers projets audiovisuels, tels que Zagar AV Experience et se concentre constamment sur l’expérience des dernières technologies.

Trench Denizens in Blue

The function of my art, visually, is to reconstitute subjects presented through scientific research, (via electron micrography, deep sea photography, or deep space imagery) into idealized forms. This method is perhaps more akin to an 18th century naturalist’s catalogue of documented specimens from far off lands, returning to be deciphered and judged under the reigning doctrines of the day.

Mäander
Meander ist eine großflächige immersive Testumgebung, die in einem historischen Lagergebäude im Zentrum einer Wohnhochhaussiedlung in Cambridge, Ontario, errichtet wurde. Die Netzgerüste, aus denen das Testfeld besteht, sind als eine Reihe von Arten innerhalb eines künstlichen Ökosystems organisiert, die sich sanft biegen und auf die Bewegung der Betrachter reagieren. Ähnlich wie in natürlichen Umgebungen wie Flüssen und Wolken leiten große Gruppen von Teilen physikalische Impulse und Datensignale hin und her, sodass die gesamte Umgebung als zusammenhängendes Ganzes arbeiten kann. Die Innovationen in Meander schlagen Wege vor, um adaptive, sensible Gebäude der Zukunft zu schaffen.

Breathing
File Festival
Breathing is a work of art based on a hybrid creature made of a living organism and an artificial system. The creature responds to its environment through movement, light and the noise of its mechanical parts. Breathing is the best way to interact with the creature.
This work is the result of an investigation of plants as sensitive agents for the creation of art. The intention was to explore new forms of artistic experience through the dialogue of natural and artificial processes. Breathing is a pre-requisite for life, and is the path that links the observer to the creature.Breathing is a small step towards new art forms in which subtle processes of organic and non-organic life may reveal invisible patterns that interconnect us.Breathing is a work of art driven by biological impulse. Its beauty is neither found isolated on the plant nor in the robotic system itself. It emerges at the very moment in which the observer approaches the creature and their energies are exchanged through the whole system. It is in that moment of joy and fascination, in which we find ourselves in a very strange dialogue, that a life metaphor is created.Breathing is the celebration of that moment.

50Myconnect

Myconnect “offers the experience of a symbiosis of connection between humans, nature and technology. The spectator becomes an actor by lying in a capsule, equipped with a helmet and body sensors measuring the variations in his rhythm This data is modulated and transmitted to a closed universe of mycelium culture (white mushroom) to produce alterations using electrical resistance. These variations in turn generate signals, sent back to the person in the form of vibration, sound and light. Each cycle can be different depending on whether the experience is stimulating or calming. This type of perceptual exchange enabled by technology reveals how much the human being is an integral part of the complex network that links him to his environment.

SHALLOWS

Projection, variable size

UnTiefen (shallow waters) form the transition from the so-called Bridge Studio at the OK to the attics of the Ursulinenhof. Just as every body of water represents a natural boundary that separates and at the same time connects two shores, this flowing floor projection can also be understood as both: a path and an invitation to seek one’s own position in this transition zone.

Herumtreiber
Drifter fordert den Betrachter auf, unser Verhältnis zu unserer oft als statisch und leblos akzeptierten Lebensumgebung zu überdenken. Es erzeugt ein Gefühl des Unglaubens und der Verschiebung und erzeugt Spannungen zwischen Menschlichkeit und Natur und Chaos und Ordnung. Losgelöst von unseren Erwartungen schwankt die Arbeit zwischen dem Möglichen und Unmöglichen.

Immaginazione Morta Immagina
Una testa androgina è proiettata come contenuta all’interno di un cubo minimalista. I suoni della testa che respirano lentamente riempiono lo spazio. La testa è serena, in attesa. Improvvisamente una sostanza si riversa su di esso da tutte le parti, inzuppandolo in quello che sembra essere un fluido corporeo. Lo spettatore vuole distogliere lo sguardo ma non può, lo sguardo è costretto attraverso l’invocazione della pulsione scopica. L’orrore per la natura ripugnante della sostanza (l’abietto) è sostituito dal fascino per la bellezza di quello che potrebbe essere considerato un sublime contemporaneo.

Tetrachromia 2-0 – Seoul
Tetrachromia ist eine Serie von Bewegtbild-Kunstwerken, die die Erforschung der digitalen Repräsentation der Natur durch das Studio fortsetzt. Die Videoserie hat ihren Namen von dem wissenschaftlichen Begriff, der verwendet wird, um die erweiterte Farbpalette zu beschreiben, die jenseits der normalen menschlichen Wahrnehmung existiert. Diese digitalen Naturfilme sind von dem Wissen inspiriert, dass Vögel Farben in einem breiteren Spektrum sehen können, was dazu führt, dass scheinbar grüne Pflanzen von lebendigen Mustern und Schattierungen durchdrungen werden.

The abacus
THE ABACUS is probably the first ever 1:1 interactive physical representation of real, functioning deep learning network, represented in the form of a light sculpture. The main purpose of the installation is to materialise and demystify inherently ephemeral nature of artificial neural networks on which our lives are becoming increasingly reliant on. As the part of new permanent exhibition devoted to the Future the installation aims to engage and educate the audience in artistically compelling ways being the manifestation of art and science movement goals.

Biomimikry
Für den Film “Biomimicry“ untersuchen Iris van Herpen und Dutch National Ballet die symbiotische Beziehung zwischen der metamorphen Kraft, in der sich Mode und Tanz verflechten. Der Film unter der Regie von Ryan McDaniels zeigt die hypnotisierende Tänzerin JingJing Mao, die sich in flüssige Formen verwandelt und in anmutige Figuren übergeht, die ihre unzähligen Bewegungen widerspiegeln. Das Konzept der Kreation basiert auf dem Begriff der Biomimikry – dem Entwurf und der Herstellung von Materialien und Systemen, die biologischen Prozessen nachempfunden sind. In Übereinstimmung mit Iris van Herpens kontinuierlichem Bestreben, die unsichtbaren Kräfte, die die Welt strukturieren, zu materialisieren, konzentriert sich der Film auf die Verbindung zwischen Mensch und Natur.

BioBombola
The Coral
Home Algae Garden
In June 2020 ecoLogicStudio has devised BioBombola, a pioneering project that invites individuals, families and communities to cultivate a domestic algae garden – a sustainable source of vegetable proteins. BioBombola absorbs carbon dioxide and oxygenates homes more effectively than common domestic plants while fostering a fulfilling daily interaction with nature. Each BioBombola is composed of a single customized photobioreactor, a one metre tall lab grade glass container, filled with 15 litres of living photosynthetic Spirulina strain and culture medium with nutrients.

The Man from the 9 Dimensions

Based on the latest scientific data and hypotheses, Takashi Shimizu, the pioneer of horror movies, visualizes the world as theoretical physicists see it in order to create a new kind of science movie. The world’s first 3D full-dome movie on the “Theory of Everything”; the ultimate goal of physics to describe all natural phenomena by a single, consistent theory. Physics is in crisis. Our understandings of the microscopic world of elementary particles and of the macroscopic world of the universe are in contradiction. Scientists are striving to resolve the contradictions and construct the Theory of Everything. Be ready to be surprised by the new world of vibrating strings and hidden dimensions predicted by the most promising hypothesis, the Superstring Theory.

Scientific Advisor: Hirosi Ooguri

Director: Takashi Shimizu

Blasen im Canyon
Der in Paris lebende Künstler Vincent Leroy hat seine charakteristische Verwendung von schwebenden Kugeln zum Bryce Canyon in den USA verwendet. Dieses konzeptionelle Projekt mit dem Titel “Bubbles in Canyon” stellt sich eine Masse transparenter Kugeln vor, die in Rotation zwischen den Klippen hängen. Die Installation soll den Zuschauern die Möglichkeit bieten, die Natur durch einen optischen Effekt zu betrachten.