CHANG YEN TZU

Self Luminous 2 – Unbalance
Self-luminous 2 is an experimental handmade instrument shown as performance. It is a series-project which I have been working on since 2013 and finally developed into shape in 2014. I am looking for intimate and personal instrument that reflects on the relation of digital sound and light message. In computer language, light on is 1 and light off is 0. If more than 2 lamps, it could be code or readable possibility by the meanings. When I press the button or turn the knob, the message will be sent to Pure Data, and the sound will be triggered in live by Pure Data.
The Data of sound such as frequency and volume, are analysed and sent out to the second Arduino to control the light. The light, in thus case, is an intuitive element for human beings. From this point, it is really close to sound which disturbs our biological body directly. The lights are visualised and they can be transferred the into messages. The message might be readable by coincidence with the link to the code. The light is bright enough to let audience to have persistence of vision in mind. During the performance, the sound will be reproduced by code and part of it is impromptu.
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Myriam Bleau

SOFT REVOLVERS
Soft Revolvers is a music performance for 4 spinning tops built with clear acrylic by the artist. Each spinning top, 10’ in diameter, is associated with an ‘instrument’ or part in an electronic music composition. The tops are equipped with gyroscopes and accelerometers that communicate wirelessly with a computer where the motion data collected (speed,unsteadiness at the end of a spin, acceleration spikes in case of collisions) informs musical algorithms designed in Pure Data. LEDs placed inside the tops illuminate the body of the objects in a precise counterpoint to the music.

Baron Lanteigne

Tangible Data
Tangible Data esplora e si infiltra in una comunità online che sviluppa un mercato dell’arte “virtuale” per un pubblico affamato di criptovalute. Una serie di loop animati, creati e monetizzati dall’artista per soddisfare le richieste e il consumo di questa comunità, forniscono la base per il progetto più ampio, che si estende su diverse piattaforme web. In questo nuovo mercato della criptoarte, tutto sembra pronto per l’universo virtuale che mostra paradossalmente caratteristiche inerenti al mondo materiale. Mentre Internet favorisce la condivisione accelerata e i contenuti ad accesso aperto, questa comunità soggetta alla tecnologia blockchain rarefa l’immateriale per consentire ai collezionisti di rivendicare i diritti sulle opere d’arte. Questo ha l’effetto insidioso di affermare il valore monetario delle opere d’arte immateriali basate sul web. Eppure, questo lascia spazio anche a una trasparenza senza precedenti riguardo alle transazioni effettuate in questo mercato.

One Life Remains: André Berlemont, Kevin Lesur, Brice Roy & Franck Weber

FILE SAO PAULO 2017
LES DISCIPLINES DU RECTANGLE
Inspired by Michel Foucault’s work, Les disciplines du rectangle is a videogame proposition about the nature of rules and norms at the digital age. If society provides models of accomplishment we are supposed to fit inside, then the rectangle is the pure abstraction of this idea. The geometrical shape works as a symbol of the very nature of normativity, blind to individual differences. The rectangle, existing only on the screen, reveals how digital technologies can in some ways become the new location for this normativity and the ambivalent results of their intangible and invisible nature. Besides, the installation offers an occasion to think about the way games can become manipulation tools. The fact that in the end, players act as if they were piloted by the rectangle (an inversion of the traditional relationship between player and avatar) gives an aesthetical highlight to this.

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Inspirado en el trabajo de Michel Foucault, Les disciplines du rectangle es una propuesta de videojuego sobre la naturaleza de las reglas y normas en la era digital. Si la sociedad proporciona modelos de realización en los que se supone que encajamos, entonces el rectángulo es la pura abstracción de esta idea. La forma geométrica funciona como símbolo de la naturaleza misma de la normatividad, ciega a las diferencias individuales. El rectángulo, que existe solo en la pantalla, revela cómo las tecnologías digitales pueden convertirse de alguna manera en la nueva ubicación de esta normatividad y los resultados ambivalentes de su naturaleza intangible e invisible. Además, la instalación ofrece la oportunidad de pensar en cómo los juegos pueden convertirse en herramientas de manipulación. El hecho de que, al final, los jugadores actúen como si fueran piloteados por el rectángulo (una inversión de la relación tradicional entre jugador y avatar) le da un toque estético a esto.

 

Denis Villeneuve

Arrival

“Arrival’s narrative plays out in four languages: English, Mandarin, Russian and Heptapod. Though they are not spoken in the film, we learn that Louise is also fluent in Farsi, Sanskrit and Portuguese (and possibly others). The language learning process and the growing translingual bond between Louise and the heptapods forms the film’s narrative arc and the majority of its plot. Thus language, and specifically the mechanics of ←215 | 216→multilingualism, is Arrival’s central theme. Within this context, the ability to communicate across language barriers is an asset, and the flexibility to navigate new linguistic challenges is invaluable. The heptapods are pure science fiction, but serve a powerful metaphorical function. As Emily Alder (2016) writes in The Conversation, “ultimately, Arrival is less about communicating with the aliens than with each other – internationally but also individually […] The film’s message is that difference is not about body shape or colour but language, culture and ways of thinking. It’s not about erasing that difference but communicating through it”. Gemma King

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语言学习过程以及路易丝与七足动物之间越来越多的跨语言联系形成了电影的叙事弧线和大部分情节。 因此,语言,尤其是←215的机制| 216→使用多种语言是到达中心的主题

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Процесс изучения языка и растущая межъязыковая связь между Луизой и гептаподами составляют повествовательную дугу фильма и большую часть его сюжета. Таким образом, язык и, в частности, механика ← 215 | 216 → многоязычие – центральная тема Арривала.

Quadrature

Orbits
“The aesthetics of man-made objects in space, their appearance and especially their orbits are transformed into a minimal audiovisual performance, showing the poetic dance satellites and their trash perform while revolving around us. Seemingly chaotic paths mutate to amazing patterns of an almost organic nature—all of it due to pure physical necessity. When we started working with global satellite data, their information was based on a website maintained by the US Air Force. Yet after some time, based on information from the Union of Concerned Scientists, we discovered that some objects were missing. Fortunately the data on classified satellites is generated by enthusiastic amateur astronomers observing the night skies.” Quadrature

Vesa-Pekka Rannikko

Canary

Les grimpeurs ne prêtent pas leurs cordes. Ils doivent leur faire confiance, connaître leurs antécédents d’utilisation, leur usure, leur élasticité et leur durabilité. Les différentes couleurs de cordes représentent des usages spécifiques. Accroché à flanc de montagne, c’est un soulagement de savoir quoi ou qui est au bout de quelle corde. Canary est basé sur l’histoire de l’élevage des oiseaux, qui est une métaphore directe du mélange pictural des couleurs. L’obsession de créer l’oiseau rouge au début du XXe siècle est comme l’objectif d’une peinture monochromatique parfaite. Les notions d’amélioration raciale ont des liens avec la discussion contemporaine sur l’éthique de la génétique. J’ai également considéré le lien entre la pureté de la forme moderne et le point de vue idéaliste. Lorsqu’un tableau ou une œuvre de sculpture est réduit à sa surface, il est idéalisé pour n’être que ce que nous y voyons. Le motif visuel d’une œuvre ne sert que de composition.

Evelyn Bencicova

ecce homo

The expressive capacity of the human body is infinite. A naked body, beyond any sexual connotation, is pure art. Conceptual photographs about the idea of the body is what Evelyn Bencicova brings us in her series Ecce Homo (Latin term that means “here is the man” and which is cited in terms of violence or war), in which we see a lot of bodies pile up and form strange sculptural forms. At no time do we see any faces, which helps to depersonify each of the participating actors. The result is somewhat disturbing: we do not know why those bodies are there, or what they are trying to do. It is a mix between choreography, aesthetics and a theatrical performance. Of great artistic sensitivity, there is something in these figures that evokes the feeling of a human collective. Feelings to the surface.

TIM KNOWLES

Baumzeichnungen
Tim Knowles ist ein britischer multidisziplinärer Künstler. Obwohl er bestreitet, vom Wind besessen zu sein, hat dieses Element seine Arbeit sehr inspiriert, er liebt seine Eigenschaften und seine kontrollierende Abwesenheit. Das Objekt von Tim ist ein Beispiel für die Arbeit von Tim Knowles. Es handelt sich um eine Sammlung von Filzen aux-Zweigen, um diese Impulse zu erhalten, die Sie für Ihre Zweigen zu erhalten. Das Schöne an dieser Arbeit ist, dass Sie die intrinsischen Eigenschaften des Baumes spüren können, die flexibel, starr, leicht und zerbrechlich sein können.

CALEB CHARLAND

Калеб Чарланд
(deep space chemically alters)

„Das Schönste, was wir erleben können, ist das Geheimnisvolle. Es ist die Quelle aller wahren Kunst und aller Wissenschaft. Er, dem diese Emotion ein Fremder ist, der nicht länger innehalten kann, um sich zu wundern und in Ehrfurcht zu versinken, ist so gut wie tot: Seine Augen sind geschlossen. “ -Albert Einstein

Die Art und Weise, wie wir die Welt verstehen, hängt so sehr von unserer Fähigkeit ab, sie zu messen. Angesichts der Tatsache, dass viele Messungen auf den Proportionen des menschlichen Körpers basieren, ist es klar, dass wir Dinge messen, um unseren Platz unter all dem zu finden und uns auf irgendeine Weise damit zu verbinden. Durch die Erkundung der Welt vom Keller bis zum Hinterhof habe ich eine Resonanz in den Dingen gefunden. In diesem Raum schwingt eine Energie zwischen unseren Wahrnehmungen der Welt und dem Potenzial, das der Geist für unsere Eingriffe in die Welt wahrnimmt. Diese Energie ist die Quelle aller wahren Kunst und Wissenschaft, sie züchtet die geliebten „Ah Ha!“ Momente und es ermöglicht uns, das Außergewöhnliche im Gemeinsamen zu spüren.