WiFi Impressionist
Wifi Impressionist is a field installation that draws electromagnetic landscapes inspired by the cityscapes of William Turner. The work consists of a directional antenna on a pan-tilt mechanism that listens for WiFi signals and builds a three dimensional model of the signals around it. From this model a viewport is selected that defines the perspective and the frame. Signals that are picked up within the frame are visualised as waves emitted from a specific origin and drawn using a mobile plotter. The antenna and the plotter are both mounted on a tripod and can be placed in the field much like a painter would set up his easel. Once positioned and oriented a drawing becomes denser over time depending on the density of networks around it. Wherever there is a WiFi signal, the drawing will eventually fill the frame.

Apfel
»Apfel« ist ein Spiel ohne Regeln. Es beginnt mit einer Wand, die überall mit einer signalroten Klebefolie bedeckt ist. Die Folie besteht aus Tausenden von kreisförmigen Aufklebern, die in einem schmalen Raster vorgeschnitten sind und darauf warten, von den Besuchern abgezogen und in eine neue Reihenfolge gebracht zu werden. Die Aufkleber und ihr weißes Negativ an der Wand bilden sich ähnlich wie binär codierte Pixel, Ornamente, Nachrichten und Bilder – an der ursprünglichen Wand und weit darüber hinaus: Sie bewegen sich in angrenzende Räume, auf Gesichter und verlassen sogar die Stadt.

ST/LL
ST/LL opens on a stage with a long set table, perpendicularly to the orchestra, under the eyes of the audience; on the sides of the table there are some chairs. On the background, coinciding with the inner extremity of the table, there is a projection screen developing vertically, like a painting that evokes the Japanese pictorial tradition. The perimeter of the stage is covered with a veil of water, in which everything reverberates. The whole visual structure of the work develops all around this diaphanous dimension. A man enters the scene and carries out actions on the table: he moves the cutlery, changes the position of the chairs, makes tiny gestures, which let the audience foretell that an action played on the visible will develop. To the sound of a metronome, two women and then a third one enter the scene and sit at the table making gestures that imitate a meal without food.

10VE:SEQUENCE FOR TWO
10VE:SEQUENCE FOR TWO is a duet for two amplified bodies equipped with wireless biofeedback and movement devices, measuring the performers heart-rate, stress-level, breath and movement. The synchronizations and correlations of the signals generate a musical representation of the occurring processes between their bodies.

Specimen Box

The OCR began work on Specimen Box in 2014 at the request of Microsoft’s Digital Crimes Unit. Microsoft’s Cybercrime Center monitors communications coming from hundreds of millions of PCs around the world that have become infected by botnet malware. Employing data sonification together with advanced visualization techniques, Specimen Box provides a configurable multi-sensory presentation of botnet signal activity in real time. It also features a multitouch gesture-based interface for navigating, exploring, selecting, and examining the billions of signals that have previously been collected. Users can access the collected signals based on their activity levels, the geographic locations of their sources, or their daily activity patterns over time, using clustering to group sources with similar behavior.

Mai Hi Ten Yu
Yamaha artificial intelligence (AI) technology enabled the world-renowned dancer Kaiji Moriyama to control a piano by his movements. The AI adopted in the system can identify a dancer’s movement in real time by analyzing signals from four types of sensors attached to a dancer’s body. This system has an original database that links melody and movements, and, with this database, the AI on the system creates suitable melody data (MIDI) from the dancer’s movements instantly. The system then sends the MIDI data to a Yamaha Disklavier™ player piano, and it is translated into music.

sensory seas
runway LOOK 08

“The first threads of inspiration came from the Spanish neuroanatomist Ramón y Cajal. He wanted to uncover something that no one had yet understood.
Sensory seas’ holds a microscope over the indelible nuances between the anthropology of a marine organism, to the role of dendrites and synapses delivering infinite signals throughout our bodies. It enchants the attention of how two processes of torrential messaging exist in an uninterrupted state of flux. The collection consists 21 silhouettes that illustrate a portrait of liquid labyrinths, where dresses spill onto the floor in elegant train and pigments gather in cloudedpools of blues and lilac, leaking into one another like marble.” Joanna Klein

Эрнесто Клар
Convergenze parallele

Convergenze parallele is an audiovisual installation in which airborne dust particles passing through a beam of light are tracked, visualized, and sonified in realtime by a custom software system. The installation reacts to air movements in the exhibition space, allowing the viewer to see and hear the amplified movement of dust particles. “Convergenze parallele” explores the poetic potential of revealing and transforming the imperceptible. The custom software uses a video camera to capture the activity of dust articles passing through the beam of light. It then analyzes the video signal to track the location of individual dust particles, and reveals each particle’s trajectory in the image-processed projection. The physical particles draw traces of their otherwise invisible motion on the digital screen. At random intervals, the software artificially saturates the system by briefly activating the fan-a cloud of dust fills the beam of light and creates dense and stunning patterns of particle trajectories and sound.

File Festival

top shot helmet
The Top Shot Helmet alters one’s spatial perception. Wearers see themselves from above and must guide their movements and orient themselves from this perspective. The device consists of a round helmet, above which floats a helium balloon attached to the helmet with strings. The balloon carries a small video camera operated by radio signal, which points downward with a wide-angle lens. The view captured by the camera is projected onto a pair of video glasses in the helmet. Wearers of the helmet can only see the image produced by these glasses and must use this to make their way through a given space. By moving the head, the person wearing the helmet can turn and tilt the balloon and camera. A handle on the helmet makes it possible to adjust the height of the balloon and thereby adjust one’s field of vision.

Putting The Pieces Back Together Again

The kinetic installation “Putting the Pieces Back Together Again” is a complex system with self-organizing and emergent behaviour, at the same time it is an artistic inquiry and meditation on contemporary scientific methodology. The installation investigates non-hierarchical communication and collective behaviour by implementing such a system physically through many electro-mechanical actors.
The Installation consists of 1250 stepper motors arranged in a two dimensional grid of two by two meters. Each motor is equipped with a pointer made from white acrylic glass. The radii of the pointers are chosen to intersect with the pointers of its neighbours. All motors are excited with the same alternating current that let them move initially in a random direction. Each actor is at the same time sensing its environment. In the event of a collision the pointers reverse their turning direction. This is achieved through a custom motor control circuit. Through the interplay of many entities a complex behaviour emerges on the surface of the installation. By manipulating the signals during runtime the system will form spontaneous pattern on its surface. It seems like they are negotiating it’s position with nearby actors. By this the system is showing behaviour of self-organization. The installation drifts through various activation levels during its run time by this it constantly evolves new formations and constellations (crystallization).

UNKNOWN PLANET
The Latvian sound artists collective “Clausthome” (Lauris Vorslavs, Girts Radzins) and video artist Martins Ratniks will present a sound and video modulation performance unclosing saturated sound landscapes and collages of the electromagnetic waves, created by scanning and retranslating a real-time audio and video signal modulations. In their daily practices “Clausthome” collective is engaged in experiments with modulations and sound feedback as well as in collecting diverse radioa signals and scanning of radio frequences. Martins Ratniks is one of most renowned Latvian video artists, whose experiments in the field of art and technologies has been acknowledged both in Latvia and abroad. This will not be the first collaboration between “ Clausthome” and Martins Ratniks, previously they have been working togeher on such projects as “ Spectrosphere” (2006) and “ Unknown Planet” (2012).

Dina Khuseyn, Patrick K.-H., Oleg Makarov

A multivarious result of visual representation of 3 non-identical structures (dance performance, sound art and animation) points at interactivity as the main possible axis of reference. Necessity of this axis derives from specific interpretations that can only appear by juxtaposing of several systems. It opposes to traditional “parallelism” of media, employed in theater that only imitates causality, but having it already done before performance is starting.
In Cinestetika, each element of each media works as separate PROCESS, but also serves a SIGNAL to other medias. This essential core makes Cinestetika rather an instrument to make a term “live performance” filled with its perfect sense.