As We Are Blind
As We Are Blind calcule et interprète en temps réel ces données physiologiques sous la forme d’une production musicale et photographique unique. Le spectateur pose la main sur un capteur mesurant son activité électrodermale, une action permettant de dresser sa cartographie émotionnelle. Les valeurs recueillies, qui représentent des variations propres à chaque individu, sont d’abord converties sous la forme d’une image révélant son champ électromagnétique. Puis, ces données physiologiques sont analysées par un programme informatique capable, en suivant des règles de composition préétablies, de les transcoder en partition musicale.

Variations on a Remote Room
Variations on a remote room is a series of digitized living spaces belonging to remote friends and loved ones who could not meet physically for a year. The work is composed by a number of photogrammetries made in remote collaboration and⁠ placed into a Virtual Reality environment where they can re-inhabit, intimately, their domestic spaces.⁠

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.

Chess Auto-Creative (Self-Replicating)
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‘Chess Auto-Creative (CHEAC)’, takes the form of a cube where each face corresponds to an 8 x 8 chessboard. The six chessboards can also be arranged in a line to make them easier to see. There are 16 white pieces and 16 black pieces on each of the chessboards, made up of elements such as: kings, queens, bishops, knights, castles and pawns, each of which moves according to the rules of the game. However, instead of the pieces being arranged as normal, they are first set out in patterns where each element is repeated […]Each time a piece is moved to a new position, symmetrically or asymmetrically, a new variation of proto-chess is produced – in other words, a new game emerges. All games generated in this way are, in principle, variations of proto-chess – including the official chess game itself. This means that ‘Chess Auto-Creative’ is not a variant of the official chess game, but its origin.

FILE SAO PAULO 2019

Мари Шуинар
BODY REMIX GOLDBERG VARIATIONS
Durante los primeros pasos de esta creación, los bailarines y yo trabajamos sobre las Goldberg Variations de Bach, tal y como las interpretó Glenn Gould en 1981, así como la voz del pianista, con sus cadencias orales durante una entrevista de radio dedicada a esta particular interpretación.
Emprendí el trabajo con una mezcla de los cuerpos de los bailarines, a través del uso de varios elementos de apoyo: muletas, picos, arneses, etc. Una barra de ballet fue trasformada en un material musical. Pedí también al compositor Louis Dufort que usara un “apoyo”, concretamente una interpretación de Gould y su voz, y a proponer variaciones sobre las Variations. Diez de las treinta variaciones, así como las dos Arias, fueron remezcladas o incluso recompuestas (1, 2, 4, 11, 15, 16, 21, 23, 25 and 29). Otras tres variaciones (5, 6 y 8) se ofrecerán en su versión original.

MAHLER

KEN RUSSELL

Russell had long been an admirer of Mahler’s music. He said he based the film on “the rondo form in music where you present the theme and follow it with variations, then return to the theme and so on. My theme was the composer‘s last train journey before he died. During the journey we flash back to incidents in his life, the variations on the theme as it were. They vary from passion to comedy. Like the scherzos from his symphonies some of the scenes are pretty grotesque, too.”
cinema full

Empire State
Empire State is a kinetic A.I. artwork visualizing the current time-of-day and weather at the Empire State Building in New York. The imagery was created from running a sketch through an Artificial Intelligence model to generate two variations on the image, each printed on each side of the discs. The piece visualizes the current time-of-day and weather by animating clouds, rain, light/shadow, by rotating sections of discs to the reverse side. When one walks up to the piece, they will see their image reflected back at them, further embedding them to the connection between where they are and the current state in NYC.

Morphogenetic Creations
Created by a mathematician, digital artist and Emmy award winning supervisor of computer generated effects – Andy Lomas, Morphogenetic Creations is a collection of works that explore the nature of complex forms that can be produced by digital simulation of growth systems. These pieces start with a simple initial form which is incrementally developed over time by adding iterative layers of complexity to the structure.The aim is to create structures emergently: exploring generic similarities between many different forms in nature rather than recreating any particular organism. In the process he is exploring universal archetypal forms that can come from growth processes rather than top-down externally engineered design.Programmed using C++ with CUDA, the series use a system of growth by deposition: small particles of matter are repeatedly deposited onto a growing structure to build incrementally over time. Rules are used to determine how new particles are created, and how they move before being deposited. Small changes to these rules can have dramatic effects on the final structure, in effect changing the environment in which the form is grown. To create these works, Andy uses the GPU as a compute device rather than as a display device. All the data is held in memory on the GPU and various kernel functions are called to do things like apply forces to the cells, make cells split, and to render the cells using ray-tracing. The simulations and rendering for each of the different animated structures within this piece take about 12 hours to run, Andy explains. By the end of the simulations there are over 50,000,000 cells in each structure.The Cellular Forms use a more biological model, representing a simplified system of cellular growth. Structures are created out of interconnected cells, with rules for the forces between cells, as well as rules for how cells accumulate internal nutrients. When the nutrient level in a cell exceeds a given threshold the cell splits into two, with both the parent and daughter cells reconnecting to their immediate neighbours. Many different complex organic structures are seen to arise from subtle variations on these rules, creating forms with strong reminiscences of plants, corals, internal organs and micro-organisms.

Flux
“Avec Flux, nous proposons une nouveau dispositif imaginé pour le Cloître des Récollets de l’Hôtel de Région Grand Est à Metz et dans le cadre du festival Constellations. Flux est composé de 48 lignes de lumière dynamique de 1,5 m de long, espacées de 40 cm, motorisées et commandées en temps réel. La multiplication formelle de ces lignes couplée avec des micros variations de phases, de délais temporels, de vitesses et d’amplitudes nous permet de sculpter un un objet de 20m de long, vivant et évoluant avec un mouvement de va et vient cyclique.” Collectif Scale

Cusp
A familiar childhood location on the Essex marshes is reframed by inserting images randomly generated by a neural network (GAN*) into this tidal landscape. Initially trained on a photographic dataset, the machine proceeds to learn the embedded qualities of different marsh birds, in the process revealing forms that fluctuate between species, with unanticipated variations emerging without reference to human systems of classification. Birds have been actively selected from among the images conceived by the neural network, and then combined into a single animation that migrates from bird to bird, accompanied by a soundscape of artificially generated bird song. The final work records these generated forms as they are projected, using a portable perspex screen, across the mudflats in Landermere Creek.

Broken Panorama
The Specular series is a project that presents a set of audio-visual installations of different light sculptures created through the use of projected light and reflective materials.
Each sculpture redirects light in a different way and the reflective property of the material allows each sculpture to blend with its environment while also modifying our perception of its shape. Networks of algorithms generate interlinked sound and light. A cycle repeats but with infinite variations in multi-temporal-scales.

Self-contained II
A neural network, trained to see the world as variations of the artist’s body, enacts a process of algorithmic interpretation that contends with a body as a subject of multiplicity. After training on over 30,000 images of the artist, this neural network synthesizes surreal humanoid figures unconstrained by physics, biology and time; figures that are simultaneously one and many. The choice of costumes and the movements performed by the artist to generate the training images were specifically formulated to optimize the legibility of the artist within this computational system. self-contained explores the algorithmic shaping of our bodies, attempting to answer the question: how does one represent themselves in a data set? Building on the first iteration of the series, the synthetic figures in self-contained II proliferate to the point of literally exploding. Through the arc of self-contained II, this body that grows, multiples, and dissolves never ceases to be more than a single body.

True/False
True/False is a kinetic sculpture composed of arrays of circular black metal segments set in mechanical columns. Interlocking and rotating around fluorescent light tubes, the cylinders cover or expose the light to display an endless number of patterns. The transformation of the sculpture is based on the shifting elements and their correlation to each other. As the segments do not move independently, for any of the cylinders on a column to change, the segments affected must work in unison to achieve the command. Reminiscent of devices originally used for calculations, such as Turing machines, the sound originates from the mechanical movement of the moving parts thus making the algorithm audible. The rhythm of »true/false« is captivating as variations in the visual choreography result in distinctive changes in its soundscape. Through the generation of algorithmic patterns and the repetition of endless tasks, »true/false« transforms itself into something more than the sum of its elements to reveal the beauty hidden within a basic algorithm.

Tunnel
File Festival
“Tunnel” is a kinetic, immersive and interactive sculpture, composed of 92 porticos that become disordered in function of the position and body mass of the interactor. Numerous users can simultaneously enter and interact with the machine. Interactors agency the machine via their position and weight. An example of interaction is: you go into the “Tunnel” and stand by one of the side walls. In this case, the relative position and the gravitational force of your body provoke variations of floor height. The floor inclines up to 5º, the associated porticos progressively rotate in the corresponding direction and angle, and this propagates ondulatory movements throughout the entire installation. For the outside observer, the internal movement or your displacement in relation to the installation produces kinetic optic effects.

Chess Auto-Creative (Self-Replicating )
‘Chess Auto-Creative (CHEAC)’, takes the form of a cube where each face corresponds to an 8 x 8 chessboard. The six chessboards can also be arranged in a line to make them easier to see. There are 16 white pieces and 16 black pieces on each of the chessboards, made up of elements such as: kings, queens, bishops, knights, castles and pawns, each of which moves according to the rules of the game. However, instead of the pieces being arranged as normal, they are first set out in patterns where each element is repeated […]Each time a piece is moved to a new position, symmetrically or asymmetrically, a new variation of proto-chess is produced – in other words, a new game emerges. All games generated in this way are, in principle, variations of proto-chess – including the official chess game itself. This means that ‘Chess Auto-Creative’ is not a variant of the official chess game, but its origin.

FILE SAO PAULO 2019

FLORA 2

The animation in FLORA is generated by overlapping sine waves that travel through a string of lines. This wave principle often appears in nature when energy is transmitted through a medium like water, air or simply a rope. It can also be observed in the locomotion of animals and human-beings, in which kinetic energy is transmitted successively through joints.
The FLORA algorithm of is based on the discovery that a simple system of rotating lines can create endless variations of abstract shapes – ranging from curved harmonious lines to edgy and chaotic patterns. The resulting aesthetics combine computational accuracy with an organic playfulness, and tend to trigger diverse associations in the mind of the viewer.

FILE FESTIVAL
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Living pod
file festival
Light, shape variations and mimicry meet in Living Pod. In front of the false twin pieces, the user can slowly set garment A in motion using a light source. Garment B then imitates piece A in an exaggerated and unbalanced fashion, changing structure through miniature electric motors activated by light sensors that are sown through the garment. Using flat-pattern cutting techniques, Ying Gao was able to give the process fluidity and flexibility. In addition to the mechanical movements of the garments, Living Pods underlines two fundamental aspects of today’s fashion system: confrontation and imitation. The garment plays a mediating role between man and his environment. By using light, Living Pod is similar to project Walking City, which uses air to make the pieces look like they are breathing.

Dutch National Ballet

Seventh symphony / choreography, Toer van Schayk ; music, Ludwig van Beethoven ; produced by Anh Muller ; directed by Jellie Dehher (1989) — Grosse Fuge / choreography, Hans van Mannen ; music, Ludwig van Beethoven ; produced and directed by Thomas Grimm (1984) — Piano variations / choreography, Hans van Manen ; Sarcasms music by Serge Prokofiev ; Trois Gnossiennes music by Erin Satie ; Pose music by Claude Debussy ; directed by Thomas Grimm (1983).

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FLORA
L’animation dans FLORA est générée par des ondes sinusoïdales superposées qui traversent une chaîne de lignes. Ce principe d’onde apparaît souvent dans la nature lorsque l’énergie est transmise à travers un milieu comme l’eau, l’air ou simplement une corde. Elle peut également être observée dans la locomotion des animaux et des êtres humains, dans laquelle l’énergie cinétique est transmise successivement par les articulations.
L’algorithme FLORA de est basé sur la découverte qu’un simple système de lignes rotatives peut créer des variations infinies de formes abstraites – allant des lignes courbes harmonieuses aux motifs énervés et chaotiques. L’esthétique qui en résulte associe une précision de calcul à un aspect ludique organique et a tendance à déclencher diverses associations dans l’esprit du spectateur.

FILE FESTIVAL

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goldberg variations
Bach’s Goldberg Variations—a set of 30 contrapuntal variations beginning and ending with an aria—were outside the standard piano repertoire, having been recorded on the instrument only a few times before, either on small labels or unreleased.The work was considered esoteric and technically demanding, requiring awkward hand crossing at times when played on a piano (these passages would be played on two manuals on a harpsichord). Gould’s album both established the Goldberg Variations within the contemporary classical repertoire and made him an internationally famous pianist nearly “overnight”. First played in concert by Gould in 1954, the composition was a staple of Gould’s performances in the years following the recording.

POF 51
Fabrice Hyber sets out to examine the way we communicate and mimic the endless affinities between ideas. What interests Hyber is engaging people with everyday life to invent new modes of behavior. In his mental spa with Faust, he deploys one of his POF’s (Prototypes d ‘Objets en Fonctionnement, created between 1991-2012) to interpret and resolve the complexity of reality by constantly searching for possible, or impossible, hypotheses, a kind of activism to explore endless possibility and infinite variations for art-making.

Túnel
«Tunnel» est une sculpture cinétique, immersive et interactive, composée de 92 portiques qui se désordonnent en fonction de la position et de la masse corporelle de l’interacteur. De nombreux utilisateurs peuvent simultanément entrer et interagir avec la machine. Les interacteurs agissent sur la machine par leur position et leur poids. Un exemple d’interaction est: vous entrez dans le «Tunnel» et vous vous tenez près de l’un des murs latéraux. Dans ce cas, la position relative et la force gravitationnelle de votre corps provoquent des variations de hauteur du sol. Le sol s’incline jusqu’à 5 °, les portiques associés tournent progressivement dans la direction et l’angle correspondants, ce qui propage des mouvements ondulatoires dans toute l’installation. Pour l’observateur extérieur, le mouvement interne ou votre déplacement par rapport à l’installation produit des effets optiques cinétiques.

Atterrissage
«Atterrissage» évoque, par le processus de fonte des chaussures en glace, la disparition de l’élément intermédiaire entre pied et sol dont j’ai exploré des variations dans de précédents projets. Prenant pour contexte le tarmac de l’aéroport de Genève, l’aboutissement de ce processus de disparition est l’atterrissage du pied nu au sol. Cette action minime et subtile paraît d’autant plus dérisoire dans ce contexte mais en même temps la similitude des traces d’avion et de celle de la fonte accentue l’adéquation du lieu avec l’objet. La fonte de la glace dure en réalité trente minutes, par l’accélération de la vitesse de la vidéo la fonte se voit à vue d’oeil tout comme l’évaporation de la trace.

What a Loving and Beautiful World
file festival

In the current digital age, digital media is part of our everyday life. So this participatory installation inserts calligraphy by Sisyu into a digital media art work that gives people the chance to enjoy calligraphy in a new way. The calligraphy is projected onto a large wall and the sho (Japanese calligraphic characters) appear to be sucked into the shadow of the person participating. This action causes a series of enchantingly beautiful and vivid visual and sound effects. The floating sho characters on the wall react to one’s shadow and open up to reveal each character’s world. A new world is created by overlapping and combining the sho’s world with that of Sisyu, the calligrapher, one’s own thoughts, and the thoughts of humankind that are contained in the origins of the characters. This work uses a sensor that reads a participant’s action. If a viewer holds their hand against the character for “rainbow”, a rainbow’s image will be produced; if the character is “umi”, which means “ocean”, a wave’s image will be created. Each visual reacts with other visuals allowing for an infinite number of variations.

PHOTOPHON

photophon #1 is an installation based on intensive acoustic research of the photoacoustic effect. The photoacoustic effect is based on the phenomena of radiant energy. A strong light source can be converted into a sound wave due to absorption and thermal excitation. This causes sound waves due to pressure variations. The photoacoustic effect was discovered in the 19th by Alexander Graham Bell. He then used candlelight, sunlight, and the first forms of electricity in order to amplify sound.

Reflexions sur une esthetique programmee

Influencé par son expérience de musicien de jazz et par les théories du philosophe allemand Max Bense sur l’esthétique rationnelle, Manfred Mohr a été un innovateur dans le domaine de l’art généré par ordinateur. Pour manipuler, par exemple, la myriade de variations de l’hypercube à 11 dimensions, Mohr a créé des algorithmes en langage de programmation FORTRAN et les a imprimés sur des traceurs à plat avant l’avènement des imprimantes laser. La série «Klangfarben» de Mohr (2008) présente des peintures et des animations numériques de lignes diagonales aux couleurs vives et de plans qui se croisent sur un fond noir mat. .

АРИ ШУИНАР
BODY REMIX GOLDBERG VARIATIONS

The Tosso Variations 4

françois xavier saint-georges
Assembled from chinese brushes and medical equipment, the low-tech automata creates ‘endless line’ ink paintings. Created by canadian designer François Xavier Saint Georges, ‘contraption’ is an autonomous painting machine, capable of creating a ‘never-ending line’ of paint. The low-tech device is composed of medical equipment like syringes and tubing, chinese brushes, and paper with an electric motor, that together continuously run a roll of paper along the wall, to be ‘painted’ upon by ink pumped into the set of brushes. Random variations in the ink’s consistency and viscosity at a given moment produce different effects on the paper, and different colours can be fed into the unit or layered on top of previous ‘paintings’. We will show you more projects from this guy, so if you like it you will see more about him. Enjoy it!

OLED lighting installation
WHITEvoid designed a modular plug and play OLED system that allows for infinite variations in layout and arrangement of a ceiling or wall lighting installation. The highly flexible system consists of an online configurator to create and order the individual arrangement, modular hardware system and an iPad controlled light animation application.

keyboard study

The score to “Keyboard Study 1” is spare: two pages of musical cells and two pages of written instructions for how to navigate and manipulate those cells provide the pitch material, but choices about duration, dynamics, and shape are left up to the performer. There are three ostinati that form the skeleton of the piece between which are related sets of variations that will be mixed, matched, and sometimes played on top of the primary pattern. Riley offers the recipe for how to mix the ostinati and variation sets then its up to the performer(s) to choose which variation to use out of a particular set and how to shape the transitions from one ostinato to the next. Riley’s music empowers performers to create and react while also bonding their expression to the act of composition.

Variations On a Dark City