Dromos

Dromos is a metaphoric AV Performance that takes its concept from the philosophical work of P. Virilo who is mostly known for founding the idea of Dromology (science of speed). Dromos invites audience to a criticism experience of the ’peed’ role that impacts all aspects of our daily lives. During 40mns, it focuses people attention on this essential factor that shapes our world. With its message, Dromos invites you to wonder about your relationship with progress. It’s an unconventional work with an original sensorial approach, placing the audience inside an immersive environment.

Entropia
Entropia est une performance audio-visuel initiée par le travail de Fraction sur la spatialisation sonore 3D et rejoint par les artistes LP St Arnault, Nature Graphique et la création ex nihilo afin d’explorer une représentation esthétique d’un système entropique, en rendant hommage au travail de l’architecte Richard Buckminster Fuller. L’oeuvre basée sur une sphère geodesique  audioréactive interragit en permancen avec les projection de visuels immersifs et le son.

Dromos
via highlike submit

Interwoven Existence

The artwork draws inspiration from the concept that individual human beings are interconnected rather than isolated. It is a visual representation of collective strength and diversity. The artwork is divided into sections of various sizes and colors, each symbolizing the diverse origins of people around the world.
As viewers approach the artwork, it becomes interactive, reflecting their image across the piece. Upon stepping away, a recording of their interaction is placed into one of the sections, symbolizing the randomness of a given person’s birthplace and socioeconomic position. Subsequently, recorded video clips of previous viewers are displayed in adjacent sections, integrating new viewers into the existing community of participants.

Modern Guru
Modern Guru is a translucent ovoid with four huge digital eyes, floating above a ceremonial ring of LEDs. From his mouth flows a ream of absurdist messages, and in a statement about the true nature of lived experience, a new message is delivered when visitors take a photo of Modern Guru – a missive produced only for those who seek to photograph life rather than live the moment. This immersive new media art installation uses the intersection of art and technology to explore modern paths to happiness through unique interactions with characters along a mystical journey of discovery. Visitors are asked to commit to the path – a tight and winding trail with subtle points of connection along the way – a glowing landscape of oversized, whimsical mountains that chant incantations and blink innocently from digital eyes.
Having communed with the Guru, visitors then weave their way back through this warped and strange world full of illusions and delusions, perceptions and deceptions, all the while bathing in luminescent light; embracing big, gentle forms; and following their own path up the pink tongue staircase to meet the one who oversees the whole fantastic dominion, the Sun God.

The Witness

FILE 2024 | Installations
International Electronic Language Festival

Image activated by augmented reality, where 3D animated subjects and scenarios are integrated into a physical photograph. Inspired by the work of Carl Jung, the image is part of a larger series that explores themes such as identity, introspection and transformation. Through AR, game elements were introduced into the piece, offering virtual content unlockable through interactions.

Bio

Camila Magrane is a Venezuelan-American visual artist known for her augmented reality images, integrating 3D animated scenes and subjects into physical photographs. With experience in video game development and a passion for analog photography, she explores the dialogue between the virtual and physical worlds. Magrane’s images are inspired by surrealist compositions and reference the graphic hyperrealism of contemporary video game design.

The Sea

FILE 2024 | Installations
International Electronic Language Festival

The Sea is an extraction of a complex natural phenomenon, resulting in an artificial emulation that develops a life form of its own. Just like the sea with its endless waves, this artificial system follows the impact of an immersive state, leading to a unique vision of an artificial generator. Despite appearing chaotic, it is capable of generating associations ranging from the movement of waves to science fiction scenarios.

Bio

Paul Gründorfer develops process-related systems and explores variable or unstable conditions in the occurrence of sound when exposed to amplification, feedback, and multiple signal streams. His works focus on processes that evolve in a social space. Leo Peschta is an artist and researcher. During his studies, he worked in various fields of media arts, including sound, installations and software, developing over the years a special interest in robotics and machinery.

Credits

Austrian Embassy

Everything Before, Everything After

FILE 2024 | Installations
International Electronic Language Festival
Seph Li – Everything Before, Everything After – China and UK

A digital installation features a winding river in the style of Chinese painting, symbolizing time and transition. Touch screens allow visitors to paint over it, altering its course unpredictably. The river embodies history and the future, with each trace contributing to its eternal flow through space and time. Recorded interactions ensure its perpetual existence.

Bio

Born in Beijing in 1988, Seph Li has a mixed background in technology and design, and his keen interest in interactive artworks led him to the field of media arts. Seph studied computer science and entertainment design at Tsinghua University and continued his master’s study in design/media arts at UCLA. Seph currently resides in London, United Kingdom; he creates interactive artworks as well as technical experiments with other production studios.

Kelly Luck
Strangeland 1 (excerpt)

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Kelly Luck – Strangeland 1 (excerpt) – United States

From a surrealist point of view, the main attraction of generative AI, for the artist, is its lack of memory. At any given moment, she only has the current frame and instructions on how to proceed, similar to free association in dreams. This work is part of a series of long-term environments designed to immerse the viewer in a constantly evolving and never-ending landscape, inviting relaxation and engagement.

Bio

As part of the first generation to grow up around computers, Kelly Luck quickly became fascinated with the creative possibilities of this new technology. Her journey has ranged from pixel art and graphic ‘hacks’ to the 90s demoscene, 2D and later 3D graphics, and now the modern tools of digital art. With the emergence of generative AI, it endlessly explores how technology continues to blur the line between imagination and reality.

Useless Hands

FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Infratonal – Useless Hands – France

When our hands become useless, what will we choose to do with them? We can use AI to visualize the unthinkable, the strangely familiar yet indescribable forms and structures. Generative AI could be used as an amplifier of our ability to explore abstraction and surrealism rather than a simple mirror of our usual perceptions.

Bio

Infratonal is an artistic project led by Louk Amidou, a Paris-based multidisciplinary artist who works at the intersection of digital arts, electronic music and interaction design. He uses algorithms to create hybrid visual and sound pieces which aim to be performed by the human gesture as intangible instruments. He questions the artwork’s nature at the age of AI and the relationship between the artist and the algorithm.

Portraits in Black and Silver
Portraits in Black and Silver is an interactive kinetic artwork that uses BREAKFAST’s custom-engineered Flip-Disc medium. This computer-controlled installation invites you to become a part of its history. As you engage with the piece, it will record a brief clip of your interaction and play it back at a later time, cycling through all of the portraits captured. Flip-Discs are small dime-size circles that can rotate 60 times per second using electromagnets, creating abstract images of black and silver portraits. The artwork challenges your perception of what art can be and pushes the boundaries of traditional mediums.

The NOVA BIENAL RIO is an autonomous and independent event that transcends the scope of a conventional international exhibition; it is a call to innovation and imagination. Under the theme “New Aesthetic and Supercreativity,” we invite you on a journey through the world of art driven by technology. Hosted by the city of Rio de Janeiro, it takes place at both the iconic Museu do Amanhã and Praça Mauá, reshaping the interaction of the public with art. As you enter the NOVA BIENAL, you will be invited to explore unique aesthetic expressions, looking towards the future through digital and technological lenses. Access NOVA.

Keigo Matsumoto, Yohei Yanase, Takuji Narumi & Yuki Ban
FILE FESTIVAL 2018
“Unlimited Corridor ” é um sistema de VR que permite a experiência de percorrer um vasto mundo virtual num espaço físico estreito, manipulando a percepção espacial. Esta obra utiliza uma técnica chamada andar visual-háptico redirecionado que utiliza a incerteza da percepção espacial humana e a interação entre visão e senso háptico.

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“Unlimited Corridor” is a VR system that allows the experience of traversing the space of a vast narrow physical virtual world, manipulating spatial perception. This work uses a technique called redirected visual-haptic spatial walking that utilizes the uncertainty of human perception and the interaction between vision and haptic sense.

MIMA

Aniara

“Early in the beginning of the film, we are introduced to a woman (Emelie Jonsson) who works on a kind of “attraction” of the spaceship called MIMA, which, at first, is not very popular. It is a technology capable of capturing people’s emotions. and turn them into images, or rather into a kind of vivid dream in their minds. As the ship wanders aimlessly through space, while it is not yet known if it is possible to return to the correct route, days become weeks, weeks become it takes months and the demand for MIMA increases. Aniara explores very well what makes us human as a race and also the importance of having a place to call her own. What was supposed to be a simple transport, over time becomes, in fact, a kind of “mini-planet”.” Marcio Melo

IJIROS
file festival
Ijiro is a robot which expresses emotions reacting to a user’s actions. Boldly, it consists of an OLED display, a speaker and an accelerometer in a cylinder shell. Ijiro isn’t able to move itself because it doesn’t have any actuators. However, it expresses emotions with faces in the display and voice from the speaker when a user touches it, lying, standing, swinging, hanging and so on. For example, if a user swings it softly, it reacts smiling. But if a user swings it roughly, it reacts angrily. So those reactions let users feel it like a baby. It is actually baby’s emotions characterized by cognitive science. Also, Ijiro’s shape is designed as a cylinder. It is considered to get various user’s actions because only a cylinder can be stood, lied down, rolled and so on in primitive shapes. Recently it has been easier to use electronic parts for arts. One advantage of making art pieces with compact electronics like a cell phone. So the art style is able to change from being viewed in a large room to being anywhere. Ijiro was developed to entertain people to keep it like a physical pet. We hope you all enjoy touching it.

Reimagine Social Distancing: Interactive Art for Post Pandemic Cities
Un jour dans la vie des grandes villes, des millions d’étrangers passent à quelques centimètres les uns des autres – dans les stations de métro, les trottoirs, dans les rues publiques. Nous sommes un réseau d’étrangers se déplaçant si près que cela devient parfois une expérience déshumanisée. Dans ces instants fugaces passés dans des espaces interstitiels, nous nous trouvons détachés de l’état présent où nous sommes parmi l’essaim humain. Cette installation explore comment les villes surpeuplées influencent notre sens de l’espace personnel, à travers un environnement interactif en temps réel qui suit nos données spatiales. Il examine comment nos barrières mentales sont fluides, adaptables et finalement destinées à être brisées, de sorte que notre sens de l’espace est élargi grâce à l’interaction avec les autres.

Momentum
Momentum shows the rhythm and registers the passage of time. The installation, accompanied by the actions of the artist, describe the bittersweet feelings of transience. In a four meter long iron construction pigments drip slowly, drawing circles on a water surface.

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.

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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Piano
Iwai’s Piano — As Image Media (1995), a later sound work, is related to these early interactive experiments. Here the user, seated at the piano, triggers a flow of images that depress the piano’s keys; a consequence of this action releases yet another flight of images. The resulting interactive installation synthesizes two different aesthetics: sounds (simple melodies), images and a mechanical object (the piano) with digital media. A projected score and computer-generated imagery transform the piano into image media, hence the work’s name. Sound is the triumphant component in these works, for it activates and shapes the visual work. But the visual aspect of Iwai’s installations is lovely. His interactive systems appeal to the creative impulses of adults and children alike with their celebration of animation, computer potential, and the joy of sound.07

Re)Evolution

With the machine programed to draw, the robot becomes a medium for interaction and for “symbiosis” with the artist, creating a kind of “hybrid body” of man and machine, whose nervous system and brain waves administer “software commands” to the robot during the drawing performance. A key actor in the exhibition will be the new model of the KUKA KR 210 robot, that has a multi-functioning performative role: from drawing, experimental dance, music – through the production of industrial sound, and a six channel video projection that documents Ilić’s projects.

Affinity
Affinity is an immersive interactive light and sound installation inspired by the human brain. Each light globe represented a memory, as people approached Affinity different memories could be heard. When people touched the memory a light would trigger, the longer they touched the further their light would travel throughout the sculpture. Affinity features 62 different colour combinations and 112 points of interaction.

FRAGILE
Fragile is an audio-visual installation that aims to investigate the relationship between stressful human experience and the transformations that occur in our brain. Recent scientific research has shown that neurons belonging to different areas of our brain are affected by stress. In particular stress causes changes in neuron circuitry, impacting their plasticity, the ability to change through growth and reorganization.
Our process exploits the scientific data provided by the Society for Neuroscience and elaborates this information trying to show the effect of external interactions on our nervous system and ultimately on our relationship with the outside world. In order to achieve this we developed an artwork composed of different digital representations following one another, branching into 5 screen projections.

Robinson
FILE FESTIVAL SAO PAULO 2016
The piece “Robinson” is part of Ting-Tong Chang’s new body of work investigating the history of automatons in Europe as a means of exploring utopian visions. The word “automaton” is often used to describe self-moving machines, especially those that have been made to resemble human or animal actions. From Jacques de Vaucanson’s Digesting Duck (1739) to Andreas Jakob Graf Dietrichstein’s Mechanical Theatre (1752), automatons have entertained kings and princesses, taught moral lesson to citizens and raised deep philosophical questions

泰里·卡拉汉
טיירי קלהאן
タイリーキャラハン
Тайри Каллахан
Chromatic Typewriter
The little Chromatic Typewriter, a conceptual art piece, is out in the world and the feedback has been great. Although it does not paint, I’ve decided I can at least re-type my artist statement with the thing, so long as I can limit it to a paragraph. It ought to be equally decipherable as any other artist statement I’ve read lately.
I’m super excited about it. The reaction to the piece has been pretty special. It seems to be making a lot of people happy and it has started some great discussions on the translation of art into words and words into art.

أوسكار شليمر
奥斯卡·施莱默
אוסקר שלמר
オスカー·シュレンマー
오스카 슐 렘머
Оскар Шлеммер
Triadic Ballet
1-Margarete Hastings, Franz Schömbs, Georg Verden
1970
2-Super 16mm colour film, directed by Helmut Ammann.
Oskar Schlemmer saw the human body as a new artistic medium. He saw ballet and pantomimes as being free from the historical baggage of theater and opera and, therefore, capable of presenting his ideas of choreographed geometry, the man as a dancer, transformed by his costumes, moving in space. He saw the puppet and puppet movement as superior to that of the human, as this emphasized that the average of all art is artificial. This device could be expressed through stylized movements and the abstraction of the human body. Schlemmer saw the modern world being guided by two main currents, the mechanized (man as a machine and body as a mechanism) and the primordial impulse (the depths of creative urgency). He claimed that choreographed geometry offered a synthesis; the Dionysian and emotional origins of dance become rigid and Apollonian in its final form.
3-Bayerisches Junior Ballet München

Ascent
Ascent is a large-scale site-specific light installation that embodies a variety of archetypical and physical associations – from microscopic observations, electromagnetic wave dynamics, and atmospheric phenomena of a whirlwind to a spiritual epiphany. Most importantly, Ascent offers a unique immersive experience, that invites the viewer to become its central point, and transforms the perception of the viewer on a sensual level. The light and the fog create a monumental dynamic space that is participatory, the space that opens up a new dimension and directs the attention toward the bodily sensations in the explicit environment. The viewer is free to approach the work according to its own sensual response, but direct interaction can offer the potential to evoke a new perceptual imagination.

Serendiptichord

The result of a cross-disciplinary investigation spanning fashion, technology, music and dance, the Serendiptichord is a wearable musical instrument that invites the user (or movician) to explore a soundscape through touch and movement. This curious device is housed in a bespoke box and viewed as part of a performance. Unpacked and explored on and around the body, the Serendiptichord only reveals its full potential through the intrepid curiosity of its wearer. Adhering to the body like an extended limb, this instrument is best described as choreophonic prosthetic. Referencing the architectural silhouette of a musical instrument and the soft fabrication of fashion and upholstery, it is designed to entice the movician to explore its surface through touch, physical manipulation and expressive movement. Although this acoustic device can be mastered alone, it also holds subtle openings for group interaction.

Lied ballet

“Lied, a word of German origin and gender neutral, which represents classical music sung about strophic poem, and Ballet. Lieder’s romantic themes are transformed into movement, creating choreographic writing that begins with mime and ends with abstraction. In the end, everything comes together in a great chorus challenging genres and categories, fundamentally expressing the artist’s confidence in the dancing body”. Marcia Peltier

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.

ألكسندر سوكوروف
亚历山大·索科洛夫
Александр Сокуров
Russian Ark

“Alexander Sokurov’s desire to film The Russian Arch in one continuous take required extraordinary technical solutions. Since it is physically impossible to shoot more than twelve minutes of conventional film, we had to shoot on video. However, it was only the relatively recent arrival of 24p high definition compact cameras that offered the visual quality and the ability to make this film for theaters, including transferring the digital image to a 35mm negative.With the help of German specialists a complex portable platform was designed to meet the demands of the scenario which included precise architectural plans, highlighting the distance of 1300 meters covered by the course of the action. It was decided that the only way to move the camera would be to use a steadycam, although we could not be sure until after the final image that such a long steadycam shot would be possible, given the physical performance. extreme demanded from the German cinematographer, Tilman Büttner. After months of rehearsals, the 867 actors and extras, the three “live” orchestras all had to know their position and precise roles “. It’s just amazing.

cinema full

Random String of Emotions

Emotion recognition software analyzes our emotions by deconstructing our facial expressions into temporal segments that produce the expression, called Action Units (AU; developed by Paul Ekman), and breaking them down into percentages of six basic emotions, happy, sad, angry, surprised, scared, and disgusted. In this video the artist uses this decoding system to turn the process around. Here – instead of detecting AUs – a computer is used to generate a random string of AUs. In this way complex and perhaps even nonexisting emotional expressions will be discovered. These randomly formed expressions, played in random order, are then analyzed again by professional emotion recognition software.

Robinson
FILE FESTIVAL
A obra “Robinson” faz parte do corpo de trabalho de Ting-Tong Chang que investiga a história dos autômatos na Europa como meio de explorar visões utópicas. A palavra “autômato” é freqüentemente usada para descrever máquinas que se movem sozinhas, especialmente aquelas que foram feitas para se assemelhar a ações humanas ou animais. Do Pato Digesting de Jacques de Vaucanson (1739) ao Teatro Mecânico de Andreas Jakob Graf Dietrichstein (1752), os autômatos divertiram reis e princesas, ensinaram lições morais aos cidadãos e levantaram questões filosóficas profundas.

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“Robinson” is part of Ting-Tong Chang’s body of work investigating the history of automata in Europe as a means of exploring utopian visions. The word “automaton” is often used to describe machines that move by themselves, especially those that are made to resemble human or animal actions. From Jacques de Vaucanson’s Duck Digesting (1739) to Andreas Jakob Graf Dietrichstein’s Mechanical Theater (1752), automatons entertained kings and princesses, taught moral lessons to citizens, and raised deep philosophical questions.

AMECA
“Multiply the power of artificial Intelligence with an artificial body. Ameca is the physical presence that brings your code to life. The most advanced lifelike humanoid you can use to develop and show off your greatest machine learning interactions. This robot is the digital interface to the real world.” Engineered Arts
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“A U.K. robotics firm called Engineered Arts just debuted the first videos of its new humanoid robot, which is able to make hyper-realistic facial expressions. It’s a pretty stunning achievement in the world of robotics; it just also happens to be absolutely terrifying.
Named Ameca, the robot’s face features eyes, cheeks, a mouth, and forehead that contort and change shape to show off emotions ranging from awe to surprise to happiness. One of the new videos of Ameca shows it waking up and seemingly coming to grips with its own existence for the first time ever.” Neel V.Patel

DATA
In “DATA”, SpY offers a reflection on the rapid and widespread inclusion of algorithms in numerous aspects of our lives. In this audio-visual work, digital abstraction is used to explore and interpret how predictive tools operated through algorithms and artificial intelligence are highly beneficial in terms of aspects such as communication, research and medicine, but can also lead us to lose some of our freedoms if they are not used ethically.
Through this immersive audio-visual format, SpY explores new tools such as the holographic fabrics used to give the graphics an amazing sense of weightlessness. A 15-metre high screen made from this fabric was installed in one of Madrid’s smallest streets between the walls of the buildings.

愫君
Drawing Operations
Sougwen Chung is an internationally renowned multidisciplinary artist, who uses hand-draw and computer-generated marks to address the closeness between person-to-person and person-to- machine communication. She is a former researcher at MIT Media Lab and current Artist in Resident at Bell Labs and New Museum of Contemporary Art in New York. Her speculative critical practice spans installation, sculpture, still image, drawing, and performance. Drawing Operations Unit: Generation 1 is the 1st stage of an ongoing study of human and robotic interaction as an artistic collaboration.

Aerial Assemblies
Self-Assembly is a process by which disordered parts build an ordered structure through local interaction. We have demonstrated that this phenomenon is scale-independent and can be utilized for self-constructing and manufacturing systems at nearly every scale. We have also identified the key ingredients for self-assembly as a simple set of responsive building blocks, energy and interactions that can be designed within nearly every material and machining process available. Self-assembly promises to enable breakthroughs across every applications of biology, material science, software, robotics, manufacturing, transportation, infrastructure, construction, the arts, and even space exploration.

Lumières relationnelles
FILE FESTIVAL
Lumières relationnelles» est une installation audiovisuelle interactive qui explore la relation des personnes avec le caractère organique-expressif de «l’espace». L’installation utilise la lumière, le son, le brouillard et un système logiciel personnalisé pour créer un espace-lumière en trois dimensions morphing (métamorphose), dans lequel les spectateurs participent activement, le manipulant avec leur présence et leurs mouvements […] un organisme vivant, avec ou sans la présence et l’interaction des spectateurs. Lorsque les spectateurs quittent la zone de suivi active, le système commence son propre dialogue avec l’espace en extrudant et en transformant des séquences de formes géométriques lumineuses. Lorsque les spectateurs pénètrent et interagissent avec l’espace-lumière projeté, une expression collective et participative de l’espace se déploie. «Relational Lights» élargit le tissu tridimensionnel de l’espace, le rendant visible, audible et tangible pour les participants.

Hills beyond a river
Music: “CHINA-瓷” by Mickey Zhang
file festival
“Hibanana Studio is a creative art&tech studio, swinging at the intersection of audio-visual performance & installation, moving images and interactive installations. We are inventing new forms of the moving image for display surfaces of the future. A series of interdisciplinary research and practices range from video, sound, light, interaction and spatial experience leads us to artworks, commissions, and exhibition.”

Perspective du cadre
Mesurant 30m x 30m x 2,4m et doté de lumières LED et de 8 canaux audio, Frame Perspective transforme un espace caverneux à la Maison de la Région. A des dates précises tout au long du festival Constellations, Ratsi a préparé un programme lumière dans l’espace, accompagné d’une composition sonore interprétée par Thomas Vaquié (voir le programme du festival pour plus de détails). Frame Perspective poursuit l’interrogation de Ratsi sur la réalité à travers la création d’espaces exploratoires et périphériques. Les formes répétitives de l’installation créent de nouvelles dimensions dans la Maison de la Région, interrompant les lignes de l’architecture. Pendant ce temps, la composition des lumières et des sons en interaction perturbe les textures sonores et visuelles de l’espace et résonne avec le visiteur sur des fréquences inexplorées. L’effet est de plonger le visiteur dans un environnement fluctuant qui relie les technologies numériques aux espaces physiques et soulève des questions sur la façon dont la réalité est construite et vécue dans les domaines numérique, physique et autres.

Interactions du corps abstrait
Avec “Interactions of the Abstract Body”, McElheny a poussé ces idées plus loin, créant un ensemble de travaux vaste et varié qui examine comment la mode et le modernisme se sont entrecroisés et influencés, en particulier à travers le langage commun du corps. Fondamentalement, McElheny a animé cette dynamique avec la présence constante d’un interprète. En combinant une performance continue en chair et en os avec une sculpture statique dans le même espace de galerie, une première pour White Cube, McElheny rompt radicalement la distinction entre performance et exposition.

SM-4N
Sarah Oppenheimer’s work explores how individual and collective action can shape the spaces we inhabit. A master of architectural manipulations, her work is interactive, psychological, performative, and at its heart, deeply social.

Вернер Рейтерер
The Beginnings of Space Travel
Should art make us laugh? Styrian artist Werner Reiterer certainly challenges us to ponder on the sense and nonsenses of our world, but the noir humour and irreverent handling of reality in his approach mean that our first reaction is to laugh out loud. What we make of it afterwards is the long finish, as it were.

Squint
file festival
I was inspired by how the sunlight bounces around in our artificial forest.
“Squint” is a kinetic light installation consisting of 49 mirrors that reflect lights in a bright space. The mirrors track and reflect lights on audiences’ face with composed patterns of movements. It extends the generated perception by focusing on how lights pass across our visual senses physically, and combines with our perception of images through flickering. “Squint”, which extracts various daily experiences to an abstraction brings the audience to expand their interpretation of lights and perceived imagination into a non-linear experience.
“Squint” simulates light source and intentionally shines lights on audience’s faces. Bright light is projected in the gallery, a clean bright space.
Everyday people are dynamically moving around in the city. Sunlight reflects and flickers even when it is indirect and hidden behind the artifacts. While we are traveling, we are experiencing motion. We are also experiencing the shift of light intensity, visual patterns and textures. The varieties of light forms inspire the artist to explore the potential of light textures, select and sort out the combined complexity in urban space. The artist turns them into a minimal form of light experience, while maximizing its diversity of perception.

PALOURDES
Dans la nature, les palourdes sont des détecteurs de polluants ; ils servent de minuscules systèmes de filtration. Clams est une collection de sculptures sonores cinétiques qui convertissent les données des capteurs de qualité de l’eau en sons et en mouvements. Chaque « palourde » est fabriquée à partir de déchets plastiques recyclés et contient un haut-parleur. Le paysage sonore microtonal en constante évolution confère à chaque coque une action d’ouverture et de fermeture subtile et réaliste. Les lectures en temps réel d’un capteur de pureté de l’eau standard placé dans la rivière, le lac ou la mer des villes où l’œuvre d’art est présentée, constituent la base de la musique, qui est générée par un processus en constante évolution basé sur les niveaux de qualité de l’eau sur temps. Les palourdes invitent le public à établir des liens entre l’art médiatique, la sonification des données et la durabilité environnementale.

Microscopic Opera

Les micro-organismes peuvent-ils aussi être des artistes? Comment notre relation à ces créatures change-t-elle, après qu’elles sont vues dans un contexte artistique et théâtral? À la recherche d’un micro-organisme qui aurait les qualités d’un interprète, j’ai été présenté à C. elegans; un petit ver, de moins d’un millimètre de longueur, qui se déplaçait aussi élégant que son nom l’indique et la première créature à avoir séquencé tout son génome. J’ai été intrigué lorsqu’un chercheur m’a dit que, pour distinguer les vers au microscope, il utilisait différentes mutations qui modifiaient la façon dont ils se déplaçaient. Certains se déplacent en spirale, d’autres ont roulé ou ont des contractions et certains sont devenus morbides obèses à cause de leurs mutations. Dans mon installation, j’ai cinq boîtes de Pétri remplies de cinq vers mutés différents, chacun se déplaçant légèrement différemment. Ces cinq groupes d’interprètes sont filmés avec un microscope USB diffusé en direct sur les cinq écrans. J’ai écrit un logiciel spécial qui suit les vers et traduit leurs mouvements en sons, faisant d’eux les interprètes non avertis de la musique dans le monde macroscopique au-dessus de leurs têtes. Alors que les chercheurs sont presque comme des dieux pour ces vers impuissants, les contrôlant de leur première à leur dernière division cellulaire , j’espérais donner aux vers le pouvoir de nous affecter également dans notre monde.

Skin-awareness
The immersive space morphs and alters with light and becomes solid, its pressure composing and decomposing the self-awareness of skin. The dancer’s body is extended and manipulated as a conscious entity, exceeding the physiological object. The constant feedback between the body’s trajectory and interaction with the environment changes the nature of the object itself.

ANTIBODIES
ANTIBODIES est une installation interactive qui suit les visages des participants et les incite à faire des expressions faciales. La pièce reflète à quel point nous sommes absents et détachés lors des appels vidéo – la forme aujourd’hui imposée de rassemblements sociaux. À la fin de chaque expérience, toutes les interactions deviennent partie d’une galerie d’êtres humains désincarnés.

Étude humaine #1
L’installation interactive Human Study #1 de Patrick Tresset se compose de trois robots dessinateurs. Les visiteurs peuvent s’asseoir comme des modèles pour être visuellement enregistrés et représentés par les trois machines. Chacun des trois robots dessine dans son propre style et manie le stylo d’une manière différente. A côté du bras de dessin, chaque robot est équipé d’une caméra mobile. Ils les utilisent pour observer alternativement le modèle et le dessin résultant. Tresset n’est pas intéressé à utiliser les robots pour simuler un style de dessin humain. Il examine plutôt les différences entre l’exécution humaine et robotique. Tresset décrit les capacités de ses machines comme « non intelligentes ». Ils donnent seulement l’impression d’agir de leur propre gré. Ils font preuve d’un comportement humain, mais basé sur un programme ne stipulant qu’un ensemble restreint d’actions.

Interpolate
Interpolate incorporates live coding and generative processes to create an audio/visual performance where visuals control audio, and audio controls visuals. Stark, minimal, generative 3D geometry and particle systems take the audience through the music, conveying the physicality of the sound while mapping out the emotional landscape of the melodies. To interpolate means to determine an intermediate value or term in a series by calculating it from surrounding known values; on stage Push 1 stop and Woulg send data wirelessly to each other in order to be able to patch new interactions between audio and visuals in real time, and interpolate the missing data between sound and image.