Petra Cortright est une artiste Internet qui réalise des vidéos, des animations gif et des images fixes. Sa page d’accueil ressemble à une page html datée avec un tas de smileys et une liste de son travail: travail authentique, expérimental et nostalgique avec beaucoup de paillettes, d’étincelles, de collages et de personnages faisant des images. Tout au long du site Web, il y a des animations de souris amusantes, par exemple des étincelles qui suivent votre pointeur lorsque vous vous déplacez sur l’écran. Une autre chose intéressante est un cadre qui est attaché à votre pointeur afin que vous puissiez placer le cadre sur un portrait. Cortright a étudié à la Parsons School of Design de New York et au California College of the Arts de San Francisco. Aujourd’hui, elle vit et travaille en Californie. Elle a exposé à l’international dans des galeries telles que Gloria Maria Gallery (Milan) et Spencer Brownston (New York) entre autres. Récemment, Cortright a exposé avec sa série SO WET à la Preteen Gallery de Mexico.
DIRK KOY & BILD UND BEWEGUNG
En 2016, Dirk Koy a fondé le studio de motion design et de film expérimental «Dirk Koy Bild und Bewegung». Dans son travail, il utilise différentes technologies (drones / animation 2D et 3D / photogrammétrie / AR / VR) pour créer des images numériques en mouvement. Il explore l’interface entre réalité et virtualité et recherche également la composante picturale dans le contexte numérique. L’expérience joue un rôle central.
SIMON CHRISTOPH KRENN
Simon Christoph Krenn’s 3D animation, Parasitic Endeavours, initially started out as the creative wanting to explore distorted perspectives on human evolution. “I think my main inspiration came from nature and its creative forces themselves. I used to study zoology at university and was especially fascinated by evolutionary biology and the development of animal morphologies. I realized the video’s strange and somehow creepy potential and decided to push the animation even more into this direction.”
Loom zeigt abstrakte Animationen, die mit Daten von Google Trends in Echtzeit entwickelt wurden. Beliebte Abfragen werden vorübergehend als überlagerter Text angezeigt, bevor sie sich in eine rauchige Abstraktion auflösen. Diese Begriffe werden mit einer zufälligen Lyrik angegangen – jedes Wort erscheint und verschwindet in einer Spur der Sättigung. Die Farben in der Animation werden durch die Häufigkeit eines bestimmten Themas bestimmt. Je viraler die Suche online ist, desto wärmer werden die Töne. Ohne Schlagzeilen, grafische Bilder und Statistiken inspiriert jede Phrase eine kontemplative Erfahrung, eine Gelegenheit für den Betrachter, darüber nachzudenken, was zu einem bestimmten Zeitpunkt durch das kollektive Bewusstsein strömt. Loom verwebt ein soziales Gefüge, das das Transzendentale mit dem Banalen vermischt, um den Geist unserer Zeit in generativer Bewegung darzustellen.
The coffee cup spring
The monotone repetition of the movement created by the conveyor belt recalls the pace and the landscape of animation or video games. As an extension of the conveyor, several geometric and orthogonal motifs evoking a Tetris composition are slotted together and suggest the shapes of a table, a chair or stairs. The objects are exposed on thin metal structures with fringed ends, and seem to peel off from their construction, as if they were undressing and exchanging skins, depriving themselves of sculptural depth and allowing only the surface to emerge. The technique developed by the artist to produce the sculptures inverts the usual steps of printing: first the pattern is created, then the background to which the fiberglass support is apposed. The pieces are therefore ripped off their mold, revealing their final texture, and the motif on every sculpture seems to remain the same, yet is altered by the shape of the object itself. A series of wall works using this procedure extends from the installation into the gallery space.
From, the Future
The art is about waiting, something the entire world population knows since the onslaught of Covid-19. The title was also inspired by a dream where I told a scientist I was from the future and he believed me. My interpretation of the dream relates to my interest in the luminous thoughts of the 13th-century Persian poet Rumi, he clearly describes what our souls really are, beautiful, sacred, beyond time. I am fascinated by the existential impermanence of beauty. Beauty offers us a deep connection to the experience of life. The animation consists of cut flowers continuously falling from the sky, it can be seen by looking up to the ceiling. The title infers the signature on the note of a gift.
Loom showcases abstract animations developed with data from real-time Google Trends. Popular queries appear momentarily as overlaid text before dissolving into a smoky abstraction. These terms are approached with an accidental lyricism —each word appears and disappears in a trail of saturation. Colors within the animation are determined by the prevalence of a specific topic; the more viral the search is online, the warmer the tones become. Stripped from headlines, graphic imagery, and statistics, each phrase inspires a contemplative experience, a chance for the viewer to ruminate on what is streaming through the collective consciousness at any given time. Loom weaves a social fabric, mixing the transcendental with the banal, to present the spirit of our time in generative motion.
Keiken + George Jasper Stone
Feel My Metaverse
Feel My Metaverse is Keiken’s first venture in creating a cinematic film, using game engines to build a fictional future, wanting to create stories that viewers can collectively believe in. “I normally make CGI animation from Cinema 4D, often taking days and weeks just to produce short sequences or footage. Whereas working with game engines, we could generate landscapes or worlds that we can continually build onto collectively to produce larger scale works”. The film, set in a future when climate crisis has rendered Earth inhabitable, explores the daily lives of three characters and their experiences in the multiple realities – Pome Sector (a corporate wellness world), 068 (a roleplaying VR world), and Base Reality, or what we currently know as earth. The characters navigate the challenging landscape in the world’s unforgiving points system. Keiken’s goals of unlearning norms of the current world is included in one of these realities.
Stasis in Flux
“Stasis in Flux is an experimentation of animation’s potential to mimic the real. I began by building a functional zoetrope within 3D space to test if persistence of vision is replicated accurately. From this experiment I realized 3D animations potential to go beyond the physical limits of the real, allowing me to coordinate movements between both the camera and the zoetrope to replicate much more advanced cinematic techniques. The result is a carefully choreographed animation that represents the ebb and flow of the creative process.” Joe Hambleton
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.
A 25 minute video loop with previously unreleased tracks by DJ Hell, made in collaboration with Balenciaga.
Here is a dramatic tension in his work between the real and the imagined in his use of often-appropriated digital objects to create virtual landscapes, which frequently contain elements – animals, machines, fragments of videogames – that are recognisable from our day to day life. This creates a symbiotic relationship between the digital and the real. In a very real way digital space has now become an intangible reality. The worlds built by Robak have a distinctly cinematic sensibility that hyperbolises the shine and dramatic effects of 3D rendered animation. The aesthetic of his work is supremely important, drawing the viewer into a truly alluring, indulgent and strangely gratifying environment. There is a further challenge to the void between high-art and the worlds of 3D animation and gaming, in the intersection between depiction and simulation. This can be partially attributed to the vernacular of advertising Robak is so proficient at utilising.
Realistic and Interactive Robot Gaze
System for lifelike gaze in human-robot interactions using a humanoid Audio-Animatronics® bust. Previous work examining mutual gaze between robots and humans has focused on technical implementation. We present a general architecture that seeks not only to create gaze interactions from a technological standpoint, but also through the lens of character animation where the fidelity and believability of motion is paramount; that is, we seek to create an interaction which demonstrates the illusion of life. A complete system is described that perceives persons in the environment, identifies persons-of-interest based on salient actions, selects an appropriate gaze behavior, and executes high, fidelity motions to respond to the stimuli. We use mechanisms that mimic motor and attention behaviors analogous to those observed in biological systems including attention habituation, saccades, and differences in motion bandwidth for actuators.
Disrupted Domains features new animations created with molecular visualization software and SARS-CoV-2 structures displayed in Quorum at the Science Center. The animations were developed in remote collaboration with uCity Square biotech company Integral Molecular for Splan’s Science Center Bioart Residency while “sheltering in place” for COVID-19. The work in the exhibition is part of Precarious Structures, Splan’s project that explores the interconnectedness of cultural and biological systems during the coronavirus pandemic. Accompanying soundscape by Frank Masciocchi recorded in collaboration with Splan over Zoom.
Takuya Matsunobu and Yasuaki Kakehi
Coworo is an installation with a shape changing liquid that loses its texture under a spotlight and looks almost solid. After a while, bubbles appear on the surface and disappear again, as if it were breathing. The waves gradually change their size, position, and frequency and develop into physical, continual, kinetic, three-dimensional animations that extend beyond the discrete 2D pixel pattern. Through the hybrid combination of the digitally programmed machine and the organic properties of the physical material, the object creates a constant flux of ephemeral shapes and patterns.
Janna Nikoleit, Mathias Foot, Franziska Rast, Stephan Schakulat
Die Installation 30° macht die Auswertung großer Datenmengen ästhetisch zugänglich und räumlich erfahrbar. Die gezeigten Daten stammen aus Messungen entlang des dreißigsten Meridians westlicher Länge, welcher größtenteils durch Wassermasse verläuft. Kurze Animationen thematisieren Parameter wie Temperatur, Salzgehalt oder Sauerstoff. Schwankungen in den Werten und Vergleiche von einzelnen Messpunkten werden grafisch visualisiert und eine zeitliche Einordnung der Messungen anhand einer Skala nachvollziehbar gemacht. 30° stellt die Arbeit der Forscher, das Meer noch besser zu verstehen und zum Erhalt der Weltmeere beizutragen, in den Fokus.
RAFAEL LOZANO HEMMER
拉斐尔·洛萨诺 – 亨默
רפאל לוזאנו, המר
A circular display that simulates the turbulence at the surface of the Sun using mathematical equations. The piece reacts to the presence of the public by varying the speed and type of animation displayed. If no one is in front of the piece the turbulence slows down and eventually turns off. As the built-in camera detects people more solar flares are generated and the fake Sun shows more perturbation and activity. At 140 cm diameter, Flatsun is exactly a billion times smaller than the real Sun. The piece consists of custom-made panels with 60,000 red and yellow LED lights, a computer with 8 processing cores, a camera with a pinhole lens and a mechanically engineered aluminium, steel and glass structure that pivots for maintenance. A single knob lets the collector set the brightness of the piece and turn it on and off.
PETER WILLIAM HOLDEN
“My recent investigations of this theme have involved the usage of computers combined with mechanical elements to create mandala like installations. These installations are my medium and I use them to create ephemeral animations. This ephemeral choreography of movement is the focal point of my work”.
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.”
BECHA-KPACHA is an algorithmic music video for the electronic musician COH. The song’s tittle (pronounced Vesna Krasna) was taken from an old Russian poem and roughly translates “Spring the beautiful”, though it can also mean “Spring the red.” The animation reference’s traditional Russian folk patterns, commonly known as Hohloma. In these patterns, colorful plant leaves expand and twist around one another while fruit grows along side. These patterns were a starting point for this sound-responsive animation.
Performance: Capture Part 2
In “Performance Capture: Part 2”, open source motion capture sequences are mapped onto stock low-polygonal unsmoothed 3D characters. Bodies inflate, deflate and oscillate between states, while movements shift and repeat in offset patterns as information transfers from one body to the next. In the animation, what should be used to record, simulate and create perfect virtual realities instead collapses into the uncanny, the abstract and the unreal.
Sam Twidale & Marija Avramovic
(AI) infinite simulations
‘After Party’ is an animation about two young girls, Ada and Milica. They find themselves in a strange space where an adult party is happening. With every new simulation their personalities evolve in unpredictable ways: between Childhood and Adolescence, Refined and Savage. Our digital work consists of creating artificial environments in the form of real-time animation using our own custom software, where artificial intelligence characters interact with each other as well as with the virtual world that surrounds them. These pieces are usually inspired by stories or myths found in different cultures.
Sam Twidale & Marija Avramovic
(AI) infinite simulations
‘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.
Dirk Koy & Bild und Bewegung
In 2016, Dirk Koy founded the studio for motion design and experimental film «Dirk Koy Bild und Bewegung». In his work, he uses different technologies (drones / 2D and 3D animation / photogrammetry / AR / VR) to create moving digital images. He investigates the interface between reality and virtuality and is also looking for the painterly component in the digital context. The Experiment plays a central role.
Muti Randolph lives in Rio de Janeiro and studied Visual Communications and Industrial Design at the Pontificia Universisade Católica do Rio de Janeiro. One of the pioneers in computer art, animation and 3d illustration in Brazil, he has been shifting from virtual 3d to real 3d spaces creating visual identities, graphics, illustrations, sets, and interior architecture projects for clients mainly in the entertainment, fashion and technology areas.
Legends Of Exos
We are two artists from Lithuania. Our primary areas of interest lie in animation and tactile crafts. Our creative goal is to produce authentic work that is visually and aesthetically challenging, yet peculiarly subtle. We tend to experiment, play and explore amongst conventional subjects.
Immersive Audiovisual Environment Artificial Fog, Stroboscopes, Pulse Lights and Surround Sound, 2008
ZEE proposes a state of tabula rasa and unfolds without a narrative or reproducible imagery.The audience wanders freely in a space filled with extremely dense fog that fully obscures all of its boundaries. Stroboscopic- and pulse lights illuminate the fog, in a softened and evenly dispersed manner, creating kaleidoscopic three-dimensional structures in constant animation. An ambient and minimal sound-scape connects to the imagery, without directly synchronizing to it.The core visual impression of ZEE is of a psychedelic architecture of pure light, an abstract luminescent landscape enveloping the visitor. Time appears to stand still.
“Thermal Womb, a sculpture of figure suspended upside down that recalls the practice of cryopreservation. The structure is indeed a replica of the mechanism used by companies such as Alcor, which prepares bodies before they are submerged in liquid nitrogen—figures indefinitely frozen, waiting for technology to catch up and revive them. The film component of the work reveals a pair of bright blue eyes, whose only animation is to blink, adding a time-based layer to the otherwise static nature of the piece.” Stephanie Cristello
Holger Lippmann describes a part of his work as digital painting. What distinguishes digital painting from traditional painting on canvas or paper? We need to distinguish between two categories of digital painting. The first includes works created on the computer with ready-made graphic tools like virtual paint brushes or pens, in something like the way that non-digital pictures are created on paper or canvas. David Hockney’s painting of a sunflower on an i-pad is an example of this. The second category includes works using computer generation, in which programs coded by the artist continually produce new aesthetic concepts as images or animations. Every execution of the software creates new works within the pre-defined boundaries of the system. This process can be called generative painting.
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.
In early 2011 I was exploring the relations of geometry, nature and the human being in a series of 25 pictures that I called ”Fractal Experience”. This is part two – continuing the exploration of geometric shapes, patterns, and fractals with an added element: space-time. This time I’ve worked in 3D and produced a set of animated looping gif’s.
I’ve limited each animation to at most 48 frames, most are around 10-15 frames – to keep the file size small and to maximize the creativity with in these frames.
Début 2011, j’explorais les relations de la géométrie, de la nature et de l’être humain dans une série de 25 images que j’ai appelées «Expérience fractale». Il s’agit de la deuxième partie – poursuivre l’exploration des formes géométriques, des motifs et des fractales avec un élément supplémentaire: l’espace-temps. Cette fois, j’ai travaillé en 3D et produit un ensemble de gifs en boucle animés.
J’ai limité chaque animation à 48 images au maximum, la plupart se situent entre 10 et 15 images – pour garder la taille du fichier petite et maximiser la créativité avec ces images.
Anfang 2011 untersuchte ich die Beziehungen von Geometrie, Natur und Mensch in einer Serie von 25 Bildern, die ich “Fractal Experience” nannte. Dies ist Teil zwei – Fortsetzung der Erforschung geometrischer Formen, Muster und Fraktale mit einem zusätzlichen Element: Raum-Zeit. Dieses Mal habe ich in 3D gearbeitet und eine Reihe von animierten Loop-Gifs erstellt.
Ich habe jede Animation auf höchstens 48 Bilder beschränkt, die meisten sind etwa 10 bis 15 Bilder – um die Dateigröße klein zu halten und die Kreativität in diesen Bildern zu maximieren.
Paul Robertson is an Australian animator and digital artist who is known for his pixel art used in short films and video games. He is mostly known for Scott Pilgrim Vs. the World: The Game and the recent release, Mercenary Kings.
His interest in inserting flashing neon colors, geometric shapes, Japanese character animation, and 1990′s computer imagery, deems his work as heavily influenced by the Seapunk/Vaporwave aesthetic.
FILE FESTIVAL SAO PAULO
Paul Robertson is an Australian animator and digital artist who is known for his pixel art used in short films and video games. He is mostly known for Scott Pilgrim Vs. the World: The Game and the recent release, Mercenary Kings. Apart from his seasoned career as a game designer and movie creator, Robertson has been recently spotted on Tumblr with these GIFS. His interest in inserting flashing neon colors, geometric shapes, Japanese character animation, and 1990′s computer imagery, deems his work as heavily influenced by the Seapunk/Vaporwave aesthetic.
Bart Hess (1984) explores several fields combining material studies, animation and photography. Bart has a very personal and recognizable signature. With his designs he is able to use new and existing materials in a very innovative way and he seems to tap into new worlds. His work is of international stature, he finds and creates its own stage and international collaborations with prestigious names.
Meats Meier is a freelance illustrator and animator living in Los Angeles, California. An award-winning digital artist, Meier works in both 2D and 3D using Maya and Zbrush for modeling and animation as well as Photoshop and After Effects to composite the images into animations and high resolution artwork.
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.
Jennifer Steinkamp uses computer animation to create video projections and immersive installations, dynamic works that explore the relationship between architectural space, motion, and perception. When projected, Steinkamp’s dimensionally modeled images create the illusion of receding space, generating a dialogue with the real space occupied by the viewer. Steinkamp’s imagery ranges from abstract undulating forms to subjects drawn from nature, such as the cascade of flowers in her 2008 series, “It’s a nice day for a white wedding.”
Break Wall Sim
Eyal Gever is an artist who combines technology and art to create sculptures based off of 3D software technology that he uses to produce animations and 3D renderings to compliment his work. Gever has over 18 years experience implementing his ideas into 3D software technologies and server/web-based products, primarily in the area of interactive real time multimedia communication software as well as 3D creation and animation.
In The Swing, a 3D game avatar becomes Rococo fleshy decadence. In this multi-screen animation, the avatar swings on a seat suspended from the sky, in super Mannerist slow time. Her wooded surroundings ebb and flow at different rate, imitating stop-motion. Years pass in a matter of moments. The avatar is the driver of all of these cycles, but a driver scarcely in control – she is instead, a Mother Nature heading straight for what she suspects might be oblivion. The Swing is a multi channel installation, in nine, five and three screen versions.
sound: Kurt Hentschlager
На проходившей с мая по сентябрь 2003 года в лондонском Музее дизайна выставке «Peter Saville Show» были выставлены все созданные им обложки, а также объекты, сослужившие свою последнюю службу: опавшие листья, цинковая пластина и прочее, — всё то, что пригодилось в процессе оформления. Одновременно с открытием выставки вышла первая антология Сэвилла, включающая разнообразные работы графика и эссе, написанные ведущими британскими эстетами в мире музыки и дизайна («Designed by Peter Saville»).
MICHAEL GOTTE ET VELDANA SEHIC
Clavilux 2000 is a subtle music visualization installation that represents the playing of sounds by way of a simultaneous animation that can be interpreted. For every note played on the keyboard, a stripe appears of which the dimensions, position and color correspond to the way the particular key was stroke.
Black Liquid is an abstract 3D animation showing different aggregation states. Matter transforming from liquid into solid and shatterly.
The spectator is free to understand the video exclusively as an illustration of physical processes or as an metaphor for the human being. The interpretation of the Video is dedicated by Zakharov to the spectator himself.
The works of Japanese artist Takashi Murakami have inspired both admiration and confusion. Inspired primarily by anime, Japanese animation, and manga, Japanese comics, Murakami’s paintings and sculptures feature bright, candy-colored images of cartoon-like characters, with large eyes and exaggerated body parts. His works are often decorated with smiling flowers, round, blinking eyes, and colorful mushrooms. Murakami’s creations defy traditional classifications, breaking down numerous barriers.
The work of the Austrian artist Gerwald Rockenschaub, born in Linz in 1952, has been associated with Neo-Geo since the early 1980s, when a group of young artists concentrated on the formal vocabulary of the abstract avant-garde. Neo-Geo permeated the aesthetics of American minimal art with the consumeristic position of pop art. Rockenschaub’s art cannot be simply categorised in any particular style, however; in his animations, foil pictures, objects and site-related installations, he refers in equal measure to ideas and positions of modernism and to phenomena of everyday culture.
What isn’t Hilary Faye good at? After looking at her extensive collection of imperial artistic talents, I couldn’t decide in which medium she showed more strength. Her online catalog showcases her fine skill in: collage, mixed media, photography, animation, typography, illustration and packaging design. In founding all of this, she has a proclivity for beautiful imagery and visual symphonics.
Sculpture bicycle wheel
Using film, drawing, sculpture, animation, and performance, he transmutes sobering political events into powerful poetic allegories. In a now-signature technique, Kentridge photographs his charcoal drawings and paper collages over time, recording scenes as they evolve. Working without a script or storyboard, he plots out each animated film, preserving every addition and erasure.
Stephen’s original use of the GIF format mixes illustration, comics and animation, with no order of preference. His animated comics “Lycéennes” (“schoolgirls”) started to turn heads in 2011 (featured in Vice, Wired, cartoonbrew…)
His compositions include opulent palettes, where sci-fi meets fashion and lifestyle, on a sometimes vulgar, sometimes grandiose mode.
Ο Bill Domonkos είναι εικαστικός και πειραματικός σκηνοθέτης. Το έργο του συνδυάζει 2D και 3D animation, ειδικά εφέ, φωτογραφία, βίντεο, ενώ ειδικευεται επίσης και στο αρχειακό υλικό φιλμ. Η δουλειά του έχει μεταδοθεί και προβληθεί διεθνώς σε κινηματογραφικές αίθουσες, φεστιβάλ, γκαλερί και μουσεία.
“Installed in the main gallery is Betweenness (all works 2018), a video montage that sorts the natural world, including a few humans, into simple, line-drawn motion graphics. There’s a frolicsome quality to the animations: when the animals move, grow, shift, and, quite literally, evolve, the scenes appear to follow a playful intuition, rather than exhibiting any scientific fact.”more…
Jeff Shore and Jon Fisher
Jeff Shore and Jon Fisher started their collaborative practice in 2002. Trained as a visual artist, Jeff Shore develops the visible sculptures and mechanisms, while Jon Fisher builds the electronics, writes the software, and creates the original soundtracks; for this he uses both digital and analog audio sources. The result of their collaboration is a series of kinetic devices and installations that generate live animated video and musical compositions. Similar to cinema storytelling, the movement in the pieces relate to the accompanying soundtrack or animation, and similar to a theater of automata, the pieces create precise and captivating sequential events. Bridging high and low-tech devices and instruments, the collaborative team creates mechanically activated moments of wonder, explores the relationship between automatism and chance, and comments on the impact of technology interfaces in our lives.
Dance of Koi and People – Infinity
Koi schwimmen auf der Wasseroberfläche, die sich bis ins Unendliche erstreckt. Menschen können ins Wasser gehen. Die Bewegung des Koi wird durch die Anwesenheit von Menschen im Wasser und auch anderen Koi beeinflusst. Wenn die Fische mit Menschen kollidieren, verwandeln sie sich in Blumen und zerstreuen sich. Die Flugbahn des Koi wird durch die Anwesenheit von Menschen bestimmt, und diese Flugbahnen zeichnen Linien auf der Wasseroberfläche. Die Arbeit wird in Echtzeit von einem Computerprogramm gerendert. Es ist weder eine voraufgezeichnete Animation noch eine On-Loop. Die Interaktion zwischen dem Betrachter und der Installation führt zu einer kontinuierlichen Änderung des Bildmaterials. Frühere visuelle Zustände können niemals repliziert werden und werden niemals wieder auftreten.
Shapeshifter, Heartbreaker, is an installation on two levels composed of sculptural work and 3D computer animations that are both abstract and figurative. On the first level Pakui Hardware has designed an office desk using the typical components of a trading floor. However, this is not a work station for individuals; it is for computer aided trading, non-human activities which are approximated in the three channel videos atop desks noticeably lacking keyboards and mice. These activities often occur at an exceedingly fast pace, in the blink of an eye, an expression that lends its name to a video installed on the second floor. There, the blinks of a humanoid form have been accelerated to illustrate how fast the body would have to consciously react if it were operating at the speed of decision making that resulted in the stock market’s ‘flash crash’ of 2010.
Tobias Stretch made this beautiful and mesmerising stop motion animation for Radiohead’s track ‘Weird Fishes’. Tobias’ natural light stop motion technique conjures a phantasmagorical and intimate world. Grotesque yet endearing puppets traversing the hinterlands in some bizarre pilgrimage. Tactile and beautiful.
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.
USMAN HAQUE & NATALIE JEREMIJENKO
“Flightpath Toronto’s swarms of flying people experiment with an urban-scale participatory proposition: one that demonstrates the pleasures of emissionless urban mobility and creates a shared memory of a possible future. Flightpath Toronto is a collaboration between Usman Haque, architect/artist and Natalie Jeremijenko, engineer/artist, uniting his expertise in participatory urban spectacle with her expertise in bird flight and urban natural systems.”A panoramic 4-loop animation showed imaginative 3D-generated city featured some art projects by Usman Haque and Natalie Jeremijenko from a “flyer” ‘s point of view. Images of the art projects gradually appeared in each loop.