fabric | ch

Perpetual (Tropical) Sunshine
Perpetual (Tropical) Sunshine is an architectural, climatic and temporal installation. Thanks to a “screen” composed of several hundred infrared light bulbs, Perpetual (Tropical) Sunshine retransmits the journey and intensity of the sun as perceived on the 23rd parallel south, according to information transmitted live by weather stations all around the Tropic of Capricorn. Perpetual (Tropical) Sunshine thereby creates a displaced architectural space, which confronts the visitor with an abstract form of day and endless summer. It represents the increasingly artificial nature of our environment and suggests a form of “static mobility” or “displaced tropicality”.

Mette Ingvartsen

The Artificial Nature Project
In The Artificial Nature Project a new encounter between human and non- human performers emerges from the following questions:What does it mean to make a choreography for materials where human movement is no longer in the center of attention?How can one address the force of things, materials, objects and matters as something that acts upon humans?What is the relationship between the animate and the inanimate world?
The outcome is a performance that literally throws things around. Materials fly through the air giving rise to a landscape that constantly transforms itself. Throughout the performance the view is persistently changing: a calm contemplative site may turn into an energetic chaos of stuff being projected into space. Or, a flood wave becomes a storm of confetti whirling through the air, rushing over the stage. The theater stage gets covered with and traversed by various objects and raw materials, creating a disastrous mess of small, thick, light, big, heavy, thin, breakable and resistant things.

miguel chevalier

IN-OUT/Paradis artificiels
music specially composed by Jacopo Baboni Schilingi
software written by Claude Micheli
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Trans-Natures ”é uma exploração poética da ligação entre natureza e artifício. Na continuação de uma abordagem iniciada no final dos anos 1990, ele se baseia na observação do reino vegetal e sua transposição imaginária para o mundo digital. Esta natureza artificial, cujas formas lembram vegetação rasteira, combina várias espécies de árvores, arbustos, ramos e folhagens. Seu desenvolvimento e formas são inspirados em “diagramas de árvore”, sistemas de organização de dados que utilizam o princípio de raízes, troncos e galhos. Essa natureza, com suas formas ora realistas, ora abstratas, é gerada ad infinitum por meio de software escrito por Claude Micheli. As plantas brotam ao acaso, florescendo e morrendo ao comando de vários “códigos morfogenéticos”. O jardim se renova e se transforma constantemente. Formas vegetais fluidas se desenrolam no espaço enquanto arborescências de galhos abrasivos crescem implacavelmente, parecendo às vezes explodir da tela. A obra brinca com o senso de limites espaciais de seus visitantes. Imerso em sua esfericidade envolvente, sua concepção de longe e de perto é reconfigurada, aberta ao infinito.

Refik Anadol

Quantum memories
Quantum Memories is Refik Anadol Studio’s epic scale investigation of the intersection between Google AI Quantum Supremacy experiments, machine learning, and aesthetics of probability. Technological and digital advancements of the past century could as well be defined by the humanity’s eagerness to make machines go to places that humans could not go, including the spaces inside our minds and the non-spaces of our un- or sub-conscious acts. Quantum Memories utilizes the most cutting-edge, Google AI’s publicly available quantum computation research data and algorithms to explore the possibility of a parallel world by processing approximately 200 million nature and landscape images through artificial intelligence. These algorithms allow us to speculate alternative modalities inside the most sophisticated computer available, and create new quantum noise-generated datasets as building blocks of these modalities. The 3D visual piece is accompanied by an audio experience that is also based on quantum noise–generated data, offering an immersive experience that further challenges the notion of mutual exclusivity. The project is both inspired by and a speculation of the Many-Worlds Interpretation in quantum physics – a theory that holds that there are many parallel worlds that exist at the same space and time as our own.

Max Cooper

Morphosis
Morphosis uses artificial neural networks to create morphing images of scale. The system explores how natural structures from the most tiny to the most huge, share aesthetic properties, as recognized by the trained network, and recreated in continuous flowing sequence via these connections. It’s a study of the seemingly infinite nature of space and natural physical structure, which can loop back on itself to give endless visual exploration and variation.

QUAYOLA

Natures
“…explore the dialogue between the natural and the artificial”, connecting footage of plants moving in the wind with line structures tracked on top”. Mate Steinforth

simon colton

The Painting Fool

The Painting Fool is software that we hope will one day be taken seriously as a creative artist in its own right. This aim is being pursued as an Artificial Intelligence (AI) project, with the hope that the technical difficulties overcome along the way will lead to new and improved generic AI techniques. It is also being pursued as a sociological project, where the effect of software which might be deemed as creative is tested in the art world and the wider public. In this chapter, we summarise our progress so far in The Painting Fool project. To do this, we first compare and contrast The Painting Fool with software of a similar nature arising from AI and graphics projects. We follow this with a discussion of the guiding principles from Computational Creativity research that we adhere to in building the software.

DAVID SZAUDER AKA PIXEL NOIZZ

Glitch art’ is a new genre which is now growing very popular within the digital art age. A glitch is certainly what many of us has experienced at least once in their life you are surrounded by technology. It is a temporary fault in the system and produces a distorted image. According to Iman Moradi, who wrote a brief account on glitch art, defined that there are two types of glitch art. One being ‘Pure Glitch’ where it was produced at random, real, and appropriated. Where as Szauder’s work classifies into ‘Glitch-alike’ because of the deliberate nature where the works were planned and designed, making them artificial.

astrid krogh

АСТРИД КРОГ
Ikat I
Fascinated by the interplay of textiles and light, Denmark-based artist Astrid Krogh explores the dialogue between natural and artificial illumination when paired with fibers. While studying at the Danish Design School, Krogh explored her interest in textiles, which shines through in the craftsmanship, patterns, and ornamentation of her work. Inspired by cycles of life in nature, many of Krogh’s neon.

Marguerite Humeau

Echoes
The yellow walls back drop Humeau’s signature white polystyrene sculptures propped up on elegant metal legs or artificial prostheses and varnished to a kind of unearthly gleam.

Myeongbeom Kim

МИЕОНГБЕОМ КИМ
김명범
Untitled Rope Installation

Après avoir étudié la sculpture à l’Université de Séoul, il complète ses études à l’Institut des Beaux-Arts de Chicago et devient rapidement un sculpteur assez connu grâce à un style surréaliste et provocateur, en utilisant en particulier des éléments déjà présents dans la nature. L’artiste utilise abondamment l’équilibre et la suspension dans ses oeuvres, pour explorer le frontière entre la naturalité et l’artificialité. Un travail intéressant dans la grande tradition de l’art surréaliste.

Peter Flemming

Canoe
The work here in Dawson is like an old vehicle in which I’ve put a new engine. Entitled Canoe, it consists of an approximately 20 foot long trough of water, that resembles some kind of boat. This provides a means for a gunwales tracking mechanism to slowly, endlessly paddle its way back and forth. It was first constructed in 2001 in a studio beside Halifax harbour. It draws visual inspiration from the bridges and water vessels of this port. Conceptually, it grew from an interest in technological obsolescence: how things (like canoes) make shifts from utility to leisure.
It has experienced several major rebuilds since 2001. Most of them have been practical, but for Dawson I’ve opted for an experimental configuration that changes significantly the nature of the work. Previously, Canoe has only ever been shown indoors. Normally in runs on rechargeable batteries, with a continuous, smooth motion. In Dawson, it is shown outdoors, alongside the Yukon river, showing up in an absurd way the paleness of its artificial river. Here, the primary source of power is sunlight.
Making use of the long northern day, solar panels receive light, storing energy in an array of super-capacitor cells. At this time, Canoe remains still. A custom circuit monitors the amount of charge, and when a predetermined trigger point is reached, it is dumped into Canoe’s electric motor in a burst, allowing it to make a few strokes. Then Canoe rests, while the charging cycle begins again. Motion is intermittent, entirely dependent on the amount and intensity of sunlight. It ranges from near standstill in overcast conditions to perhaps 1 or 2 strokes every minute in full light. The technical term for this type of circuit is a relaxation oscillator. I like this term because, if you remove it from its technical context, it points back to ideas about leisure and utility.

ROBERT WUN

last breathe

Robert Wun is a luxury fashion label, aimed to create ingenious garments with sophistication visions, to inspire independent individuals with originality beliefs. The chaos between Nature and artificial forms the centre of the design ethos, through resourcing in the novelty nature and the revolutionary artificial world, Robert Wun believe in such contradiction, promising ideas will be generated through the process of perplexity. Dictating the new ‘futuristic’ through innovative manufacturing yet with uncompromising attention to traditional values. Creating the harmony by combining enlightening ideas with sophistication craftsmanship, brining in a new dimension to luxury garments and also to the young London fashion industry.

KLAUS OBERMAIER, CHRIS HARING

Vivisector

o what extent does the quality of movement of the virtual world influence real sequences of human movement? Will the real world of the 21st century assume via nanotechnology attributes of the virtual world? Are there still significant differences between a body that is made of synthetic material and warmed artificially and the deep glow of trillions of living cells? VIVISECTOR is an examination of the different speeds of people/nature and technology/information society and of their acceleration; an experiment to overcome the space-time continuum in the real world. It breaks the linearity of movement and in doing so shows the absurdity of momentum. Based on the video-technological concept of the moving body-projection that made D.A.V.E. an international hit, VIVISECTOR now goes one step further: the exclusive concentration on video light and video projection produces a new stage aesthetic in which light, body, video and acoustic space form an unprecedented unity.

UVA UNITED VISUAL ARTISTS

ユナイテッド·ビジュアルアーティスト
美国视觉艺术家
fragment
Fragment is a site specific installation that investigates our (in)ability to correctly interpret the surrounding environment. The work continues the studio’s ongoing study into scientific models of nature and their experiments in utilising light as a formable material.
421 octahedron frames are assembled to form an inverted pyramid, suspended in a day-lit atrium, catching and reflecting light downwards into the space. Artificial white light is animated within the structure to create fragmented images; shapes that allude to real world illusions such as a desert mirage or fata morgana.