‘Semi-Diurnal Spaces’ is a site specific immersive installation in form of a full dome which makes use of local tidal and atmospheric data of South Wales. Locals were invited to experience their close-by waterbody through a meditative environment, connecting to it in a poetic, technological and tele present way. Tidal patterns and atmospheric data such as wind and humidity influence a digital NVIDIA FleX particle system in real-time. The site-specific data influences the gravitational forces, fluid viscosity and flow rate within the dome as a body, resulting in a living digital sculpture and AV experience connecting to aspects of the channel itself.

Atmospheric Wall

大气波浪墙，一个新的文化地标和芝加哥首个公共艺术装置，由全球知名艺术家奥拉维尔·埃利亚松 (Olafur Eliasson) 设计。突出显示在外部杰克逊大道。墙，原件是专门为威利斯大厦创作的。大气波浪墙提供了一种免费且易于访问的方式，可以在 Loop 体验户外世界一流的艺术。
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Atmospheric wave wall, a new cultural landmark and the first public art installation in Chicago by globally acclaimed artist Olafur Eliasson. Prominently displayed on the exterior Jackson Blvd. wall, the original piece was created specifically for Willis Tower. Atmospheric wave wall provides a free and accessible way to experience world-class art outdoors in the Loop.
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Стена с атмосферными волнами, новая культурная достопримечательность и первая инсталляция в Чикаго, созданная всемирно известным художником Олафуром Элиассоном. Заметно отображается на экстерьере Jackson Blvd. стена, оригинальная часть была создана специально для Уиллис Тауэр. Стена с атмосферными волнами – это бесплатный и доступный способ познакомиться с искусством мирового класса на открытом воздухе в Loop.

Terraforming
The video work “terraforming” focusses on the transformation of a natural environment through energy input. The underpinning idea is that of three phase system change. This begins with the stage of equilibrium where a system is in a certain balance and not changing at all. In the next stage an evolving system enters a state of motion and change where it moves away from equilibrium. The third and final stage is the phase of transformation in which the original system becomes something else. The key element in this transformation process is the sun. This process is called terraforming, whereby a hostile environment, i.e. a planet that is too cold, too hot, or has an unbreathable atmosphere, can be altered to make it suitable for human life. Such a process is not merely a futuristic scenario but represents exactly what is happening on Earth at this moment as the process of atmospheric change brought about by increasing CO2 emissions heats up our planet and speeds up the process of climate change.
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Tele-Present Water
This installation draws information from the intensity and movement of the water in a remote location. Wave data is being collected in real-time from National Oceanic and Atmospheric Administration data buoy station 46075 Shumagin Islands Alaska (53°54’39” N 160°48’21” W). The wave intensity and frequency is scaled and transferred to the mechanical grid structure resulting in a simulation of the physical effects caused by the movement of water from this distant location.

halo
The title of the work HALO refers to the natural optical phenomena seen around the sun or moon, produced by light in the interaction of ice crystals. The first references of the atmospheric phenomenon can be found in a section of the “Official History of the Chin Dynasty” (Chin Shu) from 637, on the “Ten Haloes”, giving technical terms for 26 solar halos. In the exhibition, the place of the celestial body is given to the art viewer, who becomes a central part of the piece.

Improvisation on 4 Sequences

So now, I have the time to release some of these quadraphonic performances. It’s not entirely feasible to release a quad performance on vinyl — I did it, with help —the first quad vinyl release in at least 30 years, complete with enclosed hardware decoder. As a collector’s item, that’s fine, but I want to make the quad files available in a more practical way. This Geneva recording is my first release solely on my Atmospheric label. The piece is titled “Improvisation on Four Sequences” and those four sixteen-stage sequences have been the “raw material” of most of my Buchla concerts since the early 70’s. We’re making this performance available in several formats, including quadraphonic, 5.1, stereo and ambisonic.; all at 44.1 and 88.2.