Répons

“Oh yes, there is a metre, slightly irregular on one level but very regular on another. There are so many irregular things in this piece that at one point you need to have a regular metre as you say – a bass and a regular pulse anyway – but also a series of harmonies which are all symmetrical. The harmony always gives this impression of something followed by its inverse; there is always a centre – an axis of symmetry. This symmetry of harmony corresponds in harmonic terms to a regular metre. This is very important. There are three types of time. That which is chaotic and irregular such as you have in the beginning (in the speed I mean). Then you have, in the speed, the very regular rapid repeated notes – always in semiquavers. Finally at the end there is a regularity, a kind of metre – but with much ornamentation. The ornamentation is in fact very irregular, but the metre itself is very regular”. Pierre Boulez

parallaxis
In a new moving-image work by Melbourne-based artist and architect Matthew Bird, two bodies move across the land, working with large cylindrical instruments. We witness them map and survey a terrain analogous to universal physical and psychological locations, each revolution marking a paradoxical attempt to pin an earthly position through perpetual movement. Playing on the human need to understand our relationship to the people and places around us, Parallaxis considers the potential for architectural processes and measurements to act as a foundation for structures of understanding.

Thermotaxis
file festival
The term “Thermotaxis” signifies a movement of a living organism in response to heat stimulation. A thermal spot has power to encourage people to gather together like open fires in winter or water places in summer. The work “Thermotaxis” characterizes the open space as invisible thermal spots by providing people with thermal information. Our work aims to create a new spatial structure for communication not by architectural approach but by using information technology.

PLEXUS
Aurélien Bory is a Toulouse-based choreographer working at the intersection of dance, circus and visual art. In Plexus, he encloses the Japanese dancer Kaori Ito in a forest of tensioned vertical cables. It’s as if she’s in a transparent cuboid cage. We can see her, but her image is blurred by the shimmer of Arno Veyrat’s lighting as it moves across the cables. Ito strains against these confines, writhing, flailing and hurling herself against the cables. Every sound is hugely amplified, so with her every movement we are assailed by a high-tensile jangling and groaning. At intervals she subjects her environment to furious challenge, racing backwards and forwards within the limited inner space so that the cage rocks on its axis. At other times she positions herself between the cables so that they bear her weight, and hangs there like an exhausted insect, faintly articulating her limbs.

Internal view of the O’Neill cylinder
“One of my earliest Space Colony paintings was based on the giant ‘Model 3’ cylindrical habitats envisioned by Gerard O’Neill. I imagined the clouds forming at an ‘altitude‘ around the rotation axis. At this time the scene is bathed in the ruddy light of all the sunrises and sunsets on Earth at that moment as the colony briefly enters the Earths shadow, out at the L5 Lagrangian point where stable locations are easily maintained. Oil on canvas panel disposition unknown. “

Vitreous
The nine virtual sculptures underlying vitreous resulted from experimental setups by Robert Seidel for generating three-dimensional clusters of fibrous refractions, as well as the gravitational lensing of different volumetric and chromatic densities. Singular elements gravitate towards each other, accumulating in a gigantic sculptural system, where each entity exists with its own visual axis and vanishing point. The impalpable luminous formations create prismatic interactions between the ridges and plateaux of the main colours floating in front of the infinite violet background.

АЙРИС ВАН ЭРПЕН
イリス ヴァン ヘルペン
Autumn/Winter 2019
This season van Herpen collaborated with American kinetic sculptor Anthony Howe, whose pieces are powered by the wind. His spherical Omniverse sculpture had pride of place in the Élysée Montmartre venue. The designer said she was compelled by the way its arching vertebrae, spinning on a curving axis, simultaneously expand and contract. Her finale dress was made in the image of Omniverse, with rotating wings constructed of aluminum, stainless steel, and feathers.

Disappearance

In this work the movement of a large video monitor mounted on an industrial fork-lift truck creates a virtual representation of a larger than life size ballerina. As the forklift moves the monitor up and down the ballerina is presented from head to toe, and as the forklift truck rotates the ballerina also appears to turn. In this way the monitor functions as a window that gradually reveals the virtual presence of the ballerina who is dancing in the same axis as the rotating forklift truck. Also visible inside the motor compartment of the forklift truck is a small rotating ballerina figurine in front of which a video camera moves up and down. This mechanism is electronically synchronised with the movement of the forklift itself and provides the closed circuit source for the video image of the ballerina that is seen on the monitor screen. Disappearance evokes and celebrates the memory of the ballerina on a music box (a first generation robot) and generates her virtual reconstruction to the extent that the machinery of reproduction itself now incarnates her pirouettes.
video

Max-Planck-Institut

The CMS consists of an industrial robot arm with six independent axes, extended with an L-shaped cabin axis. The seventh axis allows for varying the orientation of the cabin with respect to the robot arm by changing the location of the cabin’s attachment point from behind the seat to under the seat, or any intermediate position. Recently, the CMS has been further extended with a linear axis of ten meters. The resulting eight degrees-of-freedom (DOF) provide an exceptionally large workspace. Several extreme motions and positions can be achieved, such as large lateral/longitudinal motions, sustained centrifugal motions, infinite head-centered rotation, and up-side-down motions.

Рейнальд Друхин

Der 1969 geborene zeitgenössische Künstler Reynald Drouhin lebt und arbeitet in Paris und unterrichtet Multimedia an der School of Fine Arts in Rennes. Er studierte Bildende Kunst an den Beaux-Arts de Paris (DNSAP und Masters in Hypermedia Multimedia, 1998) und an der Universität Paris 1 (Maîtrise, 1994). Seine Praxis umfasst digitale Werkzeuge, Fotografie, Video, Installation und Skulptur. Er ist nicht zufrieden mit einem dedizierten Raum (dem des Internets, einer Projektionsfläche oder der Räumlichkeit einer Galerie), sondern erfasst wiederum verschiedene Möglichkeiten und versucht so, etwas anderes als das Sichtbare zu enthüllen, wie einen parallelen Raum, gespenstisch, seltsam, oder er hat sich aus kodifizierten Daten ergeben. Er hat an Veranstaltungen teilgenommen, die von Digital Arti (2011), auf der Rennes Biennale (2010), beim File Festival (2013) Media Art, organisiert wurden. Ghost Walk “(2009) und„ Es war einmal… “(2007) in der Galerie der schönen Künste in Lorient („ Ohne Titel “, 2006) in der Galerie Biche de Bere („ Natural / Digital “, 2005), bei Confluences (2003), in der Public Gallery (2001), beim Belfort International Urban Multimedia Arts Festival (2000), auf der Montreal Biennale und bei der von Champ Libre organisierten internationalen Veranstaltung Video & Electronic Art (Montreal, 2000 und 1999) und bei ISEA (Chicago, 1997).

Dina Khuseyn, Patrick K.-H., Oleg Makarov

A multivarious result of visual representation of 3 non-identical structures (dance performance, sound art and animation) points at interactivity as the main possible axis of reference. Necessity of this axis derives from specific interpretations that can only appear by juxtaposing of several systems. It opposes to traditional “parallelism” of media, employed in theater that only imitates causality, but having it already done before performance is starting.
In Cinestetika, each element of each media works as separate PROCESS, but also serves a SIGNAL to other medias. This essential core makes Cinestetika rather an instrument to make a term “live performance” filled with its perfect sense.