Système Environnemental Encapsulé
Cette machine est entièrement équipée d’une machine à brouillard comme pour envelopper les plantes dans un brouillard des deux côtés et d’un système d’alimentation en eau goutte à goutte qui peut être activé en fonction de la situation afin de maintenir l’état d’une plante et de contrôler la température et l’humidité intérieures. De plus, la forme cylindrique peut capturer entièrement la lumière naturelle à des angles de 365 ° depuis les verres, et elle peut correspondre à la croissance des plantes en ayant la plus grande échelle de hauteur de la série. Les ventilateurs au plafond jouent le rôle du vent et une plante peut écouter la musique des haut-parleurs étanches. La machine absorbe des éléments essentiels – pluie, vent, lumière et son – par des moyens artificiels et complète un petit monde où son cycle écologique est condensé. Cela nous permet d’admirer la beauté des plantes en n’étant pas affecté par l’environnement extérieur.

50Myconnect

Myconnect “offers the experience of a symbiosis of connection between humans, nature and technology. The spectator becomes an actor by lying in a capsule, equipped with a helmet and body sensors measuring the variations in his rhythm This data is modulated and transmitted to a closed universe of mycelium culture (white mushroom) to produce alterations using electrical resistance. These variations in turn generate signals, sent back to the person in the form of vibration, sound and light. Each cycle can be different depending on whether the experience is stimulating or calming. This type of perceptual exchange enabled by technology reveals how much the human being is an integral part of the complex network that links him to his environment.

STRANDBEEST VOLE
Jansen a récemment compilé une collection de ses œuvres dans la vidéo ci-dessus, qui relate l’évolution de Strandbeest au cours des dernières années. Le montage encapsule des formes antérieures portant des voiles massives, des créatures ressemblant à des chenilles, et maintenant, des créatures ailées qui volent les pieds au-dessus du sol et témoigne du dévouement de l’artiste depuis des décennies à développer des œuvres réalistes.
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STRANDBEEST VOA
Jansen recentemente compilou uma coleção de seus trabalhos que narra a evolução do Strandbeest durante os últimos anos. A montagem encapsula formas anteriores carregando velas maciças, criaturas semelhantes a lagartas e, agora, criaturas aladas que voam pés acima do solo e é uma evidência da dedicação de décadas do artista.

recognition
RECOGNITION

Recognition, winner of IK Prize 2016 for digital innovation, is an artificial intelligence program that compares up-to-the-minute photojournalism with British art from the Tate collection. Over three months from 2 September to 27 November, Recognition will create an ever-expanding virtual gallery: a time capsule of the world represented in diverse types of images, past and present.A display at Tate Britain accompanies the online project offering visitors the chance to interrupt the machine’s selection process. The results of this experiment – to see if an artificial intelligence can learn from the many personal responses humans have when looking at images – will be presented on this site at the end of the project.Recognition is a project by Fabrica for Tate; in partnership with Microsoft, content provider Reuters, artificial intelligence algorithm by Jolibrain.

Enlightenment Capsule
“Enlightenment Capsule, which featured a rainbow-colored acrylic lotus blossom set within a space-age capsule illuminated by sunlight. …Enlightenment Capsule blends traditional symbolism with futuristic elements.” Katrina Klaasmeyer

Moncler’s Genius Fall 2020
Since its inception, the Moncler genius project has asked designers coming from diverse cultures to create capsule collections inspired by the iconic Moncler puffer jacket. For his collection, london-based designer Richard Quinn visited the retro-futurism of the sixties. With clear influences like stanley Kubrick’s 2001: A Space Odyssey and Twiggy, the collection perfectly blends maximalism, bold colors and couture shapes. Of course, Quinn’s flower prints — part of his design DNA — were not left behind.

FEED ME
FEED ME is a ludic experiment that explores the relation between the artwork and its public. With a self-ironical approach, the project is calling the subjects of monstrous and perpetually insatiable Tra to her feeding ritual: the entire exhibition is a live organism that feeds on the energy produced by the movements of the public. It is an interactive multimedia capsule that carries a dynamic platform where everything moves, pulses and reacts to motion on a common rhythm. The exhibition space is structured in narrowing concentric circles, creating several worlds that include each other and cocoon around a magical protection space, thus the public is activated on several levels.

Tree Mountain
A Living Time Capsule
La húngara Agnes Denes creó un proyecto ecológico para la recuperación de terrenos naturales. Entre septiembre y octubre de 1995 11.000 personas plantaron 11.000 árboles en una gran montaña artificial en Finlandia. De ahí­ surgió la impresionante “Tree Mountain” o “Montaña de los árboles”. Esta artista concibió el patrón matemático donde se situarí­an dichos árboles.

A Time Capsule of Life
FILE FESTIVAL
The sculpture is created from plastic bags, a contemporary mode of collecting daily goods. When connected together they form a transparent structure of cells and conduits. By connecting the bags with air tubes the bags will be pumped up. This is put in motion by the movement of the audience who become part of the system, allowing the seed to grow out as a mature structure. By vacuum the balloon structure growth and decay alternate in a process of which man forms a natural part. When the sculpture is growing or reducing it causes a cracking sound because of the sort of plastic the shopping bags are made of.

CAPSULE
Miriam Giessler en Hubert Sandmann werken samen sinds 1997. Hun kunstinterventies in openbare ruimten zijn gebaseerd op het van dichtbij bekijken van details van het stedelijk leven. In hun multi-mediale werken breken zij de perceptuele routine en transformeren menselijke ruimtes.

Je Grandis enfantin
via highlike submit
“Mes créations sont réalisées à partir de matériaux issus de notre environnement quotidien et de techniques artisanales. Peluches, vêtements usagés, capsules de café, bouteilles d’eau, boîtes de conserve… Elles sont tissées, découpées,cousues… Un flux de matériaux hétéroclites assemblés pour parler du monde tel qu’il est. Comme des peaux sursignifiantes, inondées et innervées de signes. Mes sculptures associent notre anatomie aux catastrophes naturelles, à la guerre, aux grandes dates de l’histoire…”

installation in grafenegg schlosspark

Balance Capsule

Für den Schlosspark von Grafenegg wurde eine Skulptur realisiert, die den Begriff des Parks kritisch untersucht: als gestaltete Landschaft, als Raum des Außergewöhnlichen, der Entdeckungen und Überraschungen, der inszenierten Blicke – gleichzeitig Themenpark und Museum. Die Telefonzelle stammt aus Westberlin, und der Titel der Arbei, “Balance Capsule”, gibt einen Hinweis auf die komplexen Zusammenhänge von internationaler Diplomatie, Modernismus, Raumfahrt und Telekommunikation. Die gelbe Zelle mit den abgerundeten Kanten, ein Modell aus den Siebzigerjahren und den österreichischen Telefonzellen jener Zeit sehr ähnlich, ist ein vertrautes Element des modernen öffentlichen Raumes, doch auf der hohen weißen Pyramide unerreichbar. Ein Grabmal oder Monument, ägyptische Kultur, durch westliche Kunst- und Kulturgeschichte gefiltert: Hier kommen Minimal Art, Romantizismus, Musealisierung, politische Skulptur, Messebau und Appropriation zusammen und sorgen für produktive Missverständnisse.

하우스-루커-코
是由豪斯拉克科
“Climate Capsules: Means of Surviving Disaster”

In view of the advancing climate change, the exhibition “Climate Capsules: Means of Surviving Disaster” at the Museum für Kunst und Gewerbe Hamburg poses the question: “How do we want to live in the future?” and draws attention to the socio-political consequences of coexistence under new climatic conditions. In view of the fact that the politicians are hesitant to enforce strict measures for climate protection and the citizens very sluggish about changing their habits, the change appears inevitable. The world community is accordingly confronted with the challenge of investigating various possible means of adapting to the climate change. This exhibition is the first to bring together historical and current climate-related models, concepts, strategies, experiments and utopias from the areas of design, art, architecture and urban development – pursuing not the aim of stopping the climate change, but envisioning means of surviving after disaster has struck. More than twenty-five mobile, temporary and urban capsules intended to make human life possible independently of the surrounding climatic conditions will be on view – from floating cities and body capsules to concepts for fertilizing sea water or injecting the stratosphere with sulphur. A symposium, film programme, readings, performances and workshops will revolve around the interplay between design processes and political factors such as migration, border politics and resource conflicts, and investigate the consequences for social and cultural partitioning and exclusion.