Primordial
Primordial is a generative artwork made from code, depicting a stylised, coloured take on cellular microscopic life. The flow of organisms projected onto the floor are audio responsive, moving and growing to the pulse of sound. These creatures navigate the space in their own freeform way, naturally encouraging viewers to flow into the exhibition.
Another Generosity
Another Generosity explores a new structure that consists of a membrane holding two basic elements: air and water. The simple structures are combined to create a visible and dynamic cellular structure. The inflated elements mediate between the natural and built environment. They respond to external and sometimes unseen stimuli, creating a new kind of experience, a momentary hesitation that heightens our awareness of our surroundings.
Microscopic Opera
Les micro-organismes peuvent-ils aussi être des artistes? Comment notre relation à ces créatures change-t-elle, après qu’elles sont vues dans un contexte artistique et théâtral? À la recherche d’un micro-organisme qui aurait les qualités d’un interprète, j’ai été présenté à C. elegans; un petit ver, de moins d’un millimètre de longueur, qui se déplaçait aussi élégant que son nom l’indique et la première créature à avoir séquencé tout son génome. J’ai été intrigué lorsqu’un chercheur m’a dit que, pour distinguer les vers au microscope, il utilisait différentes mutations qui modifiaient la façon dont ils se déplaçaient. Certains se déplacent en spirale, d’autres ont roulé ou ont des contractions et certains sont devenus morbides obèses à cause de leurs mutations. Dans mon installation, j’ai cinq boîtes de Pétri remplies de cinq vers mutés différents, chacun se déplaçant légèrement différemment. Ces cinq groupes d’interprètes sont filmés avec un microscope USB diffusé en direct sur les cinq écrans. J’ai écrit un logiciel spécial qui suit les vers et traduit leurs mouvements en sons, faisant d’eux les interprètes non avertis de la musique dans le monde macroscopique au-dessus de leurs têtes. Alors que les chercheurs sont presque comme des dieux pour ces vers impuissants, les contrôlant de leur première à leur dernière division cellulaire , j’espérais donner aux vers le pouvoir de nous affecter également dans notre monde.
Pixel Nero Chiaro
“L’Origine du Monde” è un’installazione interattiva proiettata a terra (12 mx 7,50 m) ispirata alla biologia, ai microrganismi e agli automi cellulari. L’artista fonde le cellule, gli elementi base della vita con i pixel, gli elementi base dell’artificiale “vita”. Questi universi fluidi reagiscono visivamente in base ai movimenti dei visitatori. Le interruzioni nella traiettoria di queste cellule vengono create sotto i loro piedi. Le forme fluttuanti creano impressionanti illusioni ottiche.”
Fulgurations
Fulgurations is een generatieve installatie samengesteld uit een reeks LED-schermen die een inhoud in constante mutatie toont. Het reageert op een algoritme ontworpen door Studio Daniel Canogar, geïnspireerd door de cellulaire activiteit en ander soort collectief gedrag en natuurpatronen. De code die deze beelden regeert, maakt gebruik van het computationele principe van cellulaire automaten, ontwikkeld door de wiskundige John von Neumann. De logica van dit systeem werkt door de invloed van naburige eenheden, wat collectief gedrag in de keten uitlokt met een hoge esthetische waarde.
Une autre générosité
Another Generosity explore une nouvelle structure qui consiste en une membrane contenant deux éléments de base: l’air et l’eau. Les structures simples sont combinées pour créer une structure cellulaire visible et dynamique. Les éléments gonflés servent d’intermédiaire entre l’environnement naturel et bâti. Ils répondent à des stimuli externes et parfois invisibles, créant un nouveau type d’expérience, une hésitation momentanée qui augmente notre conscience de notre environnement.
Morphogenetic Creations
Created by a mathematician, digital artist and Emmy award winning supervisor of computer generated effects – Andy Lomas, Morphogenetic Creations is a collection of works that explore the nature of complex forms that can be produced by digital simulation of growth systems. These pieces start with a simple initial form which is incrementally developed over time by adding iterative layers of complexity to the structure.The aim is to create structures emergently: exploring generic similarities between many different forms in nature rather than recreating any particular organism. In the process he is exploring universal archetypal forms that can come from growth processes rather than top-down externally engineered design.Programmed using C++ with CUDA, the series use a system of growth by deposition: small particles of matter are repeatedly deposited onto a growing structure to build incrementally over time. Rules are used to determine how new particles are created, and how they move before being deposited. Small changes to these rules can have dramatic effects on the final structure, in effect changing the environment in which the form is grown. To create these works, Andy uses the GPU as a compute device rather than as a display device. All the data is held in memory on the GPU and various kernel functions are called to do things like apply forces to the cells, make cells split, and to render the cells using ray-tracing. The simulations and rendering for each of the different animated structures within this piece take about 12 hours to run, Andy explains. By the end of the simulations there are over 50,000,000 cells in each structure.The Cellular Forms use a more biological model, representing a simplified system of cellular growth. Structures are created out of interconnected cells, with rules for the forces between cells, as well as rules for how cells accumulate internal nutrients. When the nutrient level in a cell exceeds a given threshold the cell splits into two, with both the parent and daughter cells reconnecting to their immediate neighbours. Many different complex organic structures are seen to arise from subtle variations on these rules, creating forms with strong reminiscences of plants, corals, internal organs and micro-organisms.
Skinned
Francesca Fini è un’artista interdisciplinare focalizzata su cinema sperimentale, animazione digitale, nuovi media, installazione e performance art. “Skinned” un collage dadaista che gioca sul concetto di identità, con selfie impossibili realizzati dai protagonisti di capolavori storici della ritrattistica e dell’autoritratto. Cosa si nasconde sotto la pelle, scorticato dalle radiazioni tossiche dei telefoni cellulari? Cosa avrebbero fatto Leonardo da Vinci e Andy Warhol con questo dispositivo malvagio?
Biomatrix
«Biomatrix» est une installation d’extrémités scycles de bulles de cellules éruptives émergeant à la surface de l’huile de silicone liquide. Cette circulation du liquide coloré évoque le comportement du magma ou du sang et, en raison de la viscosité élevée de l’huile de silicium, illustre le mouvement du matériau à une vitesse faussement plus lente que l’attente du spectateur. La piscine à commande électrique devient une interface qui amplifie l’impact visuel et produit à l’infini des motifs cellulaires. Une formation de grille ordonnée apparaît comme une matrice numérique, tandis qu’une observation plus approfondie révèle des irrégularités telles qu’une effervescence sporadique et simultanée et des sons plosifs brisant la tension superficielle.
Fabfungus
FabFungus is a physical installation inspired by questions of digital life and cellular growth. FabFungus is also a computational tool for creating digital structures grown out with a simulated process. It is also a manifestation of couple of these forms, brought to physical reality through imperfect 3D printing.
TOGETHER APART BILLUND
Together Apart Billund consists of 375 coated mesh fabric ribbons stretched between the roofline of the Billund community building and the ground. Connected to the ground along an undulating line that curves in on itself, the ribbons create a series of cellular spaces. While the surface generated by the ribbons separates the individual spaces, its porosity provides visual interconnectivity between them. With the top and bottom anchoring patterns aligned symmetrically to the building facade, the installation is situated to have an axial relationship with surrounding buildings. The interplay between the linear top anchor positions and curved ground anchor pattern gives rise to differentiated and complex conditions of visual overlap, density, and transparency. The bright orange color of the installation creates a focal point and invites curious passers-by to interact with the work.
EON
“I considered the first life forms on Earth and how we came to be as a way to refer to the Natural Sciences. I looked at fossil records of the first multi cellular organisms of the Ediacaran Period, 555 million years ago for inspiration. I was struck by the theory of symbiosis in evolution; our DNA ancestors are the resultant fusion of single cellular organisms and bacteria. The millions of bacteria in our bodies are our foremothers. EON is a speculative fiction, a depiction of early life forms underwater. The Universe was formed 13.7 billion years ago. The Earth is 4.543 billion years old. Cyanobacteria or blue-green algae were the first microbes to create oxygen on Earth via photosynthesis 3.5 billion years ago. First humans 200,000-300,000 years ago.” Jennifer Steinkamp
Ольга Земска
stillness in motion
Via her website, “Olga often attempts to make visible those concepts or properties that are indiscernible to the naked eye, such as cellular formations or magnetism. By making visual associations between the visible and the invisible—or the microscopic and the macrocosmic—Ziemska poetically underscores the interrelatedness of all things.”
COLLECTIVE JUMPS / COLLECTIVE JUMPS (EXCERPTS)
Projekt von Isabelle Schad und Laurent Goldring
’The group’s body is made out of many. We exercise practices that have the potential to unite instead of individualize. We understand these practices as a relationship to oneself and to one another, as a pathway. These practices are biological ones, cellular ones, energetic ones. We look at freedom in relation to form : to form that is made of and found by an inner process and its rhythms. Rhythm creates the form. Therefore, there is multitude, multiplicity, subjectivity, and variation : variation within repetition. We look at freedom as the essence of happiness. We experience happiness when the flow of movement can be done together and be maintained. We look at freedom that is guaranteed once everyone within a group can find form in a subjective way. Therefore, there is a specific relation to the term equality : Everyone can be equal, once subjectivity in one‘s own respective rhythm is guaranteed within the form.’I.Schad
Self-Replicating Spheres
Self-Replicating Spheres explores the processes of growth, encapsulation and division through macro-scale objects on an oscillating table. This project attempts to demonstrate synthetic cellular division and replication through non-biological physical objects, without the use of robotics. The individual spheres were created with a hollow shell and an arrangement of small metal spheres and magnets. This internal structure provides the force of attraction for growing connections, the flexibility and, ultimately, the capability to divide. By adding more spherical units and supplying energy in the form of the oscillating table, the system will continually grow and divide.
Джузеппе Рандаццо
transmutation
Transmutation#01 is a generative system composed of two interacting multicellular agents in a Voronoi spatial configuration. Each cell owns a color/saturation information. The cells interact with each other and with the other agent. The two agents are different. The circular one, the most active and in evolution, constantly tries to reorganize its shape and color structures, connecting similar colors in concentric formations. Moreover the saturation and shape of its colors aggregates are influenced by the duration and proximity of the interaction with the other pluricellular agent, whose motion is abstract and immutable. The metaphor at the heart of this system is a reference to the subject of the 2012 Gender Docufilm Festival in Rome, from which the video was commissioned, that precisely addresses the issues related to the the reengineering and the transmutation of the sexual, physical, mental identity, through the collision / confrontation with the external reality. Coded with Processing, rendered with 3Delight (via Processing). In collaboration with Filippo Ulivieri, music by Massimo Dolce.
Джон Маккормак
Eden – an evolutionary sonic ecosystem
Eden is an interactive, self-generating, artificial ecosystem. A cellular world is populated by collections of evolving virtual creatures. These creatures move about their environment, making and listening to sounds, foraging for food, encountering predators and possibly mating with each other. Over time, creatures evolve to fit their landscape. Eden has four seasons per year and each year lasts 600 Eden days. One Eden year passes by in about fifteen minutes of real time. A simple physics dictates only three basic types of matter in the Eden world: rocks, biomass and sonic creatures.
A-Z Cellular Compartment Units
THE INNER LIFE OFF CELL
Harvard University selected XVIVO to develop an animation that would take their cellular biology students on a journey through the microscopic world of a cell, illustrating mechanisms that allow a white blood cell to sense its surroundings and respond to an external stimulus. This award winning piece was the first topic in a series of animations XVIVO is creating for Harvard’s educational website BioVisions at Harvard.
Cellulairement
Cellulairement entend élucider le sentiment de hantise, à travers la figure du spectre, résidu d’identité caractérisé par une visibilité invisible, capable d’une existence désincarnée. Il s’agit pour l’artiste de transformer son propre corps en réceptacle de spectres, par la mise au point d’un dispositif lui permettant d’être ponctuellement hantée par chacun des visiteurs de l’exposition.