Alexandra Dementieva

Limited Spaces N2
On approaching the piece, the viewer must mount a bicycle and start pedaling at a suitable and steady speed — only then will the projection of a film onto the screen start. In order to watch the film to the end one has to continue cycling without stopping. This work is built around a performance, produced by two actors: a man riding a bicycle and a woman, who, concealed behind the screen, moves depending on the man’s velocity, unintentionally creating changing reliefs which resemble sculptures. The abusive nature of the relationship embodied in the performance clearly draws on the ancient Greek myth about sculptor Pygmalion and his “artwork” Galatea on the one hand, and on the other references more contemporary feminist discourse, something to which the artist is far from being indifferent. The faster the man pedals, the faster and more forcedly the woman moves. Few trained artists could withstand such a speed.

ANDREAS HAIDER AKA MUK

Skia

file festival
As natural as the daily sunshine, one’s shadow, formerly a constant companion, now often escapes from attention. A silhouette of our physical form, one’s shadow is no more than a flat, disembodied reduction of the contours of one’s self.The installation skia examines the interplay of our shadows and our conscious awareness of our physical displacement of space. In this closed-circuit installation, visitor´s images are manipulated and projected as artificial shadows.What does it mean if one’s shadow suddenly frees itself and develops an alien autonomy? And what has such an estrangement in common with the multiple identities of the post modern ego?

MSHR

Threshold Release Ornament
MSHR is the art collective of Birch Cooper and Brenna Murphy. The duo collaboratively builds and explores systems composed of sound, light, sculpture, software and circuitry. Their practice is a self-transforming cybernetic entity with its outputs patched into its inputs, the resulting emergent form serving as its navigational system. These outputs primarily take the form of installations and performances that integrate interface design with generative systems and a distinctive formalist approach. MSHR’s name is a modular acronym, designed to hold varied ideas over time. MSHR emerged from the art collective Oregon Painting Society in 2011 in Portland, Oregon, USA.

Yuge Zhou

Underground Circuit
Underground Circuit is a collage of hundreds of video clips shot in the subway stations in New York. Station to station, the movement of the commuters in the outer rings suggests the repetitive cycle of life and urban theatricality and texture. The inner-most ring includes people sitting on the bench waiting; the central drummers act as the controller of the movement, inspired by the concept of the Four-faced Buddha in Chinese folk religion, the god who can fulfill and grant all wishes of its devotees. For the installation, the video is projected onto the gallery floor and mapped onto a cube with relief in the middle of the projection area. The installation invites audiences to sit on the central cube as Voyeur-gods, to observe the anonymous characters in the projected urban labyrinth.

REVITAL COHEN & TUUR VAN BALEN

The Immortal
A number of life-support machines are connected to each other, circulating liquids and air in attempt to mimic a biological structure.
The Immortal investigates human dependence on electronics, the desire to make machines replicate organisms and our perception of anatomy as reflected by biomedical engineering.
A web of tubes and electric cords are interwoven in closed circuits through a Heart-Lung Machine, Dialysis Machine, an Infant Incubator, a Mechanical Ventilator and an Intraoperative Cell Salvage Machine. The organ replacement machines operate in orchestrated loops, keeping each other alive through circulation of electrical impulses, oxygen and artificial blood.
Salted water acts as blood replacement: throughout the artificial circulatory system minerals are added and filtered out again, the blood gets oxygenated via contact with the oxygen cycle, and an ECG device monitors the system’s heartbeat. As the fluid pumps around the room in a meditative pulse, the sound of mechanical breath and slow humming of motors resonates in the body through a comforting yet disquieting soundscape.Life support machines are extraordinary devices; computers designed to activate our bodies when anatomy fails, hidden away in hospital wards. Although they are designed as the ultimate utilitarian appliances, they are extremely meaningful and carry a complex social, cultural and ethical subtext. While life prolonging technologies are invented as emergency measures to combat or delay death, my interest lies in considering these devices as a human enhancement strategy.This work is a continuation of my investigation of the patient as a cyborg, questioning the relationship between medicine and techno- fantasies about mechanical bodies, hyper abilities and posthumanism.

SYD MEAD

In 1979, projects began to include work with most major studios, on such feature films as Star Trek: The Motion Picture, followed by, Bladerunner, TRON, 2010, Short Circuit, Aliens, Time Cop, Johnny Mnemonic, Mission Impossible-3, and most recently Elysium starring Jodi Foster and Matt Damon, Directed by Neill Blomkamp. Beginning in 1983, Syd began to develop close working relationships with a number of major Japanese corporate clients, including; Sony, Minolta, Dentsu, Dyflex, Tiger, Seibu, Mitsukoshi, Bandai, NHK and Honda as well as contributing to two Japanese film projects, The New Yamato and Crises 2050. In the 1990s’, Syd supplied designs for two Japanese toy icons, “The New Yamato” and all eight robot characters in the new Turn-A Gundam mobile suite series which were also seen as characters in Television shows.

NILS VÖLKER

Two Hundred and Seventy
Through the combination of an everyday material with precise technology the mixed media installation fills the whole columned hall from the 19th century with its fluid movement and peculiar sound. Concavely arranged and floating above the spectators heads the form of the artwork seems to pass the skylight like the sun’s rays. Subdivided into nine columns, the nearly 70 square metres large piece of art follows a site-specific choreography determined by a program. Its moving surface is made from 270 white garbage bags, being inflated and deflated. In this way shapes and the boundaries of the installation itself start to dissolve. “Two Hundred and Seventy“ is the first installation with an undisguised view behind the scenes and onto the origin of the wavelike and organic movement: 1080 fans, lots of cables and 45 circuit boards

Guy Ben-Ary

CellF
“CellF is the world’s first neural synthesiser. Its “brain” is made of biological neural networks that grow in a Petri dish and controls in real time it’s “body” that is made of an array of analogue modular synthesizers that work in synergy with it and play with human musicians. It is a completely autonomous instrument that consists of a neural network that is bio-engineered from my own cells that control a custom-built synthesizer. There is no programming or computers involved, only biological matter and analogue circuits; a ‘wet-analogue’ instrument.”Guy Ben-Ary

Andrew Schneider

YOUARENOWHERE
Conjuring a futuristic sort of shamanism, Andrew Schneider’s YOUARENOWHERE experiments with the virtues of sensory overload via quantum mechanics, parallel universes, and the “Missed Connections” board on Craigslist. Battling glitchy transmissions, crackling microphones, and lighting instruments falling from the sky, one guy on a mission and a tricked-out interactive new-media landscape merge to transform physical space, warp linear time, and short-circuit preconceived notions of what it means to be here now.

Jeppe Hein

杰普·海因
ЙЕППЕ ХАЙН
ЈЕПЕ ХЕИН
Distance

An immense circuit, conceived as a graphic composition, is extended across a forest of fine metal pillars. Arabesques, spirals and nodal interconnections support a track for a hundred or so white balls, razing the ground or very high up in the air. An infrared sensor detecting the arrival of each visitor triggers the propulsion of a ball, which then journeys through the vast visual and sonic landscape. The installation draws on different sources evoking a primitive industrial imaginary, such as the machines of Fritz Lang’s Metropolis and Tinguely’s assemblages, and the fairground universe of roller coasters and pinballs.

JEFFREY SHAW

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

Soichiro Mihara

三原 聡一郎
The Blank to Overcome
file festival
Part of the ”blank” project that the artist has been creating since 2011, “The Blank to Overcome” utilizes air pumps, power supply control circuitry, water, solution, glycerin, ethanol and electricity to produce bubbles in the air. The theme of ”blanks” denotes a space for an unsolved ”inquiry” through the perspectives for thinking about the post-3.11 present: how the bubbles are always shifting as a giant cluster, almost without mass or structure, and the facing up to this; and the framework since modernity that has prescribed society, and the ”involved” or the ”other”. From this work debate will surely emerge.

Igor Siwanowicz

Devil’s Flower Mantis
“Ten years ago I decided to change my field of research to one that is more in tune with my naturalist’s interests. Neurobiology is the study of cells of the nervous system and the organization of these cells into functional circuits that process information and mediate behavior. Insects, having a relatively simple and hence easier to study, nervous system, are commonly used as models, the premise being that on the most basic level of relatively simple neuronal networks we have a lot in common. It was my extracurricular expertise in invertebrate anatomy and macro photography that made the transition possible.”

DOUG AITKEN

ダグエイケン
道格·艾特肯
sonic fountain

A large round hole—if it were a hot tub, it would be comfortably orgy-sized—has been gouged roughly out of the slick concrete floor of 303 Gallery and filled with milky gray water. Attached to the black duct-work and girders of the ceiling directly above it is a square of pipe surrounded by a speaker array. In the center of the square and at each of its corners is a computer-controlled spigot, dripping, spitting or jetting out, in a rhythmically complex 15-minute cycle, milky water pumped up from the pit in a closed circuit. This is Doug Aitken’s Sonic Fountain.

Mark Lawrence Stafford

via highlike submit
“While marketing drives demand and justifies the over-production of consumer electronics, I create sculptural landscapes and video installations from the circuit boards left behind in the wake of obsolescence. The majority of this material would be in landfills or contaminating our ecosystem from the recycling of precious metals and other natural resources.”

Zhu Pei and UNRBANUS

Digital Beijing
The Digital Beijing building begins to explore what will occur in the digital epoch. The building served as the control and data centre for the 2008 Olympics. The concept for Digital Beijing was developed through reconsideration and reflection on the role of contemporary architecture in the information era. Resembling that omnipresent symbol, the bar code, the building emerges from a serene water surface. The façade itself is detailed to resemble an integrated circuit board.

kathy ansel

integrated circuit mask

Andrea Splisgar

SHORT CIRCUITS IN THE AFTER HOUR

Yuge Zhou

Underground Circuit

DAAN BRINKMANN

16 pillars

Skinstrument is a musical instrument which can be played by two players. By means of a tiny imperceptible current the players become part of a circuit. When the players touch each other on the skin this circuit starts to generate sound. The intensity of the touch determines the frequency of the sound.

CHRISTOPH HAAG, MARTIN RUMORI, FRANZISKA WINDISCH AND LUDWIG ZELLER

open circuit
file festival

Open circuit is a sound installation by Christoph Haag, Martin Rumori, Franziska Windisch and Ludwig Zeller. The team created the project while studying at the Academy of Media Arts Cologne. Open circuit consists of a labyrinth of open copper trails that cover the floor and walls of the installation space. These trails carry the electrical signals of a multichannel sound repository which become audible when wireless speakers are placed on the copper. The sound emitted by the speakers alters depending on how they are moved.

LYOTA YAGI

八木良太

circuit

Nives Widauer

Global Globes

“..In Global Globes (2011), Widauer has collected over 290 globes of all different sizes, years of manufacture and locations and geopolitical variation, putting them together into a mosaic-like map of the world. Global Globes is conceptually designed by the artist as a floor installation, so that the best place to see it is via a live circuit camera installed high above the ‘globe world map’..”

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.

Tarek Atoui

The Metastable Circuit

Arcangel Constantini

Phonotube
Phonotube are experimental instruments for live audio visual performance, constructed as Luminous instruments and sound sequencers, that use fluorescent lamp tubes and LED strips, as light sources. The tubes are covered with negative ofsset, printed with sound patterns that spin at variable speed. The oscillation from the light emitted by these patterns is transduced to sound, processed by light excitation, a variety of electronic circuits as pre-amps with photo-cells and phototransitors, voltage control oscillators, relays, Filters, 1bit attiny85 micro controler. The technological principle is based on the photophone, patented by Graham Bell and inspired by audio visuals experimenters as Norman Mclaren,that used the optical sound technology of Film. In the history of the invention of electronic sound instruments, the study of light and its behavior as a particle or wave, and its application to sound processes, had a relevant position and is currently, one of the areas of scientific research with the greatest potential in human communication.

ALEXANDER PONOMAREV

الكسندر بونوماريف
АЛЕКСАНДР ПОНОМАРЕВ
A PARALLEL VERTICAL

Chapel Saint Louis, de la Salpetriere, Paris
Installation
Periscope installation with a cable suspension system. Metal, plastic, video optic system, acrylic spheres, sound wave generators.
The keystone artistic project of the Paris Fesitval d’Automne will be realized in September 2007, at the Salpetriere chapel in the center of Paris. A 36-meter periscope hanging from the dome forms a rigid vertical, equipped in the lower part with the head of the periscope with an ocular allows any viewer to look at the Parisian horizon, expanding vision in the spectacular spaces of the cathedral. The real-time video image is broadcast on closed-circuit television to chambers, offices and other buildings attached to the chapel of Salpetriere hospital. The patients, doctors and staff have the opportunity to take in the unexpected view point of the random viewer and peek past the horizon. This project has been organized by the French Ministry of Culture and the Energy of Art Foundation, Moscow

POSTCOMMODITY

Do You Remember When?

The hole and exposed earth of Do You Remember When? becomes a spiritual, cultural and physical portal – a point of transformation between worlds – from which emerges an Indigenous worldview engaging a discourse on sustainability. The block of concrete on the pedestal – the foundation of the institution constructed on top of tribal lands – functions as a trophy celebrating Indigenous intervention in opposition to a Western scientific worldview. The closed-circuit audio broadcast of a Pee Posh social dance song performed by the collective provides the psychosocial soundtrack of the transformation process. The work shifts the sustainability from a focus dominated by Western science to a balanced approach inclusive of Indigenous knowledge systems.

RAQUEL KOGAN

Reler (re-read)
File Festival

La instalación “Reler” se compone de un atril de madera con 50 libros sin título, similar a cualquier biblioteca. Todos los libros son aparentemente del mismo color, todos del mismo ancho y alto, identificados únicamente por el número dorado grabado en el lomo. Pero no son tus libros habituales. Son libros para ser escuchados y no para leer. Extractos breves y amados, las elecciones personales de un número de 50 personas invitadas a participar en la ejecución de la instalación, teniendo cada libro un propietario y una voz. Al abrir el libro, el interactor tiene su rostro iluminado, y un sistema de grabación de audio incorporado con circuito integrado, emite una voz pregrabada de quien seleccionó ese extracto de lectura de su libro favorito, por un máximo de cuatro minutos. Simultáneamente, en el espacio expositivo, todos los textos que se “leen” de los libros extraídos y abiertos se irán sumando entre sí mediante una interfaz conectada con el ordenador, formando el sonido cuadrafónico del ambiente en tiempo real. Así, se crea un palimpsesto de voces, timbres y lenguajes que cambia continuamente a medida que se retiran y devuelven nuevos libros. En esta instalación inmersiva interactiva, la presencia del usuario y su elección individual es parte de muchas otras elecciones individuales que, juntas, forman la voz de la instalación.

Heidi Kumao

Protest

“Protest” is from the project, “Misbehaving: Media Machines Act Out”(2002-2007), a series of mechanical girls’ legs, each with their own prescribed and programmed behavior. In each tableau, an electronically controlled, mechanical being protests with a voice of erratic physical gestures and projected video imagery. As a combination of robotics and performance, they represent girls who disobey or resist expectations. Unlike machines designed for perfect job performance, these machines will declare their fallibility, impatience, approval, and disapproval through small gestural acts. In these tableaus of protest and transformation, the machine is spirited, emotional, thoughtful, and irregular. “Protest” consists of aluminum, mechanized pairs of 6 year-old girl’s legs fitted with shoes and standing on a table top. An electronic circuit and proximity sensors make her responsive to the presence of viewers for whom she stomps loudly and erratically

PHILLIP STEARNS

فيليب ستيرنز
Impact Study No. 1
Impact Study #1 is a light installation consisting of 24 white neon tubes of varying length. These tubes are installed along a wall, each oriented vertically and arranged according to a horizontal contour. Tubes vary in size from 3.5 ft to 8 ft and are spaced 1.5ft. The overall dimensions of the work as documented are 36 ft wide and 8 ft tall.The tubes are lit sequentially according to hybrid analog-digital control circuitry. The circuitry detects radioactivity and translates it into a pattern of signals that are visualized as light moving along the formation of neon tubes. The effect will be that of rippling waves of light moving back and forth through the formation. The ambient lighting cast by the installation resembles light reflecting off the surface of a body of water.

GILBERTO ESPARZA

Nomadic Plants
Vegetation and microorganisms live in symbiosis inside the body of the Nomadic Plants robot. Whenever its bacteria require nourishment, the self-sufficient robot will move towards a contaminated river and ‘drink’ water from it. Through a process of microbial fuel cell, the elements contained in the water are decomposed and turned into energy that can feed the brain circuits of the robot. The surplus is then used to create life, enabling plants to complete their own life cycle. As Gilberto wrote in our email conversation, “The nomadic plant is a portray of our own species. It also deals with the alienated transformation of this new hybrid species that fights for its survival in a deteriorated environment.”

MIRÓ RIVERA ARCHITECTS

ميرو المعماريين ريفيرا
米罗里维拉建筑师
Circuit of The Americas

JOSHUA KIRSCH

约书亚·基尔希
Джошуа Кирш
An amazing interactive light sculpture entitled Concentricity 96 by the New Jersey artist Joshua Kirsch. “Concentricity is an interactive light sculpture series. Each of the three works presents an illuminated white handle which the viewer is invited to move in any direction. Reed switches located within the sculpture’s circuitry sense the movements of a magnet contained in the handle and translate that information into LED light. For Concentricity 96, omnidirectional movement of the center handle is facilitated by twelve hinged pantagraph-type mechanisms. 96 red/white LED arrays as well as LED-lit acrylic circuit boards respond to the viewer’s movements.

PETER MCFARLANE

Recycled Circuit Board

DAAN BRINKMANN

Skinstrument
File Festival

Skinstrument is a musical instrument which can be played by two players. By means of a tiny imperceptible current the players become part of a circuit. When the players touch each other on the skin this circuit starts to generate sound. The intensity of the touch determines the frequency of the sound.