AVATAR X Lab
Il progetto è una partnership tra ANA Holdings Inc. e Japan Aerospace Exploration Agency (JAXA); una parte di AVATAR X, un programma collaborativo per il progresso dell’esplorazione e dello sviluppo dello spazio. ANA e JAXA sono entrambe esperte nel lanciare veicoli nell’atmosfera, la sensazione di sospensione o di “essere nell’aria” è naturale per entrambe le entità. L’AVATAR X Lab Building è progettato come un edificio sospeso che galleggia sopra un cratere simile alla luna. La struttura a più piani galleggia a diciotto metri sopra il fondo del cratere ed è accessibile da un ponte. Quando gli astronauti salgono a bordo di un veicolo spaziale attraversano un ponte; quando saliamo a bordo di un aereo, attraversiamo un ponte a reazione tra il terminal e l’aereo. Questo è il nostro ultimo contatto con un terreno familiare prima di partire per un posto nuovo. L’edificio sospeso incarna questo varco di soglie: dopo aver superato il ponte si viene trasportati in un nuovo luogo, l’AVATAR X Lab Building, dove l’innovazione tecnologica cambierà il modo in cui vediamo il mondo.

AVATAR X Lab
The project is a partnership between ANA Holdings Inc. and Japan Aerospace Exploration Agency (JAXA); a part of AVATAR X, a collaborative program for the advancement of space exploration and development. ANA and JAXA are both experts at launching vehicles into the atmosphere, the feeling of suspension or ‘being in the air’ is natural for both entities. The AVATAR X Lab Building is designed as a suspended building floating above a moon-like crater. The multi-story structure floats eighteen meters above the crater bottom, and is accessible by a bridge. When astronauts board a spacecraft they cross a bridge; when we board a plane we walk across a jet bridge between the terminal and airplane. This is our last contact with familiar ground before taking off for someplace new. The suspended building embodies this crossing of thresholds: after passing over the bridge you are transported to a new place, the AVATAR X Lab Building, where technological innovation will change how we see the world.

Simulation Hypothesis

In Simulation Hypothesis, Zhestkov equally seeks inspiration in pre-historic cultures of cave art and ancient bas-reliefs. He plays with a visuality that precedes written language, from a time in which early humans used clay to make vessels and figurines.
The artist uses the inspiration from ancient forms of art and transforms it into digital sculptures using simulations and algorithms based on principles of nature.
The show takes viewers on a conceptual journey, immersing them first in Clouds of Creation, a large-scale projection that recreates the Big Bang, and then guiding them through micro manifestations of this transformative moment of genesis.

FILE SAO PAULO 2017
THE BREATHING CLOUD
“The Breathing Cloud” is a monumental floating organism. The work transforms a space by its motion, light, and rhythmic breathing. With this light art the phrase “let a room come to life” gets a new meaning. The clouds skin looks fragile and soft, and the movements are rhythmic, yet random, so the whole room feels like a living being. The technology is designed so that the strong LED modules and the mechanism support the pervasive breathing. It gets physically bigger and smaller and embraces with its bright light space.

Cloud Pink
FILE FESTIVAL

The installation invites participants to “touch the pink clouds” drifting on a giant fabric screen suspended in the air.
Lying down on a hill with your pupils filled with the endless blue sky, perspective of your eyesight suddenly gets distorted and clouds drift at the tip of your nose. You stretch your arms up to the sky to touch the clouds but can’t reach. Another world right above your head, clouds.

ベルナール・パルメジャーニ
La Creation du Monde
This is a sprawling, ambitious painting in sound modeled on the birth of the universe. Moving from roiling, gaseous clouds of hiss and static through sharp peels of detailed, unrestrained texture, this is acousmatic music at its very finest, literally creating a universe of sound out of thin air.

Dirty Geometry:Cloud
Dirty Geometry: Cloud is a six-panel folded screen generated using algorithmic computation with random variables. Between the drawing and the surface lies an infra-thin space perpetually reconstituted; one hue replaces another as the light shifts outside; becoming more intense, now

TOKYO METACLOUD
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Vincent Leroy onthult ‘Tokyo Metacloud’, een gigantische zwevende wolk die door de straten van de japanse metropool trekt. De installatie, bestaande uit dunne gebogen bladen, speelt met de balans tussen materiaal, lucht en transparantie om een ​​indruk van extreme lichtheid te creëren. Nogmaals, het poëtische en contemplatieve universum van Leroy maakt kijkers los van de echte wereld en nodigt hen uit om te genieten van een meeslepende, dromerige ervaring.
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Vincent Leroy unveils ‘Tokyo Metacloud’, a gigantic floating cloud that sweeps through the streets of the Japanese metropolis. The installation, consisting of thin curved blades, plays with the balance between material, air and transparency to create an impression of extreme lightness. Again, Leroy’s poetic and contemplative universe detaches viewers from the real world and invites them to enjoy an immersive, dreamlike experience.

frequencies (light quanta)

The project is part of an ongoing process entitled «frequencies», exploring basic sound and light dichotomic systems. Here, frequencies (light quanta) stems from a fascination towards science, light, and granular synthesis allowing to create clouds/grains of sounds. The conceptual focus lies in the quantum — the smallest measurable value of energy —, on the smallness of matter. The whole project is based on the possible conceptual relationships between basic quantum physics principles applied to the audio-visual creative process: particles, probabilities, wave/particle duality and discontinuity. Metaphorically structured around these notions, the audio-visual composition stems from 100 sound and light micro-sequences that develop themselves, generating an ever expending but yet disruptive form in time and space. With the use of randomness, the vectorial graphics are always creating new ways to look at the visual, physically superimposing pattern images.

Ethereal Fleeting
A series of clouds is generated by a machine-like sculpture. They appear, float over the surrounding environment and then dissolve into thin air again. The delocalization of this instant of natural beauty evokes a surreal experience. The installation forms a juxtaposition of a metallic structure and synthetic imitations of clouds. This supposed contrast between human technology and nature is explored in a space of unseen possibilities for symbiosis.

asphyxia
The performance is centered in an eloquent choreography that stresses the desire to be expressive without bounds. Motion data was captured using inexpensive sensors and that data paved the way through an extensive number of steps. Once all the scanned point cloud data were combined, they were used as the base for the creative development on the piece. A series of iterative studies on styles followed and several techniques and dynamic simulations were then applied using a number 3D tools for various results.

Nuvola
Nuvola è un’opera di architettura sperimentale: un tetto galleggiante fatto semplicemente di gas elio, acqua e sapone; un baldacchino immediatamente dispiegabile per conversazioni all’ombra. Credo che in futuro l’architettura sarà leggera, intelligente e semplice, come le nuvole. L’esperimento Cloud riguarda l’inizio di quel processo per scoprire il futuro dell’architettura. Forse possiamo portare un edificio in tasca?

pointcloud.garden 2
Cada uno de los “jardines de nubes de puntos” consiste en un gran conjunto de puntos de datos medidos en un jardín en un proceso de escaneo 3D. Cada punto de datos consta de información espacial [XYZ] e información de color [RGB]. El conjunto de datos resultante se transforma discretamente en puntos de datos discretos cuyas superficies están llenas de huecos e información faltante. Esta traducción comprimida destaca la forma específica en que los humanos experimentan el jardín. Una colección de hojas, pétalos, tallos y tallos, una serie de puntos discretos que forman la textura general.
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Massless Clouds Between Sculpture and Life
Жизнь – это порядок энергии. В пространстве произведений искусства создается порядок энергии, как и в жизни. Образуется огромная белая масса, которая плывет вверх. Это можно рассматривать как визуализацию порядка или энергии. Скульптура, гигантская белая масса, парит между полом и потолком в пределах пространства, неопределенная форма меняется, как бы выходя за рамки концепции массы. Граница между этой парящей скульптурой, пространством и телом зрителя неоднозначна, и люди могут погружать свое тело в эту скульптуру. Даже когда люди проталкивают скульптуру и ломают ее, она естественным образом восстанавливается, как живое существо. Но, как и в случае с живыми существами, когда скульптура разрушается сверх того, что она может восстановить, она не может восстановить себя и разрушается. Даже если люди попытаются сдвинуть или толкнуть эту парящую скульптуру в воздухе, они не смогут этого сделать. Если они поднимут ветер, облако разорвется. Мы понимаем, что простое действие человека не может сдвинуть эту скульптуру.

pointcloud.garden
“Point Cloud Gardens”은 각각 3D 스캐닝 프로세스에서 정원에서 측정된 대규모 데이터 포인트 세트로 구성됩니다. 각 데이터 포인트는 공간 정보[XYZ]와 색상[RGB] 정보로 구성됩니다. 결과 데이터 세트는 표면이 빈틈과 누락된 정보로 채워진 신중한 데이터 포인트로 불연속적으로 변환됩니다. 이 압축 번역은 인간이 정원을 경험하는 특정한 방식을 강조합니다. 잎, 꽃잎, 줄기 및 줄기의 집합체로서 전체 질감을 형성하는 일련의 불연속적인 점입니다. 
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Cloud Osaka
Envisioned as a high-resolution urban interchange, Cloud Osaka embodies Biothing’s approach to complex design synthesis across multiple orders of scale. Due to its central position in the city, a high convergence of users and one of Asia’s densest transportation nodes found in the adjacent JR Osaka Station, the key driver for the project was to understand 2.5 million people traversing the site every day. This is nearly 10 times the number of daily passengers at the busiest airports in the world. Such an extreme volume of pedestrian traffic, compounded by other forms of traffic in the area, warranted choosing computational physics simulation ordinarily used to simulate systems like river flows; indeed, a key driver for the project became the concept of a “river of people”.

Wolke
Cloud, die vor Ort im Museum mit Tausenden von Fuß rotem Elektrokabel hergestellt wurde, beherbergt eine 14-Kanal-Komposition, die die Besucher mit maßgeschneiderten Kopfhörern hören können. Diese vom Künstler entwickelten Geräte enthalten Magnetspulen, die die in den Kabelschleifen zirkulierenden Magnetfelder empfangen und hörbar machen. Während sich die Besucher in der Installation bewegen, betrachten sie die chaotischen elektrischen Leitungen in der Galerie, hören jedoch die aufgezeichneten Geräusche, die in verschiedenen Segmenten der Skulptur programmiert sind.

PIVOT POINT – ICHIHARA
‘Pivot Point – Ichihara’ is an interactive site-specific installation. Standing on a controller pod you navigate over and through a 3D terrain where gravity seems to have disappeared, you gradually become tele-present in a parallel projected space by exploring a mediated version of the venue, it’s direct surroundings and the Ichihara region. A cinematic journey to a fascinating point cloud realm, precise in details but simultaneously abstract and dreamlike.The kidney shaped interface is covered with capacitive sensors and mounted on a pole, touching this interface right, left, up or down aims the virtual camera accordingly. When you release the navigation pole the virtual camera automatically starts spiralling back to the initial starting point your journey and temporary centre of the universe, the Asohbara Art House.

Cloud Face
Humans see figures in clouds: animals, faces and even god. This kind of perception also appears in machine vision. Face-detection algorithms sometimes find faces where there are not any.’Cloud Face’ is a collection of cloud images that are recognized as human faces by a face-detection algorithm. It is a result of machine vision’s error but they often look like faces to human eyes too. Humans, yet, know these are not actual faces. Humans rather imagine faces from the clouds. Here, the error of machines and the imagination of humans meet.

Cloud Arbor
A 20-foot diameter sphere of fog forms inside a forest of stainless steel poles. High-pressure fog nozzles embedded in the 30-foot tall poles convert water into a cloud that appears and vanishes every few minutes. A collaboration with landscape architect Andi Cochran and the Pittsburgh Children’s Museum. Completed in 2012.

Empire State
Empire State is a kinetic A.I. artwork visualizing the current time-of-day and weather at the Empire State Building in New York. The imagery was created from running a sketch through an Artificial Intelligence model to generate two variations on the image, each printed on each side of the discs. The piece visualizes the current time-of-day and weather by animating clouds, rain, light/shadow, by rotating sections of discs to the reverse side. When one walks up to the piece, they will see their image reflected back at them, further embedding them to the connection between where they are and the current state in NYC.

“Poem for an artificial intelligence”

the sun is a beautiful thing

in silence is drawn

between the trees

only the beginning of light

this realm of rain

grey sky and cloud

it’s quite and peaceful

safe allowed

And, arguably, worse:

I am a coal-truck

by a broken heart

I have no sound

the sound of my heart

I am not

Odoshi Cloud Sequence
A symbiosis between nature and culture is created against the backdrop of the Japanese garden in the pond of the Amstelpark. This artwork explores new possibilities to generate sound and composition that are controlled by slow, unpredictable and unexpected elements of nature which are highly respected in Japanese culture. The diversity of natural sounds gives the work an almost meditative character, while the dependance on natural factors evoke a tension between longing and acceptance. This sound installation engages, as a natural sequencer, in a dialogue with the water, sun wind and clouds. It refers to Japanese garden culture by using the principle of the Japanese bamboo water tumbler.

Internet Machine
“Internet machine is a multi-screen film about the invisible infrastructures of the internet. The film reveals the hidden materiality of our data by exploring some of the machines through which ‘the cloud’ is transmitted and transformed. The film explores these hidden architectures with a wide, slowly moving camera. The subtle changes in perspective encourage contemplative reflection on the spaces where internet data and connectivity are being managed. In this film I wanted to look beyond the childish myth of ‘the cloud’, to investigate what the infrastructures of the internet actually look like. It felt important to be able to see and hear the energy that goes into powering these machines, and the associated systems for securing, cooling and maintaining them.” Timo Arnall

Ghost City
The installation Ghost City is built around a reinterpretation of the set of the famous game GTA V. The spectator is plunged into an environment without any population that disappears as we move closer. It is a meditative and captivating experience. The focus is put on architectural and graphic elements. This virtual universe solicits both the present (the experience of the artwork) and the memory. The disappearance, before our eyes, of this virtual universe feeds the terror that one day all our digital life – ephemeral cloud.

Point Cloud
Point Cloud (ASU) is a newly commissioned artwork by Leo Villareal designed specifically for the ASU Art Museum in the Nelson Fine Arts Center. During his visit to the ASU Art Museum, Villareal was inspired by the museum’s architecture, designed by Antoine Predock in 1987. Villareal used mobile 3D scan technology to map both the inside and outside of the building, creating over 200,000,000 data points. The artist then manipulated the data points with his own custom software to create this public artwork. This is the first time Villareal has used actual data sampled from a location as part of an artwork.

Point Cloud Old Growth
Forest on Location
In the video work Forest on Location, we see the avatar of the Iranian opera singer Shahram Yazdani walking through a forest. One moment, the forest wraps around him protectively, the next moment the trees crumble away into loose pieces of bark, or melt into a static green mass. At the same time, the forest as a whole floats around in darkness, uprooted. It is a forest without a location, except on our screen. The young man’s avatar appears to be wandering around there aimlessly. It is a wonderland that he exits from towards the end of the video, when his body slips straight through the green wall. This finally breaks the spell of the illusory forest, and everything is revealed to be no more than staged decor. But the forest does exist as a real forest, somewhere. This virtual green world is a digital back-up of Bia?owie?a Forest: the last remaining stretch of primeval low land forest that once covered much of Central Europe. Inspired by what the historian Simon Schama wrote about Bia?owie?a in Landscape and Memory (1995), Persijn Broersen and Margit Lukács journeyed to Poland to capture the forest suffused by old-Germanic nostalgia and mythical atmosphere.

eCLOUD
The eCLOUD is a dynamic sculpture inspired by the volume and behavior of an idealized cloud. Made from unique polycarbonate tiles that can fade between transparent and opaque states, its patterns are transformed periodically by real time weather from around the world. It is a permanent sculpture between gates 22 and 23 at the San Jose International Airport and was a collaboration between Dan Goods, Nik Hafermaas, and Aaron Koblin.

Light Cloud
The Light Cloud at the Merck Innovation Center detects visitors’ movements in the room and translates them into many different moods. The generative sculpture stimulates and facilitates intense encounters between people and technology. The room-filling installation consists of four curved strands that are concentrically superimposed and slightly shifted in relation to each other. OLED elements that are attached to the strands and controlled by sensors react to the visitors’ movements and to sound compositions. In combination, this generates a complex mosaic in which sound and light interact playfully and the viewers leave traces.

Meander
Meander is a large-scale immersive testbed environment constructed within a historic warehouse building at the centre of a residential highrise development in Cambridge, Ontario. The meshwork scaffolds which comprise the testbed are organized as a series of species within an artificial ecosystem, gently flexing and responding to the movement of viewers. Similar to natural environments such as rivers and clouds, large groups of parts pass physical impulses and data signals back and forth, enabling the entire environment to work as an interconnected whole. The innovations in Meander suggest ways of making adaptive, sensitive buildings of the future.

Where the City Can’t See
Directed by speculative architect Liam Young and written by fiction author Tim Maughan, ‘Where the City Can’t See’ is the world’s first narrative fiction film shot entirely with laser scanners, designed in collaboration with Alexey Marfin. The computer vision systems of driverless cars google maps, urban management systems and CCTV surveillance are now fundamentally reshaping urban experience and the cultures of our city. Set in the Chinese owned and controlled Detroit Economic Zone (DEZ) and shot using the same scanning technologies used in autonomous vehicles, we see this near future city through the eyes of the robots that manage it. Exploring the subcultures that emerge from these new technologies the film follows a group of young car factory workers across a single night, as they drift through the smart city point clouds in a driverless taxi, searching for a place they know exists but that the map doesn’t show.

Smoke Dress
Fellow designer, Valerie Lamontagne, writes: “SMOKE DRESS is a collaboration between fashiontech designer Anouk Wipprecht [NL] and technologist Aduen Darriba [NL]. The dress is a wireless and wearable tangible couture “smoke screen” imbued with the ability to suddenly visually obliterate itself through the excretion of a cloud of smoke. Ambient clouds of smoke are created when the dress detects a visitor approaching, thus camouflaging itself within it’s own materiality. The SMOKE DRESS, with its loose net of metallic threads and electrical wire, works at the scale of the magical illusionists trick, permitting a hypothetical magician’s assistant to perform her own disappearing act.

Lost Dimension
Lost Dimension Non-dimensional Cities is an immersive cinematic experience in which participants journey through an endlessly unfolding virtual cityscape that expands over all axes. This dimensionless cityscape is constructed from a large collection of point clouds and sounds. While the user is standing on the controller pod and navigates through this virtual world, a sense of physical instability takes over and the platform becomes an anchor to hold on to. The building blocks of the world are generated from depth map information and panoramic photographs obtained from Google Street View’s API. Depending on the user’s position in the virtual world these blocks are dynamically repositioned on a three-dimensional grid. By subtle manipulation of motion and sound, perspective distortion and shifts in balance Lost Dimension unquestionably re-calibrates the viewer’s perception of dimensionality.

山海塾

butoh

TOBARI

“Over the 90 minute performance, I feel no less than transported. There are eight male performers, including Ushio Amagatsu himself. The dancers often move slowly, with incredible muscular control, fluidity and elegance. And suddenly the spell will be broken and they’ll run across the stage, their painted bodies leaving clouds of white powder hanging in the air like a shadow or ghost. Slow sustained movements are countered with tiny, minute gestures of the fingers. Hands are often gnarled, the joints contorted with incredible tension. It is mysterious, hypnotic and strange. The countenance of the performers is most arresting – behind the white paint, their faces reveal the fragility, humility, vulnerability and truth of their humanity.”Day Helesic

sound cloud
London-based designer kazuhiro yamanaka has created the ‘sound cloud’ a light-emitting quantum glass speaker system installation for saazs ‘a glass house’ program. the structure is composed of five interactive monolithic glass panels, formed with the intention of modelling the integration of innovative glass within architecture and design. the sound and light radiating from ‘sound cloud’ shift in unison, their synchronization may be altered by the viewer as they adjust their aural and visual experience by means of a touch-screen controller.
yamanaka aspired for the visitors to ‘be able to hear the sound move from one to another, jumping back and forth and echoing from the panels.’
a sound module is attached to each panel. as it vibrates,the three layers of glass move at a frequency, which creates optimum sound quality. the sound for the installation was developed by the france-based sound designer, gling-glang. yamanaka and gling-glang devised a soundscape by which ‘sound cloud’ visitors were able to sense the sculptural construction of the music in walking through the installation’s glass-paneled pathway.
the glass is outfitted with a light-emitting system known as ‘LED in glass’, invented by quantum glass. through this technology, the panels become a source of light. the ‘sound cloud’ is illuminated as the LED bars are fitted around the edge of the panel in order to direct beams of light through the edge of the extra clear glass sheet. as a result, light refraction occurs from the front side by means of a white enamel screen print on the opposite side.
yamanaka chose to slightly obscure the brightness of the glass sound system by creating a thin layer from millions of light dots, culminating in a cloud-like shape.

Noumenon
Noumenon is a site-specific large-scale architectural and year-long installation in ZeroSpace, New York City; a compilation of Buyukberber’s last 4 year of audiovisual work and explorations; from emergent systems to out-of-body experiences; from transcendental objects to the symbols of the collective unconscious.

Cloud
Cloud, produced on-site at the museum using thousands of feet of red electrical wire, hosts a fourteen-channel composition that visitors listen to by wearing customized headphones. These devices, developed by the artist, contain magnetic coils that receive the magnetic fields circulating in the cable loops and make them audible. As visitors move around the installation, they look at the chaotic electrical wiring suspended in the gallery but hear the prerecorded sounds programmed into different segments of the sculpture.

ויליאם פורסיית
ウィリアム·フォーサイス
威廉‧科西
윌리엄 포사이드
УИЛЬЯМ ФОРСАЙТ
the fact of matter
The choreographer William Forsythe constructed this installation to encourage participants to swing and stretch their way across a defined space. In practice it is an incredibly difficult activity, particularly for adults as you realise how heavy and “clumsy” your body actually is.

DARK ECOLOGY

IsoScope

IsoScope is a kinetic audiovisual outdoor installation, a sensorial experience in which the audience wanders through rotating lights and an ever-changing sonic cloud. This new work by Dutch artist Joris Strijbos consists of multiple robotic wind objects interacting with each other and with their surroundings. Strijbos aimed at creating a human-constructed phenomenon, an abstract entity which, like most natural phenomena, can only be experienced in certain weather conditions. IsoScope can be seen as a proposition for a new kind of machinic and artificial lifeform. IsoScope was commissioned by Sonic Acts for the second Dark Ecology Journey (2015) and realised in collaboration with Jeroen Molenaar, Daan Johan and Erfan Abdi.

Brume
In the collaborative work Brume fog emerges from and self-organizes on the surface on a sculptural element, congealing with light into an elusive stratum. The installation utilizes a series of ultrasonic transducers that generate thick clouds of dense, yet extremely lightweight water vapor. Fog is produced in an inner chamber contained within an enclosure that is outfitted with a porous surface. A small radial blower inside the apparatus gently pumps air into the inner chamber lifting the fog through the membrane, whereby it “settles” on the surface. Viewed from a distance, the fog appears as a visualized mass of air circumscribing the perimeter of the enclosure.

Cloud Pergola
Inspired by the cloud formations and weather events, this mathematized cloud plays with visitor’s perception. Movement through the structure generates a series of dynamic interference views in its deep fabric, drifts and ruptures in visibility. A sea of redirecting vectors is pulling the visitor like an invisible gravity force through the fabric.

Atmospheric Forest
Atmospheric Forest is a large scale VR point-cloud installation that visualizes and sonifies the relations between the forest and climate. It reveals the interaction patterns between the pine-tree emissions in Pfynwald, an ancient Swiss Alpine forest, and weather conditions in this valley, effected by drought. The trees do not only produce oxygen, but they are living bodies who breath too. I.e., they emit part of carbon dioxide, sometimes even up to 20 perc. from what they have consumed. When trees die, they release all the carbon they have collected during their lives back into the atmosphere. Atmospheric Forest explores the effects of drought on local forest ecosystems, and how such stress situations influence production of resin and volatile emissions (such as usual pine-tree scent).

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. “

cursive II
Ross MacGibbon
Cloud Gate Dance Theatre of Taiwan
Lin Hwai-min’s Cursive II is inspired by the aesthetics of calligraphy. Set to music by John Cage, it is an exquisite meditation on the balancing of opposites presented in delicate simplicity, allowing no distraction from the details of the dance.

Halo
99 robotic mirrors continuously move throughout the day to follow the sun like sunflowers. These mirrors, arrayed across two 5 meter tall towers and one 15 meter long track, each emit a beam of sunlight into a cloud of water mist. The beams are computationally aligned so that together they draw a bright circle in the air. Dependent entirely on the presence of the sun for its completion, the work explores the possibilities and limitations of technology to capture what is out of reach, to harness nature and bring the sun down to earth. Collaborating with the natural fluctuations in the climate, Halo appears only for moments when the wind, sun, water, and technology coincide, creating a form which exists between the material and immaterial.

Flypast Sunset
“In this series of animated artworks, which are essentially slowed down versions of the series Time in Motion, I invite you to experience the passage of moments across a landscape. Perhaps understanding that even though all moments are transient, all moments are equally worthy of our respect because they are parts of a larger whole. Each Time Loop is made manually. I captured every moment across a sunset or sunrise using a digital camera, and manually stitched these moments into Time Paintings. Finally, different sequential time paintings were put together to create a sense of motion  almost imperceptible in some of the works, in the manner of clouds drifting across a sky.” Fong Qi Wei

THINK AND SENSE

Under the theme of Zen, this artwork represents a part of the philosophy of Zen with three-dimensional data created with photogrammetry technology composed of the most minimalistic landscape of “dots” and the soundscape of “undulations,” with the cooperation of Toryo Ito, vice priest of Ryosokuin, Kennin-ji Tacchu temple, Kyoto. The generated image reflecting the environmental information of the exhibition space creates “interaction between the environment and the image,” just like the trees and leaves swinging in the silence in the garden of a Zen temple.

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Credit Concept / Technical Direction: Shuhei Matsuyama Point Cloud System Design:Takamitsu Masumi Sound Design: Intercity-Express (Tetsuji Ohno) Photogrammetry Shooting: Naoya Takebe Photogrammetry Engineering: Katsuya Sakuma

States of Mind
Brussels-based artist Ann Veronica Janssens’ practice is concerned primarily with light, colour, and perception. Janssens makes very few art objects. Instead, her work attempts to escape the ‘tyranny of objects’ and what she describes as their ‘overbearing materiality’. Since the late 1990s, Janssens has filled spaces with washes of coloured light or ‘haze sculptures’: dense, illuminated clouds of vapour that render surroundings unfamiliar and sensory perception altered.

sensory seas
runway LOOK 08

“The first threads of inspiration came from the Spanish neuroanatomist Ramón y Cajal. He wanted to uncover something that no one had yet understood.
Sensory seas’ holds a microscope over the indelible nuances between the anthropology of a marine organism, to the role of dendrites and synapses delivering infinite signals throughout our bodies. It enchants the attention of how two processes of torrential messaging exist in an uninterrupted state of flux. The collection consists 21 silhouettes that illustrate a portrait of liquid labyrinths, where dresses spill onto the floor in elegant train and pigments gather in cloudedpools of blues and lilac, leaking into one another like marble.” Joanna Klein

Apophenia Cloud Travel Apparatus
“…a visitor must first gear up in a simple uniform of gray booties, lab coat and adjust a safety-helmet-type harness to their head. This harness supports a grey rectangle of plastic positioned directly in front of one’s face, leaving only the periphery vision for navigation. My first assumption was that this blockage was somehow supposed to simulate an unusual visual disability. However, upon entering the designated darkened room, my ‘screen,’ caught the projection of a giant eye, which filled my vision like some early surrealist film.” Sarrita Hunn