Machine Hallucinations — Sphere

The artwork presents a series of AI Data Sculptures that incorporates vivid pigments, shapes, and patterns, aiming to create a collective, meditative, and multisensory experience. This immersive experience simulates the rhythms of various environments and invites the visitors to imagine alternative realities constructed by invisible data movements around them.
Machine Hallucination: The Sphere features dynamic visualizations of data that are based on vast archives containing visual imageries of space and nature while celebrating the unique architecture of The Sphere. For this project, Anadol and his team used these themed datasets as the building blocks for the three distinct chapters of the artwork and trained a unique AI model with subsets of the collected image archives. After the training, when idle and unsupervised, the “machine mind” generates new aesthetic visuals and color combinations through unique lines drawn by algorithmic connections.

Affinity
Affinity is an immersive interactive light and sound installation inspired by the human brain. Each light globe represented a memory, as people approached Affinity different memories could be heard. When people touched the memory a light would trigger, the longer they touched the further their light would travel throughout the sculpture. Affinity features 62 different colour combinations and 112 points of interaction.

StickMan
StickMan is a minimal but full-body exoskeleton that algorithmically actuates the artist with 6 degrees-of-freedom. It is a gesture generating system capable of 64 possible combinations. Sensors on StickMan generate sounds that augment the pneumatic noise and register the limb movements. A ring of 6 speakers directs and circulates the sounds.

Neri Oxman: Material Ecology

Vespers

“Vespers is a collection of 15 3-D-printed masks that explore the idea of designing with live biological materials. The collection consists of three distinct series, each reinterpreting the concept of the death mask—traditionally a wax or plaster impression of a corpse’s face. Taken as a whole, the three series form a narrative arc from death to rebirth. In the first series, Oxman and The Mediated Matter Group looked at the death mask as a cultural artifact. Fabricated using an algorithm that deconstructed polyhedral meshes into subdivided surfaces, the masks were 3-D printed with photopolymers, as well as with bismuth, silver, and gold, and rendered in color combinations that recur in religious practices around the world.” Rachel Morón

Cloud Core Scanner

Her current installation IN THE TROPOSPHERE LAB provides insights into the material produced under conditions distant from earth. The exhibition tells of the formation of clouds and shows conditions and combinations of art and science during zero gravity. With the exhibition by Agnes Meyer-Brandis, the project space of the Ernst Schering Foundation once again presents a contemporary art project that stimulates interdisciplinary debate and builds bridges to scientific research. The lab as a gravimetric document of the “Cloud Core Scanner” experiment shows a world alternating between controlled and bound-less states – artistic research in search of the reality level of constructions of the matter that surrounds us.

“Moveable Type”

In the entrance hall of the New York Times Building there is an installation made by Mark Hansen and Ben Rubin “Moveable Type” with hundreds of small monitors where fragments of the newspaper’s electronic files, words, phrases, quotations, places, crosswords, etc… permanently appear in an endless series of combinations.
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FILE SAO PAULO 2017
THE FLOOOR
“The Flooor” is a collaborative music instrument and a social meeting place. 36 sensors under a carpet, connected to a music computer mounted under the floor and loudspeakers mounted in the ceiling.
The patterns printed on the carpet invite people to explore different combinations. 6 groups with different instruments, 6 zones in each group. By standing or dancing on different combinations of the 6 zones, 64 different loops can be triggered.

Rejina Pyo is an award winning Korean born fashion designer based in London. Having completed her Central St. Martin’s MA in 2011, Rejina went on to win the prestigious Han Nefkens Fashion award, before establishing her internationally stocked eponymous label in 2013. Rejina Pyo is known for its astute cutting, exploration of geometric shapes and fusing relaxed proportions with fresh and quirky colour combinations, evoking a paired back confidence.

timeLandscape woolrhythms

“timeLandscape – wool rhythms” 2010. Part of timeLandscape series, 2009 – 2010. Video, audio, projector, speakers, custom patch (PD-Gem), sensor, wool engine. Variable dimensions and duration, loop. “timeLandscape – woolrhythms” is an interactive audiovisual installation in which a landscape is depicted from its multiple time possibilities and [re]composed through users’ real time interaction. The installation was developed in Biella, Italy, an area economically attached to textile industry, and deals with the cyclical perception of time and human, linear, interference on it. It gathers nature and artefact, by connecting a physical wool engine to digital imagery of daily cycles. By turning the wheel crank, users generate movement starting the engine. Through a sensor attached to the machine, software calculates the rotation speed, altering parameters for mixing audio and video fragments in real time. Every turn of the machine leads to different time thread combinations in response to the rhythm and speed of each interactor.

FILE FESTIVAL

Akatre is a French graphic design studio formed by Valentin Abad, Julien Dhivert and Sebastien Riveron. The trio works in a variety of fields including typography, graphic design, photography and video. Their photography work is absolutely brilliant and unique, exploring powerful color combinations and bizarre concepts.

Saturn Submerged

Saturn Submerged is part of an ongoing series of infinite boxes that creates an expanded infinite space within itself. The sculpture is composed of multiple mirrored surfaces and LEDs, which are fused to create the illusion of infinite depth and imagery. Mirrors include convex domes and walls; LEDs are programmed to continuously change in randomized combinations of almost infinite colors and sequences based on several variables.

Carton
Akatre is a French graphic design studio formed by Valentin Abad, Julien Dhivert and Sebastien Riveron. The trio works in a variety of fields including typography, graphic design, photography and video. Their photography work is absolutely brilliant and unique, exploring powerful color combinations and bizarre concepts.

Rejina Pyo is an award winning Korean born fashion designer based in London. Having completed her Central St. Martin’s MA in 2011, Rejina went on to win the prestigious Han Nefkens Fashion award, before establishing her internationally stocked eponymous label in 2013. Rejina Pyo is known for its astute cutting, exploration of geometric shapes and fusing relaxed proportions with fresh and quirky colour combinations, evoking a paired back confidence.

The handmade, digital and animated collages of French artist Matthieu Bourel, currently living and working in Berlin, are based on the power of images and the diversions resulting from various visual combinations. He defines his work as ‘data-ism’, and when mixing elements, he often seeks to evoke a story that, although absent from the known reality, is powerfully present before the viewer and inspires ‘nostalgia for a period in time that never truly existed’.

Akatre is a French graphic design studio formed by Valentin Abad, Julien Dhivert and Sebastien Riveron. The trio works in a variety of fields including typography, graphic design, photography and video. Their photography work is absolutely brilliant and unique, exploring powerful color combinations and bizarre concepts.

Without touch, we can’t connect. Without skin, we can’t touch.
Matt Keegan is a conceptual artist known for his enigmatic combinations of design, photography, text, printmaking, and sculpture. Using stenciling and printmaking techniques, Keegan isolates idiomatic phrases—for instance, “it goes without saying” or “picture perfect”—and transforms them into art objects, calling attention to the materiality of language and its open-ended possibilities.

Reface [Portrait Sequencer]

Reface [Portrait Sequencer] by Golan Levin and Zachary Lieberman (2007) is a surreal video mash-up that composes endless combinations of its visitors’ faces. Based on the Victorian “Exquisite Corpse” parlor game, the Reface installation records and dynamically remixes brief video slices of its viewers’ mouths, eyes and brows. Reface uses face-tracking techniques to allow automatic alignment and segmentation of its participants’ faces. As a result, visitors to the project can move around freely in front of the display without worrying about lining up their face for the system’s camera. The video clips recorded by the project are “edited” by the participants’ own eye blinks. Blinking also triggers the display to advance to the next set of face combinations. Through interactions with an image wholly constructed from its own history of being viewed, Reface makes possible a new form of inventive play with one’s own appearance and identity. The resulting kinetic portraiture blends the personalities and genetic traits of its visitors to create a “generative group portrait” of the people in the project’s locale.

All The Possible Combinations Of Eight Legs Kicking
Intégrant mouvement, performance et imagerie, l’exposition explore les idées derrière le temps et la séquence, tandis que Monk interroge subtilement la compréhension du spectateur du passage du temps. Avec “Toutes les combinaisons possibles de coups de pied de huit jambes (une à la fois)” (2012-2013), Monk démontre la contrast entre la réalité clinique du temps et notre réaction spontanée. L’œuvre est une représentation littérale de son titre – car les jambes ont été programmées pour donner un coup de pied dans toutes les séquences possibles, soit un total de 40320 séquences différentes qui prennent plus de 177 heures à terminer. Contrairement à cette démonstration objective, le geste de donner des coups de pied est assez explosif, imitant les mouvements d’un danseur de cancan, et c’est cette explosion d’émotion qui met en évidence le suspense qui existe tout au long de l’œuvre. Alors que le spectateur est conscient que les jambes sont spécifiquement programmées pour donner un coup de pied à un moment précis, l’heure précise à laquelle cet événement se produit n’est pas donnée, créant une sorte de jeu de devinettes où le spectateur tente de prédire quand chaque coup de pied se produira, à chaque fois. individu ayant sa propre idée du moment où cela se produira.

Drømmeskib / Dream Ship
n the early 1960s, Poul Gernes started to concentrate on simple, reduced forms making strong visual effects like circles, stripes or dots in his painting, similar to pop motivs. Most of the approx. 40 Targets painted then were designs for architecture-related works. At first he drew the rings for his Targets in pencil, but later he went over to scratching them into the ground with a pair of compasses. This gave the paintings a relief-like character and created clearly defined color fields. The contrasting color intensities in the circles make each color seem like a distinct, three-dimensional volume. The vivid color combinations of the Targets (shown at the Venice Biennale in 1988) come from sketches or ready-mades like the stripes on a t-shirt. Sometimes Gernes used random systems as well, for example by putting paint pots behind him and dipping the paintbrush into one pot blind. Although it may not seem to be the case, Gernes’ work makes no passing references to contemporary works by other artists.

Comprised of hundreds of translucent panels and shape-memory wire, Reef utilizes an interface fed by an RGB camera and special software to create an installation that responds to its audience. Choreographed in curling combinations that express both mechanical and natural examples of motion, the work physically reacts to a range of programmed criteria. Criteria can vary from simply the location and proximity of a participant to qualities such as the color of clothing, or whether participants are alone or in groups. The result is an animated environment which explores behavioral possibilities within soft, fluid motion and interaction. Once passive viewers are transformed into engaged users through this dynamic platform, which amplifies the relationship of inhabitants to their built environment.

ユナイテッド·ビジュアルアーティスト
美国视觉艺术家
Always/Never
Always/Never is the result of UVA’s recent investigations of the perception of time.
Always/Never is a grid of pyramidal elements inspired by the sundial, each passing through time at a different rate.
Changing patterns of light and shadow create the illusion of a fluid surface; shifting combinations of colours from nature recall different times of day.