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MEDIATED MATTER

Silk Pavilion II
Bloom is een interactieve installatie die reageert op de beweging en gebaren van het publiek. Met behulp van interactiviteit met laseraanraking genereert het publiek digitale bloemen in bloei die een geluidscompositie creëren die verandert naargelang de actie van de gebruiker. Gebouwd volgens een parametrische benadering van geluids- en visuele architectuur, wordt de installatie gepresenteerd als een systeem met een hoog proces van willekeurige creatie. In die zin is elke interactie uniek en onnavolgbaar. Het publiek communiceert rechtstreeks met de digitale wereld door middel van de beweging van hun handen, waardoor abstracte lichten en beelden ontstaan. Dit onderzoekt de praktijk van menselijke beweging om de expressie en communicatie van beweging te vergemakkelijken en om nieuwe paradigma’s te ontwerpen en te ontwikkelen voor interactie met computers door middel van beweging.

DENNIS NEUSCHAEFER-RUBE

The Wizard of Oz experiment

The Videoinstallation “The Wizard of Oz experiment” by Dennis Neuschaefer-Rube shows the movie „The Wizard of Oz“ 5829 times side by side. The movies are arranged in rows from left to right and time shifted by exactly one second each. The video starts at the top left, with the first second of the film and finishes bottom right with the last second of the film. The projection is in a that repeats every 98 minutes.
A computer voice speaks the whole subtitles of the film „The Wizard of Oz.“ in a 68-minute loop.

Antoine Catala

Emobot
Catala’s work investigate emotions and empathy in our technological information-driven society. His computer generated Emobot appears at once familiar and strange as it utters simple statement about its feelings. The visually mesmerizing figure might serve as an avatar onto which we relate to the expression of strong feelings when they are delivered digitally-an increasing prevalent cultural phenomena. Listening to a not-quite human presence express its vulnerability may have less impact in us than hearing a real person communicate similar emotions. Nevertheless, the deliberate and repetitive manner in which Emobot articulates powerful sentiments affords us ample opportunity to reflect on the existential quality of their meaning.

SOUGWEN CHUNG

Zeichenvorgänge
Sougwen Chung ist eine international bekannte multidisziplinäre Künstlerin, die handgezeichnete und computergenerierte Markierungen verwendet, um die Nähe zwischen der Kommunikation von Person zu Person und der Kommunikation von Person zu Maschine zu untersuchen. Sie ist eine ehemalige Forscherin am MIT Media Lab und derzeit Artist in Resident bei Bell Labs und dem New Museum of Contemporary Art in New York. Ihre spekulative kritische Praxis umfasst Installation, Skulptur, Standbild, Zeichnung und Performance. Drawing Operations Unit: Generation 1 ist die erste Stufe einer laufenden Studie über die Interaktion zwischen Mensch und Roboter als künstlerische Zusammenarbeit.

Coralie Vogelaar

Random String of Emotions

Emotion recognition software analyzes our emotions by deconstructing our facial expressions into temporal segments that produce the expression, called Action Units (AU; developed by Paul Ekman), and breaking them down into percentages of six basic emotions, happy, sad, angry, surprised, scared, and disgusted. In this video the artist uses this decoding system to turn the process around. Here – instead of detecting AUs – a computer is used to generate a random string of AUs. In this way complex and perhaps even nonexisting emotional expressions will be discovered. These randomly formed expressions, played in random order, are then analyzed again by professional emotion recognition software.

Ricardo Barreto and Maria Hsu Rocha

Martela
FILE Festival
Tactila ist eine Kunstform, deren Medium der Tastsinn (Takt) ist, der von allen anderen unabhängig ist und seine eigene Intelligenz, Vorstellungskraft, Erinnerung, Wahrnehmung und Empfindung hat. Es ist bekannt, dass Bild und Ton in der Kunst und in anderen Disziplinen Vorrang haben. Tactila findet rechtzeitig statt und kann daher aufgezeichnet werden und für spätere Ausführungen verschiedene Notationsformen haben. Deshalb wurde seine Entwicklung dank mechatronischer und Robotersysteme, die mit Maschinensprachen kompatibel sind, erst jetzt möglich. Bei der Erstellung taktiler Werke handelt es sich um eine (Takt-) Komposition, die in handgemachter Notation erstellt und auf einer Tastatur oder direkt darauf gespielt werden kann der Computer der taktilen Maschine (Roboter).
Taktile Maschinen können durch Punkte, Vektoren und Texturen mit unterschiedlichen Rhythmen und Intensitäten zahlreiche taktile Möglichkeiten bieten und an verschiedenen Ausdehnungen und Orten unseres Körpers ausgeführt werden.
Die erste taktile Maschine heißt „Martela“. Es ist ein taktiler Roboter, der aus 27 Motoren besteht, die in drei Quadrate (3 × 3) unterteilt sind, d. H. Jedes Quadrat hat 9 Motoren. Jeder Motor entspricht einem Matrixpunkt, daher haben wir 27 taktile Einheiten, mit denen der Körper des Benutzers mit verschiedenen Intensitäten berührt werden kann.

Sougwen Chung

愫君
Drawing Operations
Sougwen Chung is an internationally renowned multidisciplinary artist, who uses hand-draw and computer-generated marks to address the closeness between person-to-person and person-to- machine communication. She is a former researcher at MIT Media Lab and current Artist in Resident at Bell Labs and New Museum of Contemporary Art in New York. Her speculative critical practice spans installation, sculpture, still image, drawing, and performance. Drawing Operations Unit: Generation 1 is the 1st stage of an ongoing study of human and robotic interaction as an artistic collaboration.

NORIYUKI SUZUKI

*(Sternchen)
„*(Sternchen) ist eine Installation, die aus einem Armillarsphärenapparat besteht, der einen Apfel um 360 Grad dreht, und vier Kameras, die die Oberfläche des Apfels in Echtzeit omnidirektional scannen. Computer berechnen die Ähnlichkeit zwischen fragmentarischen Bildern des gegenwärtigen Apfels und Äpfeln, die ich zuvor gegessen habe, als wären sie meine Erinnerung an Äpfel. Die Berechnungen und verglichenen Bilder von Apfelfragmenten werden jeweils auf vier Displays angezeigt.“ Noriyuki Suzuki

Daniel Widrig

‘SnP’, 2018, recycled plastic, injection moulded

“Widrig’s art breaks down the boundaries between disciplines; borrowing tools traditionally associated with one industry and using them in other fields, in often unanticipated and exciting ways. Widrig uses computer simulation processes and advanced technologies adopted from the special effects business to create sculptural 3D-printed craftwork—digital designs materialize into intricate sculptures in glass or recycled plastic and furniture pieces with impeccable undulated thin surfaces,” Devid Gualandris

RHIZOMATIKS RESEARCH ELEVENPLAY KYLE MCDONALD

Figure Discrete
Esecutori umani incontrano corpi generati dal computer, visualizzazioni calcolate del movimento incontrano droni svolazzanti! L’intelligenza artificiale e le macchine di autoapprendimento fanno apparire questa tavolozza inedita di progetti di movimento, progetti che trascendono di gran lunga i confini dell’articolazione umana, consentendo uno sguardo profondo nel mondo astratto dell’elaborazione dei dati. Il team di Rhizomatiks Research, guidato dall’artista, programmatore, designer dell’interazione e DJ giapponese Daito Manabe, riunisce il potere collettivo con un numero di esperti, tra cui i cinque ballerini ELEVENPLAY del coreografo MIKIKO e dell’artista di programmazione Kyle McDonald. Il risultato è un’immagine mozzafiato, realizzata magnificamente, insomma: visivamente sbalorditiva.

UVA UNITED VISUAL ARTISTS

Entwurf
Blueprint umfasst die Beziehung und Parallelen zwischen Kunst und Wissenschaft und schafft Kompositionen durch die mathematischen Prinzipien der Logik, die das Leben stützen. UVA untersucht Analogien zwischen DNA und Computercode und hat die Blueprint-Serie entwickelt. Arbeiten, die Genetik und Code als Blaupausen künstlicher und natürlicher Systeme verbinden. Da sich die Arbeit im Laufe der Zeit langsam ändert, schwanken die Muster zwischen verschiedenen Komplexitätsgraden. Blueprint verwendet die Grundkonzepte der Evolution, um ein sich ständig veränderndes Bild zu erstellen. Während Zellen ihre Gene buchstäblich auf ihre angrenzenden anderen übertragen, fließt Farbe wie Farbe über die Leinwand. Blueprint erstellt jede Minute eine einzigartige farbenfrohe Komposition und präsentiert das unbegrenzte Ergebnis, das sich aus einem einzigen Algorithmus ergibt. ein einziges Regelwerk.

MAXIM ZHESTKOV

Optics Art Film
Optics è un film d’arte sperimentale di Maxim Zhestkov che esplora il comportamento della luce artificiale e del colore negli ambienti digitali. Mescolando lo spazio della galleria architettonica con sculture di vetro digitali generate al computer, incontriamo rifrazioni animate, aberrazioni cromatiche, riflessi colorati e altre condizioni che sono impossibili nella realtà. Una serie di prove ed esplorazioni ci guida attraverso diverse condizioni ottiche del luminoso e colorato universo digitale.

Rafael Lozano-Hemmer

Saturation Sampler
Rafael Lozano-Hemmer’s work Saturation Sampler, uses AI computer vision to track onlookers and extract the most saturated color palettes from their bodies and clothes, creating a gridded composition from the footage where viewers catch glimpses of their reflections in the pixelated field. With the widest color gamut available and an unparalleled 160-degree viewing angle, Luma Canvas delivers a unique viewing experience unlike any other. The direct emissive nature of the display’s LEDs creates a visceral and material encounter with Lozano-Hemmer’s interactive work, meaningfully situating his digital work within the physical realm.

xenakis

EONTA
“Eonta (beings) is so entitled as a homage to the ancient Greek philosopher and poet Parmenides. The original printed form of the title word is Cypriot orthography of Creto-mycaenean origin, lost for over 24 centuries and only recently deciphered. Eonta, written in Berlin during 1963-64, was first performed at the Domaine Musical concerts in Paris, conducted by Pierre Boulez, in December 1964. It makes use of stochastic music (based on the theory of probabilities) and symbolic music (based on logistics). Some of the instrumental parts, notably the piano solo at the opening, were calculated on an IBM 7090 computer at the Place Vendôme, Paris.”
(Iannis Xenakis)

Ian Cheng

“Entropy Wrangler,” Ian Cheng’s 2013 exhibition at Off Vendome in Dusseldorf, was an excellent introduction to the logic behind this artist’s practice. The centerpiece was a large projection in the gallery’s basement described as “a live computer simulation that changes and evolves, forever.” Like all of Cheng’s simulations, it was programmed with motion capture techniques that register the physical movements of performers that are then translated onto digital bodies. These bodies coexist as individual entities subject to the laws and dynamics of a causal, virtual world: avatars of people and common objects, like hammers and basketball players, rendered in basic three-dimensional form and caught in the zero gravity of the digital screen

TEAMLAB

Dans van koi en mensen
Koi zwemmen op het wateroppervlak, dat zich uitstrekt tot in het oneindige. Mensen kunnen het water in. De beweging van de koi wordt beïnvloed door de aanwezigheid van mensen in het water en ook andere koi. Wanneer de vissen met mensen botsen, veranderen ze in bloemen en verspreiden ze zich. De baan van de Koi wordt bepaald door de aanwezigheid van mensen, en deze banen trekken lijnen op het wateroppervlak. Het werk wordt in realtime weergegeven door een computerprogramma. Het is geen vooraf opgenomen animatie en ook geen on-loop. De interactie tussen de kijker en de installatie leidt tot een continue verandering in het beeldmateriaal. Eerdere visuele toestanden kunnen nooit worden gerepliceerd en zullen nooit meer voorkomen.

UNIVERSAL EVERYTHING

التجلي
يعد التجلي (2020) إعادة صياغة لاستوديو Universal Everything الكلاسيكي من عام 2011 ، التجلي. تم عرض التجلي لأول مرة في أول معرض فردي كبير في الاستوديو Super-Computer Romantics في La Gaite Lyrique ، باريس. الآن تم إعادة تصميمه بالكامل باستخدام أحدث برامج التأثيرات المرئية الإجرائية ، يجلب عمل CGI الفني المحدث حياة جديدة إلى شخصية المشي دائمة التطور ، مع مسار صوتي جديد قائم على فولي بواسطة Simon Pyke.

Dan Tepfer

Natuurlijke Machines Afl. 11: Fractal Boom
In Natural Machines bepaal ik in plaats van een stuk te componeren hoe een stuk werkt. Ik programmeer eenvoudige regels die de computer moet volgen bij het reageren op wat ik speel. Omdat ik improviseer, luister ik altijd naar wat de computer speelt en reageer ik er ook op. Dus uiteindelijk raken de regels mij ook. De visualisaties die ik heb gemaakt, zijn bedoeld om de onderliggende muzikale structuur van elk stuk te onthullen. Ze worden in realtime gegenereerd terwijl ik speel. Alles op het scherm is een directe weergave van een bepaald aspect van de muziek: toonhoogte, dynamiek, ritme, harmonie.

Maria Smigielska

Proteus 2.0
Proteus ist eine Installation, die Ferrofluid-Muster mit menschlichen und maschinellen Intelligenzen in einem geschlossenen Kreislauf moduliert. Durch ein individuelles und anhaltendes visuelles Erlebnis lässt es den Besucher über eine Gehirn-Computer-Schnittstelle in eine implizite Interaktion mit dem Material eintauchen. Ein vortrainiertes, dediziertes Modell für maschinelles Lernen wird durch neuronale Signale in Echtzeit informiert, die vom Blick des Besuchers erzeugt werden, während er dem schnellen seriellen Wechsel von Mustern ausgesetzt ist, ohne dass explizite Anweisungen zu befolgen sind. Über die Zeit des Blickerlebnisses kann der Besucher eine gewisse Stabilisierung des eigenen modulierten Bildes des Materials erleben.

Franziska Schneider

But does it run Linux? – A clocked marble calculator
We switch them on, they do stuff for us. Is it magic? What do our computers do? This brand new mechanical 0.1Hz calculator featuring 1-bit architecture and 16bit of RAM is constructed to answer that question by bringing elemental computer logic to a human scale. It does not run Linux, but marbles. See them rolling.

MEDIATED MATTER

MEDIATED MATTER – Silk Pavilion II
Bloom è un’installazione interattiva che reagisce al movimento e ai gesti del pubblico. Utilizzando un’interattività laser touch, il pubblico genera fiori digitali in fiore che creano una composizione sonora che cambia in base all’azione dell’utente. Costruita secondo un approccio parametrico di architettura sonora e visiva, l’installazione si presenta come un sistema con un elevato processo di creazione casuale. In questo senso, ogni interazione è unica e inimitabile. Il pubblico comunica direttamente al mondo digitale usando il movimento delle mani creando luci e immagini astratte. Questo esplora la pratica del movimento umano per facilitare l’espressione e la comunicazione del movimento e per progettare e sviluppare nuovi paradigmi per l’interazione con i computer attraverso il movimento.

Pe Lang

Led n°1
Biografie Pe Lang in zijn werkplaats in de buurt van Zürich. De Zwitserse kunstenaar Pe Lang, geboren in 1974, heeft een achtergrond in elektronica, computerprogrammering en experimentele muziek. Door de rol van de waarnemer te benadrukken en ons uit te nodigen om het begrip technologie te heroverwegen, daagt Pe consequent het idee van een vaste, onveranderlijke realiteit uit door de grenzen van de mogelijkheid te verkennen.

Tromarama

Solaris
olaris 2020 is een led-gordijn ter grootte van een muurschildering die een spectaculair, lichtgevend ecosysteem afschermt dat bevolkt is met bloemen van kwallen. Gemaakt met een computerprogramma dat vaak wordt gebruikt in videogameplatforms, presenteert de screening een digitale simulatie van een unieke mariene omgeving – een geheel door land omgeven lichaam van zout en regenwater dat meer dan 11.000 jaar geleden is gevormd, gelegen voor de kust van Kalimantan, Indonesië. Deze kwallensoorten zijn vrij van roofdieren en kunnen gedijen in warme wateren. Ze hebben zich anders ontwikkeld, waardoor wetenschappelijke gemeenschappen een levend laboratorium hebben voor het bestuderen van de mogelijke effecten die klimaatverandering kan hebben op mariene systemen.

PAUL FRIEDLANDER

بول فريدلاندر
ポール·フリードランダー
The Brain Unravelled
“The installation is a development of the long standing wave series. It is the first light sculpture to be lit entirely by LEDs. Many thanks to my electronics engineer, Louis Norwood, for helping realise some ideas I have been contemplating for years and finally the technology has matured so I now have a completely new computer controllable light source.” Paul Friedlander

Noriyuki Suzuki

*(asterisk)
“*(asterisk) is an installation comprised of an armillary sphere apparatus rotating an apple in 360 degrees and four cameras omnidirectionally scanning the surface of the apple in real-time. Computers calculate the similarity between fragmentary images of the present apple and apples I’ve eaten before, as if they were my memory of apples. The computations and compared apple-fragment images are shown on four displays respectively.” Noriyuki Suzuki

Troika

AVA

Ava’ is Troika’s first sculptural manifestation of their exploration of algorithms. ‘Ava’ is the physical result of emergence and self organisation brought about by ‘growing’ a sculpture through the use of a computer algorithm that imitates the emergence of life by which complexity arises from the simplest of things. As such the sculpture probes at the nature of becoming, existence and our strive to understand and replicate the complexities of life.In a landscape where our personal data is a raw material, and where we, humans, have become subordinate spectators of algorithms and a computerised infrastructure, we ask the question how much or little are we capable of influencing our surrounding reality, how much is predetermined, how much is down to chance.

Maki Namekawa

Pianographique
Pianographique is a series of collaborations of real time visual artist Cori O’Lan and Maki Namekawa. The visualisations are not videos that are more or less synchronous to the music and it is also not the musician’s playing to prefabricated material, they are jointly created together in the moment of the performance. As with most of Cori O’Lan’s visualizations, all graphic elements are derived directly from the acoustic material, i.e. the sound of the music. For this purpose, the piano is picked up with microphones and these signals are then transformed by the computer into a multitude of information about frequency, pitch, volume, dynamics, etc… This information, in turn, is used to control the graphics computer, create graphical elements or modify them in many ways. Since these processes take place in real time, there is a direct and expressive connection between the music and visual interpretation. The visualization is actually not “created” by the computer but much more by the music itself – the computer is rather the instrument, the brush operated, played by the music.

Driessens & Verstappen

Breed
Breed (1995-2007) is a computer program that uses artificial evolution to grow very detailed sculptures. The purpose of each growth is to generate by cell division from a single cell a detailed form that can be materialised. On the basis of selection and mutation a code is gradually developed that best fulfils this “fitness” criterion and thus yields a workable form. The designs were initially made in plywood. Currently the objects can be made in nylon and in stainless steel by using 3D printing techniques. This automates the whole process from design to execution: the industrial production of unique artefacts.
Computers are powerful machines to harness artificial evolution to create visual images. To achieve this we need to design genetic algorithms and evolutionary programs. Evolutionary programs allow artefacts to be “bred”, rather than designing them by hand. Through a process of mutation and selection, each new generation is increasingly well adapted to the desired “fitness” criteria. Breed is an example of such software that uses Artificial Evolution to generate detailed sculptures. The algorithm that we designed is based on two different processes: cell-division and genetic evolution.

PAUL ROBERTSON

File Festival
Paul Robertson is an Australian animator and digital artist who is known for his pixel art used in short films and video games. He is mostly known for Scott Pilgrim Vs. the World: The Game and the recent release, Mercenary Kings. Apart from his seasoned career as a game designer and movie creator, Robertson has been recently spotted on Tumblr with these GIFS. His interest in inserting flashing neon colors, geometric shapes, Japanese character animation, and 1990′s computer imagery, deems his work as heavily influenced by the Seapunk/Vaporwave aesthetic.

ANOUK WIPPRECHT

PANGOLIN DRESS

The Pangolin Scales Project demonstrates a 1.024 channel BCI (Brain-Computer Interface) that is able to extract information from the human brain with an unprecedented resolution. The extracted information is used to control the Pangolin Scale Dress interactively into 64 outputs.The dress is also inspired by the pangolin, cute, harmless animals sometimes known as scaly anteaters. They have large, protective keratin scales covering their skin (they are the only known mammals with this feature) and live in hollow trees or burrows.As such, Pangolins and considered an endangered species and some have theorized that the recent coronavirus may have emerged from the consumption of pangolin meat.Wipprecht’s main challenge in the project’s development was to not overload the dress with additional weight. She teamed up 3D printing experts Shapeways and Igor Knezevic in order to create an ‘exo-skeleton like dress-frame (3mm) that was light enough to be worn but sturdy enough to hold all the mechanics in place

Tromarama

Madakaripura

Digital image projection, software, real-time internet-based data, and sound
Installation shot at St. Saviour Church, London
Tromarama is an art collective founded in 2006 by Febie Babyrose, Herbert Hans and Ruddy Hatumena. Engaging with the notion of hyperreality in the digital age, their projects explore the interrelationship between the virtual and the physical world. Their works often combine video, installations, computer programming and public participation depicting the influence of digital media on the society perception towards their surroundings. They live and work between Jakarta and Bandung.

HYE YEON NAM

Please Smile
File Festival
“Please smile” is an exhibit involving five robotic skeleton arms that change their gestures depending on a viewer’s facial expressions. It consists of a microcontroller, a camera, a computer, five external power supplies, and five plastic skeleton arms, each of them with four motors. It incorporates elements from mechanical engineering, computer vision perception, to serve artistic expression with a robot.

Maurizio Bolognini

SMSMS-SMS Mediated Sublime

CIMs-Collective Intelligence Machines

“In 2000, I began to connect some of these computers to the mobile phone network (SMSMS-SMS Mediated Sublime, and CIMs-Collective Intelligence Machines). This enabled me to make interactive and multiple installations, connecting various locations.
In this case the flow of images was made visible by large-scale video-projections and the members of the audience were able to modify their characteristics in real time, by sending new inputs to the system from their own phones. This was done in a similar way to certain applications used in electronic democracy. What I had in mind was art which was generative, interactive and public.”

ANDY LOMAS

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.

TEAM LAB

Universo di particelle d’acqua
Universe of Water Particles è una cascata creata in un ambiente simulato al computer. Una roccia virtuale viene prima scolpita e l’acqua generata dal computer composta da centinaia di migliaia di particelle d’acqua viene poi versata su di essa. Il computer calcola il movimento di queste particelle per produrre un’accurata simulazione di cascata che scorre secondo le leggi fisiche. Successivamente, viene selezionato lo 0,1 percento delle particelle e vengono tracciate delle linee in relazione ad esse. La sinuosità delle linee dipende dall’interazione complessiva tra le particelle d’acqua e forma la magnifica cascata vista sullo schermo.

ASIF KHAN

MegaFacces
Valentin Spiess di iart, spiega come funziona il sistema. «Dietro il telone ci sono più di 10mila cilindri telescopici estensibili, sormontati da una sfera con il LED colorato. Quando la persona da ritrarre entra nel gabbiotto per il selfie, vengono scattate 5 immagini che un computer assembla in un rendering 3D. Una volta terminato il disegno, le informazioni vengono inviate al sistema che regola il posizionamento dei cilindri telescopici che si mettono nella posizione giusta per far apparire il viso prescelto». Il sistema è stato costruito in modo da poter essere riutilizzato. Come una specie di Mount Rushmore mobile e per tutti.

ANOUK WIPPRECHT

Pangolin Kleid
Das Pangolin Scales Project demonstriert ein 1.024-Kanal-BCI (Brain-Computer Interface), das Informationen aus dem menschlichen Gehirn mit einer beispiellosen Auflösung extrahieren kann. Die extrahierten Informationen werden verwendet, um das Pangolin-Schuppenkleid interaktiv in 64 Ausgaben zu steuern. Das Kleid ist auch von den Pangolin-niedlichen, harmlosen Tieren inspiriert, die manchmal als schuppige Ameisenbären bekannt sind. Sie haben große, schützende Keratinschuppen auf ihrer Haut (sie sind die einzigen bekannten Säugetiere mit dieser Eigenschaft) und leben in hohlen Bäumen oder Höhlen. Als solche gelten Pangoline als gefährdete Arten, und einige haben angenommen, dass das jüngste Coronavirus möglicherweise entstanden ist Der Verzehr von Pangolinfleisch. Wipprechts größte Herausforderung bei der Entwicklung des Projekts bestand darin, das Kleid nicht mit zusätzlichem Gewicht zu überladen. Sie hat die 3D-Druckexperten Shapeways und Igor Knezevic zusammengebracht, um einen “Exo-Skelett“ -ähnlichen Kleiderrahmen (3 mm) zu schaffen, der leicht genug war, um getragen zu werden, aber robust genug, um alle Mechaniken an Ort und Stelle zu halten

SHINSEUNGBACK KIMYONGHUN

Aposematische Jacke
“Aposematic Jacket” ist ein tragbarer Computer zur Selbstverteidigung. Die Linsen an der Jacke geben das Warnsignal „Ich kann Sie aufzeichnen“ aus, um mögliche Angriffe zu verhindern. Wenn der Träger einen bedrohten Knopf drückt, zeichnet die Jacke die Szene in 360 Grad auf und sendet die Bilder an das Web.

MAKI NAMEKAWA

Pianographique
Pianographique ist eine Reihe von Kollaborationen der visuellen Echtzeitkünstler Cori O’Lan und Maki Namekawa. Die Visualisierungen sind keine Videos, die mehr oder weniger synchron zur Musik sind, und es ist auch nicht das Spiel des Musikers mit vorgefertigtem Material, sie werden im Moment der Aufführung gemeinsam erstellt. Wie bei den meisten Visualisierungen von Cori O’Lan werden alle grafischen Elemente direkt vom akustischen Material abgeleitet, d. H. Vom Klang der Musik. Zu diesem Zweck wird das Klavier mit Mikrofonen aufgenommen und diese Signale werden dann vom Computer in eine Vielzahl von Informationen über Frequenz, Tonhöhe, Lautstärke, Dynamik usw. umgewandelt. Diese Informationen werden wiederum zur Steuerung des Grafikcomputers verwendet. Erstellen Sie grafische Elemente oder ändern Sie sie auf vielfältige Weise. Da diese Prozesse in Echtzeit stattfinden, besteht eine direkte und ausdrucksstarke Verbindung zwischen Musik und visueller Interpretation. Die Visualisierung wird eigentlich nicht vom Computer „erstellt“, sondern viel mehr von der Musik selbst – der Computer ist eher das Instrument, der Pinsel, der von der Musik gespielt wird.

STEPHANIE DINKINS

Gespräche mit Bina
Die Künstlerin Stephanie Dinkins und Bina48, einer der fortschrittlichsten sozialen Roboter der Welt, testen diese Frage anhand einer Reihe laufender Gespräche auf Video. Dieses Kunstprojekt untersucht die Möglichkeit einer langfristigen Beziehung zwischen einer Person und einem autonomen Roboter, die auf emotionaler Interaktion basiert und möglicherweise wichtige Aspekte der Mensch-Roboter-Interaktion und des menschlichen Zustands aufdeckt. Die Beziehung wird mit Bina48 (Breakthrough Intelligence via Neural Architecture, 48 Exaflops pro Sekunde) aufgebaut, einem intelligenten Computer der Terasem Movement Foundation, der zu unabhängigem Denken und Emotionen fähig sein soll.

Studio A N F

Computervisionen 2
Nach mehr Jahrzehnten des Versuchs, einen Apparat zu konstruieren, der denken kann, können wir endlich die Früchte dieser Bemühungen erleben: Maschinen, die es wissen. Das heißt, nicht nur Maschinen, die Informationen messen und nachschlagen können, sondern auch solche, die ein qualitatives Verständnis der Welt zu haben scheinen. Ein auf Gesichtern trainiertes neuronales Netzwerk weiß nicht nur, wie ein menschliches Gesicht aussieht, es hat auch ein Gefühl dafür, was ein Gesicht ist. Obwohl die Algorithmen, die solche para-neuronalen Formationen erzeugen, relativ einfach sind, verstehen wir nicht vollständig, wie sie funktionieren. Eine Vielzahl von Forschungslabors hat solche Netze auch erfolgreich auf fMRT-Scans (Functional Magnetic Resonance Imaging) lebender Gehirne trainiert, um Bilder, Konzepte und Gedanken effektiv aus dem Geist einer Person zu extrahieren. Hier geschieht die Beugung wahrscheinlich als doppelte: eine Technologie, deren Funktionsweise nicht gut verstanden wird und die eine ebenso unklare natürliche Formation mit einem gewissen Erfolg qualitativ analysiert. Andreas N. Fischers Arbeit Computer Visions II scheint kurz hinter dieser Schwelle zu warten, wo sich zwei Arten von wissenden Wesen in einer Art psychotherapeutischer Sitzung treffen […]

Maria Guta and Adrian Ganea

Cyberia

Performance & live computer generated simulation

A postmodern fairytale, Cyberia takes place somewhere in a cold distant East, stretching between and endless imaginary realm and a vast physical space. It is a westwards journey towards a promised future with no arrival and no return. There is no here or there, only a twilight zone between a departure point and a simulated destination. Between digital video projections and a physical setting, using the mechanics of a video-game engine with a motion capture suit, Cyberia is the simulation of an endless pre-climax state where a performer and a CG avatar dance as one to the rhythms of an imaginary West. In a world oversaturated by digital data –mysticism and paranormal are as popular as ever. Emerging technologies are increasingly incorporated in a form of postmodern spiritualism, as Arthur C. Clarke points out: “Any sufficiently advanced technology is indistinguishable from magic.

Henk Stallinga

Fanscreen
Fanscreen is comprised of several panels made up of computer fans which are linked together to form a larger ‘screen’. These screens are arranged side-by-side in a large circle that the viewer can enter. Each fan is programmed independently, creating an effect that mimics individual “pixels” on a larger screen. Moving in synchronicity, the programmed fans produce a kind of “film” of various abstract movements.

Daniel Rozin

Troll Mirror
The mechanical mirrors are made of various materials but share the same behavior and interaction; any person standing in front of one of these pieces is instantly reflected on its surface. The mechanical mirrors all have video cameras, motors and computers on board and produce a soothing sound as the viewer interacts with them. Troll Mirror was commisioned by Traget and is made of pairs of pink and blue troll dolls. Every troll doll pair can rotate so that the pink or blue troll face the front. The result is a colorfull reflection of the viewer’s outline and playfull colorfull transitions

Yves Netzhammer

Tage Ohne Stunden
Eine künstliche Welt beschwört der Schweizer Computerkünstler Yves Netzhammer in seiner achtminütigen Videoinstallation “Tage ohne Stunden“ herauf. Das Blickfeld des Betrachter ist Teil des Werkes, er wird in die surreale Filmsequenzen einbezogen, in denen sich die Figuren wie Puppen bewegen, gezeichnet von einer Software, der ihnen eine glatte, künstliche Oberfläche verleiht.

Refik Anadol

Quantum memories
Quantum Memories is Refik Anadol Studio’s epic scale investigation of the intersection between Google AI Quantum Supremacy experiments, machine learning, and aesthetics of probability. Technological and digital advancements of the past century could as well be defined by the humanity’s eagerness to make machines go to places that humans could not go, including the spaces inside our minds and the non-spaces of our un- or sub-conscious acts. Quantum Memories utilizes the most cutting-edge, Google AI’s publicly available quantum computation research data and algorithms to explore the possibility of a parallel world by processing approximately 200 million nature and landscape images through artificial intelligence. These algorithms allow us to speculate alternative modalities inside the most sophisticated computer available, and create new quantum noise-generated datasets as building blocks of these modalities. The 3D visual piece is accompanied by an audio experience that is also based on quantum noise–generated data, offering an immersive experience that further challenges the notion of mutual exclusivity. The project is both inspired by and a speculation of the Many-Worlds Interpretation in quantum physics – a theory that holds that there are many parallel worlds that exist at the same space and time as our own.

Eirik Brandal

Waldian
Waldian is a standalone, wall hanging sound and light fixture capable of playing a near infinite amount of melodic permutations over a predetermined musical scale, complemented by emerging light patterns from twelve separate LEDs spread across the sculpture. In technical terms, Waldian contains two oscillators, an envelope generator and a voltage controlled amplifier, all controlled by impulses from a network of logic gates akin to those of early computers. These impulses are essentially the nerves in the electronic ecosystem, deciding over pitch and amplitude changes as well as creating bursts of light to highlight the entrances of each note. Finally, there is a tube overdrive stage that creates harmonic and subharmonics based on how far away the two oscillators are from each other in frequency. Most parameters are customizable, such as the aforementioned pitch, amplitude and overdrive, but the responsiveness and envelope of the light bursts can also be adjusted, directly affecting the appearance of the light patterns.

Intermedia Chef

The Half
New media artist group, Intermedia Chef is trying to explore dynamic artwork generated by computer-controlled sound in the aspect of data visualization. The sound installation artwork transits sound wave into physical movement. Overmore, they are aiming that the sound wave energy turns out a kinetic type of visual art.