Dark Matters
Kidd Pivot Frankfurt RM

Le spectacle « Dark Matters » de Crystal Pite qui aura lieu au Toboggan les 15 16 et 17 mars intègre elle-même la marionnétique ou l’art de manier la marionnette. Plus précisément, pour son spectacle la technique reprise par la compagnie Kidd Pivot est le Bunraku.

On vous parle chinois ? Japonais en fait plus précisément ! Cet art bien singulier a fait son apparition au XVIIeme siècle dans la région d’Osaka. Avec le nô, le kabuki et le kyôgen, c’est une des quatre formes du théâtre classique nippon. Il est issu de l’assemblage de deux traditions : le Johruri, qui est l’art de raconter des histoires traditionnelles sur un fond musical, et la marionnette, présente depuis le XIème siècle au Japon.

Pour se pratiquer, le Bunraku utilise des marionnettes de taille presque humaine. Plusieurs hommes sont nécessaires pour manipuler une marionnette de ce type. Pour lui donner vie, ils actionnent ce qu’on appelle des contrôles ou baguettes sur ses différentes parties du corps. C’est un travail qui nécessite beaucoup de concentration et d’exercice car si l’accord entre les montreurs n’est pas bien orchestré, le jeu de la marionnette ne sera pas fluide.

Betroffenheit

Arboretum

Oracle Collection
The performance centered around ORACLE, a digital palm reading given by model and iconic muse Axelle Doué. The surrounding luminous dresses embodying the four elements— air, earth, water, and fire—come alive during the reading, with mirrors reflecting them into infinity. The pieces are crafted from diverse materials, both natural and synthetic. Well beyond typical textiles, Clara Daguin implements optical fibers, pleating, embroidered circuits, addressable LEDs, sculpted resin, home-grown alum stone crystals, Swarovski Elements, silk organza, microcontrollers and radio frequency modules.

ADAD
This installation is a mechanism that serves as a kind of interface between planetary processes and an audience. It consists of 12 transparent piezocrystals, grown especially for the project, and 12 motorized hammers that strike them. The installation is connected to the internet. Its core algorithm is controlled by data from a meteorological site which shows lightning strikes in real time (on average, 10~200 lightning flashes occur on the planet every minute). Each time the installation receives information about a lightning strike, a hammer strikes one of the crystals, resulting in a small electrical discharge produced by the crystal under mechanical stress. Each of these charges activates a powerful lamp and sound effects.

“Espills” is a solid light dynamic sculpture. Built using laser beams, laser scanners and robotic mirrors, it is inspired by crystalline formations. A set of geometric figures that float in the air and which suggest, in an abstract way, the transmutation of matter from chaos to order. Dust becoming crystal, being eroded and becoming sand again.

In Search of Petra Genetrix

Petra Genetrix, the protagonist of the series Porosity Valley, is a migrant, mineral, and data cluster. In this lecture performance, the artist traces the origin of Petra Genetrix who constantly crosses borders, gender boundaries, and the concept of existence and nonexistence and creates her own hyperbolic mythology. While utilizing audio and video excerpts from her existing works, Ayoung Kim uses her own voice to create a verbal narrative exploring those agents who cross boundaries. By doing so, she continues to trace multifaceted crystal faces of Petra Genetrix, who is fundamentally porous and ambiguous.

Cutting Corners Creates More Sides
A spoken text …rummages through piles of surplus; boxed accouterments and that unaccounted for miscellanea… and the uneasiness of language itself as it grapples with the whereabouts of the necessary words. The narrative debris morphs through manifolds of optical glass with each utterance marking points along the way. On a long, black tableaux two cameras with little or no depth of field, sentence by sentence cut through a mysterious world of a seemingly inconsequential lineup of objects, tools, parts, bits and the unidentifiable forgotten –whatever might have been close at hand becomes enfolded in a richly colored crystalline doppelgänger image. For each sentence and “drilling” through the objects, the cameras’ parallaxes have been adjusted for a different cross section—the point where momentarily a continuous horizontal view is possible only to then quickly deconstruct as quickly as it formed. The object/installation itself is a self-contained self-reflexive mobile surface complete with positional projectors and screens and a narrow black “runway” of sorts reflecting the initial process of recording.

Urban imprint
“If there is to be a “new urbanism… it will no longer be concerned with the arrangement of more or less permanent … but for the creation of enabling fields….that refuse to be crystallized into definitive form; it will no longer be about meticulous definitions, the imposition of limits, but about expanding notions, denying boundaries, not about separating and identifying entities, but about discovering hybrids; it will no longer be obsessed with the city but with the manipulation of infrastructure for endless intensifications and diversifications, shortcuts and redistributions – the reinvention of psychological space.”, Dutch architect + Harvard Professor, Koolhaas 959, writer of Delirious New York. URBAN IMPRINT is how we design a piece of this new urbanism, an augmented materiality , as we define it. An environment that is a ‘blank canvas’ to be reshaped by the future self.

Articulated 3D-Printed Gown
Michael Schmidt and Francis Bitonti revealed their fully 3d printed gown modeled by Dita Von Teese.
The fully articulated gown based on the Fibonacci sequence was designed by Michael Schmidt and 3D modeled by architect Francis Bitonti to be 3D printed in Nylon by Shapeways. The gown was assembled from 17 pieces, dyed black, lacquered and adorned with over 13,000 Swarovski crystals to create a sensual flowing form.Thousands of unique components were 3D printed in a flowing mesh designed exactly to fit Ditta’s body. This represents the possibility to 3D print complex, customized fabric like garments designed exactly to meet a specific person or need.

Journey
JOURNEY is a 4 min. immersive audiovisual experience, telling the story of photons, primary elements of light, from the moment they approach the eye until the brain reconstructs them into perceivable forms. Our journey begins with the formation of photons in blank space, the colored photons approach the eye and we find ourselves in the capillary structure of Iris, the first layer of the eye. Next stop for the light particles is the Lens, which has a more crystalline form. We find ourselves in a refractive and fractalized environment. With an accelerating pace, we move towards a structure of many capillaries, aka optic nerves, gradually becoming thinner and eventually transmitting light particles towards neurons.

罗杰·海恩斯
A retrospective view of the pathway
His work revolves around the contemporary problem of understanding the meaning and significance of the world. It uses objects and behaviors that are opposed to the more conditioned and appropriate approaches of its predecessors and contemporaries. Hiorns has worked with Naked Youths, antidepressants, jet engines, buried airliners, steroids, sexual activity, and crystallization. In order to identify dominant objects and behaviors in the Western world, she asserts the need for an awareness in harmony with the world’s process, a necessary awareness for progress in improving this disappointing time for the development of human potential.

The Infinite Crystal Universe
Pointillism uses an accumulation of distinct dots of color to create a picture. Here, light points are used to create three-dimensional objects. The light sculpture extends infinitely in all directions. People use their smartphones to select elements to throw The Infinite Crystal Universe. These elements are reborn in three dimensions, creating the artwork. The presence of people and their location within the work affect these three-dimensional elements, which in turn influence and are influenced by other elements in the space. This artwork is forever evolving, changing from moment to moment due to the people in the space.

Glaciator
Glaciator is an installation composed by one to four solar robots that help to compress and crystallize the snow, this process turns snow into ice that is fixed to the glacier mass. The mission of these robots is to help to accelerate the ice formation process on glaciers, allowing them to grow with the addition of snow, regaining the mass they lost as a result of the melting of ice. Its final mission is to raise awareness about the climate change, the melting of the ices and its consequences on the planet.

Liquid Crystal Environment

Liquid Crystal Environment is made using heat-sensitive liquid crystals that are placed between glass slides and inserted into projectors. The slides are rotated to create movement within the liquid, and as the crystals are heated and cooled they change colour. The patterns produced within the various slides are then simultaneously projected onto screens around the exhibiting space, all under the control of a computer program.

On stage, the ample white strapless dress of a still model serves as a screen for all kinds of projections that echo those of a big screen in the background. “Mixing 3D video with certified fairy tale stories and tailoring tradition” is the idea of the atypical Mountain Ash. Intel technology brings to life on the fabric all kinds of patterns simulating embroidery or painting on silk: stripes of neon lights, butterflies flapping their wings, “mapping” of crystal tassels or the northern lights …

geometric death frequency 141

“The title of the piece is a pun that, with irony, alludes to the exceeding of tradition, irreconcilable dichotomy between life and death in a sculpture made, provocatively, by lifeless forms“, adds Diaz. “The line between life and none-life is more fleeing than we usually think: think about a virus that attacks a complex organism and reproduces in the same way as a micro-organism, even though it’s only an agglomerated of lifeless molecules: a natural crystal that, even though is a stone, can be born and undergo a fascinated process of growth that mimes perfectly the ways of an organic life“.

Dawns, Mine, Crystal

The exhibition title Dawns, Mine, Crystal – a direct reference to the work of Raymond Roussel, a pioneer of experimental writing – establishes an intersection of a ‘world of materials’ with complex layers of metaphors and symbols. For Kim, material is not merely a basis for creating forms and images, but a main protagonist for creation itself.

Joshua Tree Residence

Whitaker has envisioned an “exoskeleton” made of shipping containers painted bright white. The containers appear like a starburst, with cuboid forms pushing out in all directions.The home is intended to offer a connection to the sun-baked landscape, while concurrently providing a sense of protection and privacy. Square windows frame views of the blue sky and rugged terrain. In some areas, faceted ceilings give the effect of being inside a crystalline form.

halo
The title of the work HALO refers to the natural optical phenomena seen around the sun or moon, produced by light in the interaction of ice crystals. The first references of the atmospheric phenomenon can be found in a section of the “Official History of the Chin Dynasty” (Chin Shu) from 637, on the “Ten Haloes”, giving technical terms for 26 solar halos. In the exhibition, the place of the celestial body is given to the art viewer, who becomes a central part of the piece.

vertical emptiness (organic parabola)
Onishi Yasuaki uses wire, glue line and crystallized urea for this installation. The wire makes organic parabola line from the ceiling. He dripping glue through it, and vertical thin glue line is connecting our ground. Crystallized urea appears on glue line and wire. Empty space are filing some phenomena which is gravity, time, action, heat, crystallization. We can discover new landscape in it.

every time the stars align
FILE LED SAO PAULO 2018
“Every Time the Stars Align” fuses different natural elements of crystals, plasma and flowers in a lava lamp environment. Red crystals freeze with rigid edges and thaws into a relaxing mood. Plasma liquid rises and falls reflecting a lava-like quality. Flowers fluctuate between a spectrum of color symbolizing intense human affections. Contradicting and uniting flat and deep spaces, the three elements compose and decompose.

THE KINEMAX
“Above is the most literal, architectural interpretation of crystals that I could find. It’s a theater,the Kinémax, at an amusement park in France that revolves around the future. The park, Futuroscope, opened nearly 25 years ago and the Kinémax has been an emblem of the park ever since. It’s kind of amazing. The theater, like most of the structures around the park, was designed by Denis Laming.”

Exploded Chair
This piece takes traditional conception of what a chair is, dismantles it, and places it in clear perspex containers. The maple-wood chair that sits loosely within its crystalline sarcophagus looks much like the archetypal kitchen seat. As the ‘Exploded Chair’ is moved, its wooden pieces rattle around inside their compartments. The piece is both familiar and disorienting, playful and disconcerting — a dichotomous piece on which to seat yourself.

crystal display
“亚当·费里斯（Adam Ferriss）是具有技术意识的创意者之一，他们能够利用他不断增长的代码和处理知识，利用建筑美学奇妙的数字艺术来供我们其他人欣赏。 他的影像让我觉得自己像是迷上了迷幻药，走进了游乐场中那些疯狂的房子之一，那里的每堵墙上都有巨大的错觉，地板一直在你的脚下移动，除非这些是使用算法制作的 和编码框架[…]”

1774
In the year 1774 Louis XV died, marking the sunset of one of history’s most lavish monarchies. In the same year a young Swede named Johann Gahn, working in the deepest and wettest levels of a mine, discovered the metal Manganese. At a molecular level, when combined with oxides, manganese displays a striking “super-crystal” modularity. In this solid aluminum chair, two historic events—the super-excess of Louis XV and the super-crystal of Manganese—are fused into a single moment of design

Crystallographica
The futuristic curves highlighted the collection’s minimalistic inspiration. The unusual creations brought to mind robotic-like fixtures, while exuding elegance and grace. We fell instantly in love with the cold yet fascinating faceted dresses.

МАРИ ШУИНАР
Soft virtuosity, still humid, on the edge
“My source has always been the body itself, and especially the silence and the breath which make up the “invisible” stuff of life. At the root of each new work there is always what I call the “mystery”, an unknown wavelength that calls out to me in an almost obsessive manner. My work consists of capturing this primordial wavelength, of “tuning” it in a sense, and of arranging it in space and time with a structure and form proper to it. Since 1978, this is what I have been doing: listening attentively to the vital pulsation of the body to the point of crystallising it in a new order. Each time, I start afresh from zero. Each time, I focus and re-direct my “antennae[…]”

Federal Studio is a design agency specialising in visual communication ; working at the crossroads of contemporary art and the corporate world. We aim to crystallise our client’s ambitions and help them to realise their dreams.

National Museum of Qatar
The building’s dramatic shape is inspired by the desert rose – a mineral formation created when minerals crystallise below the surface of a salt basin into an array of flat plates resembling rose petals.

ロナン＆エルワン·ブルレック
РОНАН И ЭРВАН БУРУЛЛЕК
БУРУЛЛЕК БРАТЬЯ
The Gabriel Chandelier
“We thought that in the final analysis it was not perhaps necessary to give a delineated form to this piece of lighting but rather to try to arrange it so that the form naturally found its line from gravity[…] Because it is effectively the number of pieces of crystal which make it up, the weight and the length determine this form rather than a curve which we would have drawn.”

Chandelier
The Grand Staircase chandelier (above) is comprised of a large 1.2m diameter fresnel lens, rimmed by a white Corian ring, and suspended in front of a rose-gold plated cradle housing 9 high power LEDs. “As the white light generated by the LEDs passes through the lens, a pattern of 9 overlapping rings is created, adorning the ceiling with a unique crystalline rose.”

罗斯·洛夫格罗夫
רוס לאבגרוב
ロス·ラブグローブ
로스 러브그로브
Liquid Crystal
Inspired by the logic and beauty of nature his design possess a trinity between technology, materials science and intelligent organic form, creating what many industrial leaders see as the new aesthetic expression for the 21st Century.

Yongsan IBD Block H
Inspired by crystalline growth patterns found in nature, the tower’s three tiered wings radiate out from the building’s center. Unlike the design of most Y-type high-rise towers, the design of Block H “steps” each wing asymmetrically so there is a low-wing, a mid-wing and a high-wing. The three wing configuration also enables each apartment to have a corner view from the living space, while maximizing its privacy from the adjacent unit.

Putting The Pieces Back Together Again

The kinetic installation “Putting the Pieces Back Together Again” is a complex system with self-organizing and emergent behaviour, at the same time it is an artistic inquiry and meditation on contemporary scientific methodology. The installation investigates non-hierarchical communication and collective behaviour by implementing such a system physically through many electro-mechanical actors.
The Installation consists of 1250 stepper motors arranged in a two dimensional grid of two by two meters. Each motor is equipped with a pointer made from white acrylic glass. The radii of the pointers are chosen to intersect with the pointers of its neighbours. All motors are excited with the same alternating current that let them move initially in a random direction. Each actor is at the same time sensing its environment. In the event of a collision the pointers reverse their turning direction. This is achieved through a custom motor control circuit. Through the interplay of many entities a complex behaviour emerges on the surface of the installation. By manipulating the signals during runtime the system will form spontaneous pattern on its surface. It seems like they are negotiating it’s position with nearby actors. By this the system is showing behaviour of self-organization. The installation drifts through various activation levels during its run time by this it constantly evolves new formations and constellations (crystallization).

Craco

Tobias Stretch channels the beauty and melancholia of Hauschka’s single “Craco” in his uncanny video filmed in Philadelphia’s answer to Brooklyn’s High Line, Reading Viaduct Park. With music videos for Radiohead, Crystal Fighters and Christopher Bono to his name, the Philly-based animator is known for his distinct aesthetic and method, pairing landscape photography with life-size stop-motion puppets. “I thought right from the beginning when I saw Tobias’s work that it has a mixture of analog and handmade elements and a surreal atmosphere. In my music you have similar elements,” says Hauschka himself, aka the German pianist and composer Volker Bertelmann, who headline’s London’s Union Chapel tonight as part of his European tour. Although best known as a 21st-Century protagonist of the prepared piano practice championed by John Cage, Bertelmann “left all the preparations at home” in order to work with a pure sound on this track. Named after the Italian ghost town, “Craco” is taken from his entropy-laced album Abandoned City and played to Stretch’s own fascination with urban decay. “The music was there beforehand, but I had a bowl of music and a bowl of names and I tried to pair them up. I think the music sounded not only like an abandoned place but also like a nostalgic place and that’s why I thought it was a great match.”

吉冈德仁
吉岡徳仁
Crystallize

UREA Crystal Fountain II

The Life of Crystals
via highlike submit

CARBONIFEROUS table

Carboniferous is a table that cuts through space, definite and strong.Its many layers of black surface together create a shape, a crystallization of a quick movement, crushing, leading the eye towards the future.The honeycomb cardboard, covered with fiber glass and resin is finished off with layers of carbon fiber.The carbon fiber composes and traces the design, the movement into its unique strength.
In Carboniferous you get the feeling that the top surface does not necessarily represent the ideal landing platform.On another perspective the landing surface generates the powerful and matherical base.
Carboniferous is flowing and exploding, like an aggressive wind with a clear direction.As the earth below, coal is extracted into a new form, the result of sediment build-up of plants,
and also the secrecy and conspiracy of the Carbonari, from underground and from the depth of their hiding places,which emerges a few decades later into the tricolore (the three colours of the Italian flag).
Coal, a dense network of plant remains, and Italy, a mix of cultures and different latitudes.Italian amalgam of different origins, Italy particle edges, Italy multiform, Italy tangle of angles,Italy blunt, concave and convex, Italy Alpine wedge, Italy coal.Sediment of a combustion that melted and transfigured particles.

设计工作室新兴对象
Saltygloo
American studio Emerging Objects 3D-printed this pavilion using salt harvested from San Francisco Bay. “The structure is an experiment in 3D printing using locally harvested salt from the San Francisco Bay to produce a large-scale, lightweight, additive manufactured structures,” said Ronald Rael and Virginia San Fratello of additive manufacturing startup Emerging Objects. They explained that 500,000 tonnes of sea salt are harvested each year in the San Francisco Bay Area using power from the sun and wind. “The salt is harvested from 109-year-old salt crystallisation ponds in Redwood City,” they said. “These ponds are the final stop in a five-year salt-making process that involves moving bay water through a series of evaporation ponds. In these ponds the highly saline water completes evaporation, leaving 8-12 inches of solid crystallised salt that is then harvested for industrial use.”

Crystal Mesh Singapore

Homage to B. Franklin
File Festival
Homage to B. Franklin is an interactive sound installation. Like Franklin, we also got inspired by the glass harps, so popular in the eighteenth century and still enjoyed nowadays. With this reference in mind, we aim to realize a dialogue between the past and the approach to explore sonority from elements of everyday life -like simple crystal glasses filled with water- and the present, in which we use electronic synthesizers and tangible digital interfaces to generate music. In both cases, there is something magical about being able to generate music without necessarily being an instrumentalist, without making use of classical or conventional instruments. In both, the resulting sound is different from what these instruments can generate, but still music. Participation from the audience is essential for this work to make sense. This is not an artwork of mere contemplative character. We are interested in motivating the participation and the dialogue work-individual and between individuals, since this is a project in which one can interact in groups.

カルロ·ベルナル
卡罗贝尔纳迪尼
كارلوس برنارديني
Suspended Crystallizzation

Suspended Crystallizzation 2010, une grande intervention de la lumière dans l’espace extérieur, c’est un dessin spatial qui coupant le vide entre les bâtiments, s’impose au niveau de l’air comme une forme illusoire. Destiné à transformer l’espace du contenant de l’œuvre d’art en une forme ouverte et «perméable», le projet matérialisé par la lumière physique de la fibre optique est réalisé à travers le libre expressionnisme de l’espace dessinant les lignes de lumière en négatif dans une telle obscurité environnement comme sur une feuille sombre.

kaleidoscopic crystal floor
dutch artist suzan drummen’s large-scale floor installations are mesmerizing and complex circular patterns made out of mirrors and brightly colored glass. the fractal-like arrangements feature ornate and elaborate circles growing exponentially out of each other and vibrant rings of spiraling colors winding into the surface of the floor. they are composed of crystals, chromed metal, precious stones, mirrors and optical glass. a sensory experience, and visually stimulating, the glittering installations play with the architecture of the space — climbing up walls and sweeping across the surfaces — examining the idea of illusion and optical effects.

Crystal Set / Self Test

吉冈德仁
吉岡徳仁
Stella Crystal Star

Crystal Palace

Crystal Aqua Trees
Installed in Sony Square in Tokyo and on display until January 14, the ‘Crystal Aqua Trees’ is a crystal work of art inspired by the concept of a fountain that can be seen as a spray of water as well as a Christmas tree. Designed by Torafu Architects, the project was inspired by the Trevi fountain in Rome, the “Ai no Izumi” (Fountain of Love) charity drive, which has been held by Sony every year since 1968. For this edition, the architects proposed a new embodiment as an interactive installation. More images and architects’ description after the break.In response to changes in the landscape of the street and the actions of people, the illumination will play beautiful music in harmony with a gorgeous light display. The movement of people is picked up by a sensor camera, which prompts the pillars of light illuminated by LEDs to change colors to create a glimmering structure.Whenever coins are deposited in the crystal donation box placed in front of the square, the installation responds by switching to a special performance, as if acknowledging the contributions made. Like water in a fountain, the polished black floor surface of the stage reflects the illumination, creating a wonderful scene in the middle of the streets of Ginza.