MIMA

Aniara

“Early in the beginning of the film, we are introduced to a woman (Emelie Jonsson) who works on a kind of “attraction” of the spaceship called MIMA, which, at first, is not very popular. It is a technology capable of capturing people’s emotions. and turn them into images, or rather into a kind of vivid dream in their minds. As the ship wanders aimlessly through space, while it is not yet known if it is possible to return to the correct route, days become weeks, weeks become it takes months and the demand for MIMA increases. Aniara explores very well what makes us human as a race and also the importance of having a place to call her own. What was supposed to be a simple transport, over time becomes, in fact, a kind of “mini-planet”.” Marcio Melo

IJIROS
file festival
Ijiro is a robot which expresses emotions reacting to a user’s actions. Boldly, it consists of an OLED display, a speaker and an accelerometer in a cylinder shell. Ijiro isn’t able to move itself because it doesn’t have any actuators. However, it expresses emotions with faces in the display and voice from the speaker when a user touches it, lying, standing, swinging, hanging and so on. For example, if a user swings it softly, it reacts smiling. But if a user swings it roughly, it reacts angrily. So those reactions let users feel it like a baby. It is actually baby’s emotions characterized by cognitive science. Also, Ijiro’s shape is designed as a cylinder. It is considered to get various user’s actions because only a cylinder can be stood, lied down, rolled and so on in primitive shapes. Recently it has been easier to use electronic parts for arts. One advantage of making art pieces with compact electronics like a cell phone. So the art style is able to change from being viewed in a large room to being anywhere. Ijiro was developed to entertain people to keep it like a physical pet. We hope you all enjoy touching it.

O’Neill cylinder

O’Neill was inspired by the papers written by his students. He began to work out the details of a program to build self-supporting space habitats in free space.Among the details was how to provide the inhabitants of a space colony with an Earth-like environment. His students had designed giant pressurized structures, spun up to approximate Earth gravity by centrifugal force . With the population of the colony living on the inner surface of a sphere or cylinder, these structures resembled “inside-out planets”. He found that pairing counter-rotating cylinders would eliminate the need to spin them using rockets.This configuration has since been known as the O’Neill cylinder.

cellule No. 5
Absalon’s best known works, the Cellules, rewrite Cezanne’s “treat nature as the cylinder, the sphere and the cone” to read “treat architecture as the cell, the bunker and the turret.” Not that the Cellules are straightforwardly architecture: they equally evoke Minimalist sculpture, Matt Mullican’s maquettes, Kurt Schwitters’ Merzbauen and the Concrete sculptures of George Vantongerloo. But the model that the Cellules most overtly evoke is the monastic cell. The Cellules were fabricated in wood, cardboard and plaster, and painted entirely white; their average proportions are roughly those of a caravan, and the catalogue informs us that there is always an area in which one can stand up. Their interiors are fitted–fitted rather than furnished–with unobtrusive minimal representations of desks, seats, beds, etc.

Needle Tower
“Inspired by architect Buckminster Fuller’s interest in the geometry of structure, Snelson’s experiments led to a prototype for a “floating compression structure.” Fuller subsequently credited Snelson with having invented a new structural principle which the architect named tensegrity, a contraction of the words tension and integrity.
These investigations into the physical properties of structure became more fully realized as an art form beginning in the 1950s. Snelson created sculptures consisting of tubes and cables. Cylinders of steel seemingly dance through space in defiance of gravity, yet it is the structural competition between tension and compression which underlies their construction. Snelson finds beauty in bringing these forces of nature into balance: the rigid compression tubes pushing outward, the flexible tension cables pulling inward. His sculptures would maintain their structural integrity beyond gravity, in the vacuum of outer space.” Joelle Burrows

레오 비야 레알
ЛЕВ ВИЛЬЯРРЕАЛ
cylinder
De padre mexicano, Leo Villareal nació en Nuevo México y creció entre El Paso, Texas, y Ciudad Juárez, Chihuahua. “Sí, viví allá cuando era niño, así que le tengo mucho amor [a Ciudad Juárez] es algo muy importante para mí”. Leo es considerado pionero en el uso de diodos emisores de luz codificados y programación de imágenes por computadora, asimismo su prestigiada carrera lo incluye en las colecciones permanentes del Museo de Arte Contemporáneo de Nueva York y en la Galería Nacional de Washington, D.C.

7.0
Audio visual installation with sound and seven spinning motorized laser mounted on rotating bars. As the bars spin, the straight-line laser beams spread into a cylinder and cone-shaped sculptures. The inclination and position of the laser changes the geometry.

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. “

Soundform No.1
“Soundform No.1” is a minimalistic soundscape and kinetic art installation that transforms heat energy into a poetically evolving, spatiotemporal composition. All the sound in this installation is created thermo acoustically by activating heating elements inside quartz glass tubes hung in the space. As the glass warms, a nickel-titanium spring reacts instantly, pulling the cylinder upright. At the correct angle, airflow becomes unrestricted, and a thermo acoustic phenomenon, known as a Rijke effect (named for the professor who discovered the phenomenon in 1859), creates an audible tone.

True/False
True/False is a kinetic sculpture composed of arrays of circular black metal segments set in mechanical columns. Interlocking and rotating around fluorescent light tubes, the cylinders cover or expose the light to display an endless number of patterns. The transformation of the sculpture is based on the shifting elements and their correlation to each other. As the segments do not move independently, for any of the cylinders on a column to change, the segments affected must work in unison to achieve the command. Reminiscent of devices originally used for calculations, such as Turing machines, the sound originates from the mechanical movement of the moving parts thus making the algorithm audible. The rhythm of »true/false« is captivating as variations in the visual choreography result in distinctive changes in its soundscape. Through the generation of algorithmic patterns and the repetition of endless tasks, »true/false« transforms itself into something more than the sum of its elements to reveal the beauty hidden within a basic algorithm.

Moonflight
The fashion short was inspired by the symbolic abstract forms and geometric shapes of the avant- gardist Triadic ballet. Sanja Marusic simplied bodily shapes by substituting them with cylinders and circles, she made her own costumes and then abstracted the human form even further by incorporating stylised dance movements by filming herself dancing. The result is a surrealist symbiosis of the human body moving through time and space.

Spirit Molecule
Spirit Molecule II, engages local community members as DNA donors to be memorialized in a site-specific commission for the Broad Museum at Michigan State University, created in collaboration with University scientist Dr. Bjoern Hamberger. The work consists of a large mound of moss growing in the gallery, with four embedded cylinders containing genetic memorial plants. In this iteration we embed both human DNA and a gene for the scent of patchouli into lab-strain moss Physcomitrella patens.

Prehysterical Machine

The Prehysterical Machine has a spherical body and eight arms made of aluminum tubing. It has a sensing system, a motor system and a control system that functions as an autonomous nervous system (entirely reactive). The machine is suspended from the ceiling and its arms are actuated by pneumatic valves and cylinders. Pyroelectric sensors allow the robot to detect the presence of viewers in the nearby environment. It reacts to the viewers according to the amount of stimuli it receives. The perceived emergent behaviors of this machine engender a multiplicity of interpretations based on single dynamic pattern of events.The aim of this project is to induce empathy of the viewer towards a “character” which is nothing more than an articulated metal structure. The strength of the simulacra is emphasized by perverting the perception of the creature, which is neither animal nor human, carried through the inevitable instinct of anthropomorphism and projection of our internal sensations, a reflex triggered by any phenomenon that challenges our senses.
FILE FESTIVAL

SEMICONDUCTOR
HALO is a large scale immersive artwork which embodies Semiconductor’s ongoing fascination with how we experience the materiality of nature through the lens of science and technology. Taking the form of a large cylinder, the structure houses a 360-degree projection of scientific data while an array of 384 vertical wires are played by the same data, to produce the sound. The work draws the viewer into its centre in order to inhabit the results of particle-collisions, produced by experiments taking place at CERN, in Geneva, Switzerland.

Attachment
This poetic machine prints your message and a code on a sheet A6, slips it into a biopolymer cylinder attached to a balloon, which is finally released into the air. Then, the balloon will travel haphazardly to a potential recipient.
Where did the idea come from? The basic idea was to take a stand against the current use of «smart» technologies by creating a poetic concept, using current technology that allows us to communicate differently and rediscover expectation, the random, and the unexpected.
For the record, I have always been attracted by what is in the air and remember having won a balloon release contest when I was about ten years old. My balloon flew from Switzerland to Austria, this definitely left an impression on me and perhaps influenced the idea of this project.

Digital Substance

The parametric technology allows to generate a self-organizing system, that is, to open the essence of the universe as an infinite variety of possible self-organizing systems. The world is in constant process of self-development, but it is not chaos and not a set of known forms (cube, sphere, cylinder, from which you can build everything as Cezanne believed). Everything in the world (in the physical, biological and other reality) is in fluid, flexible, flowing, accelerating and decelerating movements that create tension, tears, force fields. And they are amazingly beautiful (attractors and fractals are their individual symptoms) and they exist before form and after form. It is not a solid, or lines in a space, but something that stands before and after the space.

CYLINDER (SOUND SCULPTURE)
“Cylinder” surgió de un deseo de crear objetos complejos que partiesen de los abrumadores detalles que tiene la naturaleza. Andy Huntington y Drew Allan querian crear formas generadas algoritmicamente de una forma rápida usando técnicas capaces de esculpir objetos extremadamente complejos. Sin embargo, en lugar de utilizar código para generar la complejidad, se dedicaron a capturar la complejidad natural que nos rodea.

Anamorphic sculpture

London-based artist Jonty Hurwitz creates ‘Anamorphic Sculptures’ which only reveal themselves once facing a reflective cylinder. Hurwitz took an engineering degree in Johannesburg where he discovered the fine line between art and science. He has lived in England for many years, working in the online industry though he quietly levitated into the world of art inspired by a need to make ‘something real’. Hurwitz discovered that he could use science as an artistic paintbrush. Each of his sculptures is a study on the physics of how we perceive space and is the stroke of over 1 billion calculations and algorithms.
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cgi masks
Madrid-based 3D artist Lee Griggs created some fascinating topographical illustrations using 3D animation and rendering software Maya Xgen and Arnold. Each piece is comprised of countless >spheres, cylinders, or cubes that have been extruded and colored to create images reminiscent of ocean floors, bacterial growth, or even weather patterns.

Anamorphic sculpture

London-based artist Jonty Hurwitz creates amazing anamorphic sculptures that can only be seen in their own reflections. In fact, without the mirror cylinder, most of his pieces would look like rubbish.
To create these sculptures, Jonty first scans a three-dimensional object, then uses computational software to come up with new physical forms.
“Finding that line between art and science is the underlying motivator in my art life,” says Jonty. “At heart I’m an artist scientist archetype that loves projects and people. Each of the art works and ventures on this site represent a part of what I am.”

Symphony in D Minor

‘Symphony in D Minor’ is an interactive sound and video installation on an epic scale. A thunderstorm contained within a series of large hand cast resin sculptures, each individual form is a unique instrument hanging from the ceiling. Suspended just within reach and activated by touch, the viewer sets the symphony in motion by pushing the forms through the air to trigger the various sound elements of the storm. Sensors relay individual recordings of thunder, lightning, wind and rain with alternating intensities to a full-scale sound system. Acting as both conductor and musician, the viewer creates an evolving composition out of atmospheric sounds, forging an environment that envelops the audience. Housed within each piece are 2 video projectors employing mapping software to evenly fill the surface of the forms. Like giant illuminated pendulums each sculpture radiates video projections that in their dormant state display abstractions of water droplets and slow moving clouds. As the sensors detect movement different ranges initiate more visual elements of the storm. Once activated, the form then shifts to a swirling torrent of clouds.

Cylinder (Sound sculpture)

CYLINDER (SOUND SCULPTURE)