Breathing
File Festival
Breathing is a work of art based on a hybrid creature made of a living organism and an artificial system. The creature responds to its environment through movement, light and the noise of its mechanical parts. Breathing is the best way to interact with the creature.
This work is the result of an investigation of plants as sensitive agents for the creation of art. The intention was to explore new forms of artistic experience through the dialogue of natural and artificial processes. Breathing is a pre-requisite for life, and is the path that links the observer to the creature.Breathing is a small step towards new art forms in which subtle processes of organic and non-organic life may reveal invisible patterns that interconnect us.Breathing is a work of art driven by biological impulse. Its beauty is neither found isolated on the plant nor in the robotic system itself. It emerges at the very moment in which the observer approaches the creature and their energies are exchanged through the whole system. It is in that moment of joy and fascination, in which we find ourselves in a very strange dialogue, that a life metaphor is created.Breathing is the celebration of that moment.

Lumières relationnelles
FILE FESTIVAL
Lumières relationnelles» est une installation audiovisuelle interactive qui explore la relation des personnes avec le caractère organique-expressif de «l’espace». L’installation utilise la lumière, le son, le brouillard et un système logiciel personnalisé pour créer un espace-lumière en trois dimensions morphing (métamorphose), dans lequel les spectateurs participent activement, le manipulant avec leur présence et leurs mouvements […] un organisme vivant, avec ou sans la présence et l’interaction des spectateurs. Lorsque les spectateurs quittent la zone de suivi active, le système commence son propre dialogue avec l’espace en extrudant et en transformant des séquences de formes géométriques lumineuses. Lorsque les spectateurs pénètrent et interagissent avec l’espace-lumière projeté, une expression collective et participative de l’espace se déploie. «Relational Lights» élargit le tissu tridimensionnel de l’espace, le rendant visible, audible et tangible pour les participants.

The willful marionette
the willful marionette (2014) was created by artists Lilla LoCurto and Bill Outcault during a residency with the University of North Carolina Charlotte, working with the College of Computing and Informatics as well as the College of Art and Architecture. The marionette is 3d printed from the scanned image of a human figure and responds engagingly in real time to spontaneous human gestures by reading a viewer’s movements and expressions. Its strings are manipulated by motors and software and there are two depth sensors that read and analyze the behaviors and gestures of participants. The puppet’s subsequent actions are designed to elicit further responses, creating an exchange focusing on the frailty and insecurities of the human participant and raising issues of contemporary relevance. The intention of the project was not to create so much a perfectly functioning robot but rather to imbue an obviously mechanically actuated marionette with the ability to solicit a physical and emotional dialog with a viewer.

Hype Cycle
Machine Learning
Set in a spacious, well-worn dance studio, a dancer teaches a series of robots how to move. As the robots’ abilities develop from shaky mimicry to composed mastery, a physical dialogue emerges between man and machine – mimicking, balancing, challenging, competing, outmanoeuvring.

La marioneta voluntariosa
la marioneta voluntariosa (2014) fue creada por los artistas Lilla LoCurto y Bill Outcault durante una residencia en la Universidad de Carolina del Norte en Charlotte, trabajando con la Facultad de Computación e Informática y la Facultad de Arte y Arquitectura. La marioneta está impresa en 3D a partir de la imagen escaneada de una figura humana y responde de manera atractiva en tiempo real a los gestos humanos espontáneos al leer los movimientos y expresiones de un espectador. Sus cuerdas son manipuladas por motores y software y hay dos sensores de profundidad que leen y analizan los comportamientos y gestos de los participantes. Las acciones posteriores de la marioneta están diseñadas para provocar más respuestas, creando un intercambio que se centra en la fragilidad e inseguridades del participante humano y planteando cuestiones de relevancia contemporánea. La intención del proyecto no era crear tanto un robot que funcionara perfectamente, sino más bien imbuir una marioneta obviamente accionada mecánicamente con la capacidad de solicitar un diálogo físico y emocional con un espectador.

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

INDUSTRIAL CREEPER

On the site we envision a antagonistic dialogue between the seemingly biologic units and its abiotic architectural foundation. The units find a home intertwined amongst the predictable regularity of the steel configuration remeniscent of a deteriorating and outdated technological era whose remnants can be found scattered across downtown Los Angeles. These old industrial artifacts, derived from sheer function, act as an all too familiar platform by which the occupant interacts with this new synthetic ecological system. Throughout the site, we see the units stretched and twisted in an extraodinary demonstration of elasticity. In this way, the building lingers in a constant state of mediation between the past and the future; succombing to the complex configuration of the aggressive industrial creeper.

Return to Sender
Disarm music box
For the work group Disarm, he was able to use 6,700 weapons confiscated in the Mexican drug war and transform these into musical instruments[…] They play well-known, classical music pieces from the respective manufacturer’s country of origin. A musical box made with Glock pistol parts plays Mozart, Beretta barrels Vivaldi, while Reyes’s weapon of choice for Swiss songwriter Mani Matter is the Carabine. Reyes is concerned with «upcycling» – transforming an instrument of death into a musical instrument that stands for dialog and exchange. He undertakes this transformation process with the conviction that the physical act is always accompanied by an idealistic one and appeals to the spiritual dimension of this quasi-alchemical operation towards the good.

Etherea
Edoardo Tresoldi gioca con la trasparenza della rete metallica e con i materiali industriali per trascendere la dimensione spazio-temporale e narrare un dialogo tra Arte e Mondo, una sintesi visiva che si rivela nella dissolvenza dei limiti fisici.
La fusione del linguaggio classico e di quello modernista ne genera un terzo, marcatamente contemporaneo.

Pow2045
The mathematical construct covers the human body, yet sets a contrast to organic shapes in its accuracy and mechanical precision. This kind of visual contrast can be understood as a visual representation of human computer difference and reveals core features of both – man and machine. A characteristic foundation to design the dialogue of “POW 2045″

She has a thing for anatomy, inherited from her parents. But instead of becoming a doctor, Olga Noronha (born in 1990) transformed this interest into a unique language that creates a dialogue between the human body and sculptural pieces of jewelry. Like in series “Orpus in Claustrum”. The collection presents a courageous juxtaposition of crimson priestesses in soft silhouettes and sensational structured items that envelope the model like a modern-day Aelita, queen of space, from the homonymous movie of 1924 directed by Constructivist Yakov Protazanov.

МЯО СЯОЧУНЬ
缪晓春
مياو شياو تشون
THE FAR SHORE
Miao Xiaochun was born in 1964 in Wuxi, China. He undertook an MFA at Central Academy of Fine Arts, Beijing, China graduating in 1989, before embarking on a second MFA at the Kunsthochschule Kassel, Kassel, Germany, graduating in 1999. An influential figure in China’s wave of new media art, Miao Xiaochun is an artist primarily concerned with appropriation and East-West dialogue. For example, his photographs, assembled through a computer program, are sprawling panoramas of China’s social masses.

Interactive audiovisual dance performance
via highlike submit
Breakdown is an interactive audiovisual dance performance presented at the Ears Eyes and Feet event in the B. Iden Payne Theater, May 2014, UT Austin Texas.
Breakdown explores a 2 dimensional simulated world in which its physical rules are constantly being changed and manipulated by an external entity. An inhabitant of this world is in constant motion to adapt to its characteristics. He interacts with the physical rules and develops a dialogue with the entity who controls the forces. Eventually the inhabitant ends up breaking the world’s rules and release himself into a new world, a new dimension.

罗斯玛丽特洛柯尔的
РОЗМАРИ ТРОКЕЛЬ

Cosmos

A Cosmos riflette l’interesse dell’artista nel creare uno spazio in cui le idee possano esistere tra diverse discipline, passate e presenti. Molti degli oggetti e delle opere d’arte, selezionati da Trockel in dialogo con la curatrice Lynne Cooke, producono un contesto per il lavoro dell’artista all’interno di altri campi di indagine, come le scienze naturali e la storia naturale. Gli acquerelli dipinti dalla pioniera botanica Maria Sibylla Merian si trovano accanto a intricati modelli di invertebrati marini realizzati da Leopold e Rudolph Blaschka, inizialmente utilizzati come strumenti di ricerca da naturalisti che non avevano accesso a esemplari viventi. Per più di trent’anni Trockel ha resistito a uno stile identificabile, lavorando in una varietà di materiali, tra cui lana, bronzo e oggetti trovati, e una gamma di mezzi, tra cui fotografia, collage, video e assemblaggio. Le costanti della sua pratica ad ampio raggio includono questioni che hanno a lungo occupato il suo pensiero e che hanno sostenuto la sua diversa attività, come le idee contrastanti del femminismo e le divisioni costruite tra dilettante e professionista, celebrità e anonimato, e il fine e applicato. arti. Più in generale, attraverso i suoi lavori Trockel sonda non solo le interrelazioni tra esseri umani e animali, ma anche il nostro impatto, come specie, sul mondo naturale.