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.
Soft as Snow
Soft as Snow, auch bekannt als Oda Egjar Starheim und Øystein Monsen, Norwegens beste Anbieter von ungewöhnlichem, kristallinem Pop, sind mit einer brandneuen Veröffentlichung zurück. Die 4-Track-EP “Chrysalis” ist die zweite Originalveröffentlichung des Duos nach ihrem Debüt 2014 – die EP “Glass Body”, die auch als “Glass Body Remixed” veröffentlicht wurde, eine beeindruckende Sammlung überarbeiteter Versionen von Lucy, Gabe Gurnsey von Factory Floor, Maria Minerva und Brian DeGraw von Gang Gang Dance: „Chrysalis ist hart, direkt, frei, emotional. Es bringt uns zum Tanzen, Verbinden, Explodieren. “ – Weich wie Schnee Der Anfangstrack „I Adore“ zeichnet sich durch abrasive Synthesizer und schimmernde Beugungen aus, während sich „Fluid“ von glasiger Zurückhaltung zu einem Synth-Freak-Out entwickelt. “Mouth” ist eine bedrohliche Absichtserklärung, alle Stammes-Percussion und Ur-Yelps, die an die beunruhigende Produktion von Mica Levis Soundtrack für “Under The Skin” erinnert. Die EP geht mit dem energiegeladenen, skitternden “Her Blood Is Gold” zu Ende, wobei Odas seltsame, jenseitige Stimme alles zusammenhält.
Licht in Wasser Installation
“Licht im Wasser“ ist eine ortsspezifische Installation, die ein eindringliches und emotionales Erlebnis bieten soll. Es wurde zuvor auf der Mailänder Designwoche 2011 vorgestellt. Die Installation nutzte den einzigartigen Status des Veranstaltungsortes – einer der ältesten Betonkuppeln in Paris. Die Installation wurde daher an die kreisförmige Form des Raums angepasst und definierte das innere Heiligtum als „Ort zum Sein“ und einen äußeren Bereich als Raum für einen Zuschauer. An der Decke befinden sich 16 Ringe aus Schlitzrohren. Aus jedem Loch fallen jede Minute 60 Tropfen Wasser; Insgesamt zirkulieren 3 Tonnen Wasser im Raum. Die LED-Leuchten vibrieren zwischen Ein und Aus mit Frequenzen im kürzesten Intervall von 7 μs, sodass der Betrachter einen Lichtpunkt im Wasser bis zu 6000 μs materialisieren kann, an dem Licht zur Wasserlinie wird.
Die Power Pixels-Ausstellung besteht aus zwei generativen und interaktiven Virtual-Reality-Installationen: Complex Meshes 2020 und Oscillations 2020, eine Arbeit, die erstmals der Öffentlichkeit präsentiert wird. Oscillations 2020 ermöglicht eine grafische 3D-Visualisierung der Musik von Michel Redolfi. Eine Wellenform wird in Echtzeit entsprechend den Frequenzen und Amplituden der Musik erzeugt. Diese Klangspektren der verschiedenen Musikklänge erzeugen endlose imaginäre Landschaften. Bild und Musik reagieren in einer Verschmelzung emotionaler Natur aufeinander, die zu einer echten Synästhesie beiträgt.
WANG & SÖDERSTRÖM
Wang & Söderström ist ein in Kopenhagen ansässiges transdisziplinäres Duo, das sich aus der schwedischen Designerin Anny Wang und dem Architekten Tim Söderström zusammensetzt. Die Überbrückung des physischen und des digitalen Bereichs ist ein Hauptthema in ihrer Praxis und sie versuchen ständig, die Grenzen zwischen ihnen herauszufordern. Wang & Söderström, der zwischen Kunst und Design schwankt, möchte bereits bestehende Konventionen in Bezug auf das Digitale verwerfen und die emotionale und taktile Seite von Materialien, Objekten und Texturen hervorheben, um dem Digitalen eine menschlichere Qualität zu verleihen und aussagekräftigere Verbindungen herzustellen “Durch 3D-Scannen von Elementen aus der Natur wie Baumstämmen, Blättern und Pflanzen und das Mischen mit surrealistischen Materialien und Verhaltensweisen wollten wir sie in einer digitalen Umgebung weiter wachsen lassen.“
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.
Stine Deja and Marie Munk
The title of the exhibition was inspired by Sherry Turkle’s theory of how technology seduces us, making emotions “easy” by offering human relationships without the complexity of being together ‘face to face’. But if machines can become attentive and emotional, what is left to distinguish us as human beings? We are facing a paradigm shift in how we understand ourselves physiologically, as data and algorithms, and are being forced to question the role of our biological body. As the relationship between artificial and human intelligence becomes increasingly intermingled in our everyday lives, Synthetic Seduction provides immersive and timely insight into the limits of human empathy and intimacy. We are glad at SixtyEight Art Institute to host such a space for thought. We hope it will start conversations and maybe even encourage some intimacy among our visiting audiences in the coming weeks.
Grössling City Bath
Maria’s photographic work is both non-sentimental and emotionally powerful at the same time. In one of her latest projects, the photographer has produced a range of portraits in the Grössling City Bath. The images are characterized by some kind of mirrored symmetry of unspoken tension.
SPEKTRUM is an interplay of light, music and the performers. The use of projections in a theatrical context was a very pleasant experience for us, for when projections are used indoors, they can be controlled so precisely that amazing changes of perspective are possible. Once the stage is perceived as a platform, once as a white cube, once the spatial perception itself is completely challenged. As the three different elements of the performance merge into one unified language, SPEKTRUM is able to be many things at once: playful and yet fierce, touching and yet disturbing. Less a narrative than an emotional and sensory experience SPEKTRUM challenges the mind of the spectator in a quite a poetic way.
Lilla LoCurto & Bill Outcault
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.
‘…The only constant for Kikagaku Moyo throughout their travels were the five band members always together moving through it all, but each of them taking everything in from very different perspectives. Inspecting the harmonies and disparities between these perspectives, the group reflects the emotional impact of their nomadic paths. The music is the product of time spent in motion and all of the bending mindsets that come with it.’ – Bandcamp
Love Disorder is a one-room interactive environment, in which a video character talks to visitors and responds emotionally to their movements in the space. When you enter, you see a twelve-foot-high face on a video screen at the far end of the room. The face says: “I’ve been waiting for you” – or one of several other greetings. He’ll continue talking to you if you don’t move, but the emotional tone of what he says will change as you step closer to the screen – or turn away. This manipulative character uses a gamut of emotional ploys to stimulate your movement within the space. He knows if you’re coming or going, and the range of his response is varied and complex enough that most people find themselves interacting, as if directly addressed.
Conversations with Bina 48
Artist Stephanie Dinkins and Bina48, one of the worlds most advanced social robots, test this question through a series of ongoing videotaped conversations. This art project explores the possibility of a longterm relationship between a person and an autonomous robot that is based on emotional interaction and potentially reveals important aspects of human-robot interaction and the human condition. The relationship is being built with Bina48 (Breakthrough Intelligence via Neural Architecture, 48 exaflops per second) an intelligent computer built by Terasem Movement Foundation that is said to be capable of independent thought and emotion.
Untitled: (A Search for Ghosts in the Meat Machine)
What does it mean to be human? At first glance a simple question, the idea of being human is an unstable construct, continuously recrafted. Recent technological innovations allow us to redesign ourselves profoundly— from networked prosthetics and artificial intelligence, to the genetic code of life itself. Can our behaviors be reduced to algorithms? Can our bodies be upgraded with nonorganic integrations? Can sentience itself by manufactured in a lab? This set of nine sculptures examines personhood from anatomical, psychological, genetic, biochemical, behavioral, algorithmic, personal narrative and memory. In many ways, this installation is an emotional confrontation with being quantifiable.
Karen Lancel and Hermen Maat
Kissing Data Symphony
Intimacy Data Symphony is a poetic ritual for intimate experience of Kissing and Caressing each other faces, multi-sensory and socially shared in public space of merging realities. In live experiments with Multi-Brain BCI E.E.G. head-sets, visitors are invited as Kissers (or Caressers) and Spectators. Brain activity of people kissing and caressing is measured and visualized in streaming E.E.G. data, real-time circling around them in a floor projection. Simultaneously, the Spectators brain waves are measured, their neurons mirroring activity of intimate kissing and caressing movements, resonating in their imagination. The Spectators brain activity data are interwoven in the data-visualization. Brain activity of all participants, mirroring each others emotional expressions and movements, in interpersonal and aesthetic ways, co-create an immersive visual, Reflexive Datascape.
Light Tree: Interactive Dan Flavin
HYBE’s Light Tree: Interactive Dan Flavin re-illuminates the minimalist fluorescent light tubes of Dan Flavin from the 1960s, through digital technology. Experimenting with light and its effect, Flavin explored artistic meaning in relationships between light, situation, and environment. The readymade fluorescent light fixtures he used created space divided and adjusted by light and composition, offering a newly structured space with light. HYBE’s work expands the logic of Flavin by reinforcing the physical property of light through interactive media. It presents an escape from traditional lighting, as light and color changes when touched by viewers. Lighting here is divided into front and back, and colors are programmed to maintain complementary colors. The front lighting constantly interacts with colors on a back wall through visual contrast and mixture. A random change and diffusion of light with the involvement of viewers provokes tension extending and segmenting space, turning space into a forum for emotional perceptual experience.
Люси Мак Рае и Барт Хесс
“Lucyandbart” is a collaboration between artists Lucy McRae and Bart Hess. In it they imagine human bodies and faces physically altered with a shocking but artistic realism. Globules of foam, asymmetric spines… fascinating and repugnant simultaneously, the pictures become even more disturbing because they don’t hint at the emotional state of the subject. Each transformed human looks blankly back at you, neither horrified or surprised or excited about their change of form, but merely present and allowing it to be shown to you.
FILE SAO PAULO 2017
Astronauts who were able to observe planet Earth from outer space for the first time, all experienced a strong emotional reaction later called the overview effect. A euphoric feeling of oneness with the planet and all living beings as a collective biotope where ‘my molecules are yours’ and vice versa and individuality seems an illusion.
The Overview-installation consists of a motorized video screen that can slowly pan, tilt and lift. The screen is 3m x 4m wide and has LED light on the backside. An abstracted globe is projected on the front.
Any image can be made to elicit any emotional response based on the soundtrack that accompanies it. This is a fact that filmmakers have exploited for years; a soundtrack can make an image cheerful, or nostalgic, or (in a minor key) induce feelings of melancholy or dread. Wave Interference combines a beautiful and elegant vision of a wave of light with a gradually changing melancholic soundtrack;
Erin Dickson and Jeffrey Sarmiento
Dickson combines phenomenology with architecture and digital technology to create sculpture, installation, and performance that considers the emotional and sensorial qualities of spaces. In Emotional Leak (2011) they produced the physical manifestation of a slowly leaking roof. Inspired by water and realized in glass, the resulting form is a black monolithic sculpture, resembling a digital gothic architectural model.
Our perception — the only true reality. Creation as a feeling that generates the image, expressed in the form. Beauty manifesto calling to go beyond that limit imagination. The aesthetics of art can not be reduced to a clear set of building blocks with which you can strengthen or weaken the perception of contrast. Beauty should not be subjected to analysis, that is communication and the call to participate in the transformation of the emotional to the visible.The process of creating — is the alignment of the mosaic, many repetitions of simple and pure elements, which form a collection, harmonious in its incompleteness.
Maurice Benayoun and Tobias Klein
Brain Factory Prototype 2
Brain Factory is an installation that allows the audience to give a shape to human abstractions through Brain-Computer Interaction (BCI), and then to convert the resulting form into a physical object. The work examines the human specificity through abstract constructs such as LOVE, FREEDOM, and DESIRE. The project articulates the relationship between thought and matter, concept and object, humans and machine. Brain Factory uses Electroencephalography (EEG) data captured by BCI. As a brain activity is unique, we developed a novel calibration process of the individual data readings and associated emotional responses within a framework of binary outcomes. This is key for a real-time feedback – a biofeedback – between the virtual generative processes and the brain’s associated response.
Our perception — the only true reality. Creation as a feeling that generates the image, expressed in the form. Beauty manifesto calling to go beyond that limit imagination. The aesthetics of art can not be reduced to a clear set of building blocks with which you can strengthen or weaken the perception of contrast. Beauty should not be subjected to analysis, that is communication and the call to participate in the transformation of the emotional to the visible.
Wang & Söderström
Wang & Söderström is a Copenhagen based transdisciplinary duo composed of Swedish designer Anny Wang and architect Tim Söderström. The bridging of the physical and digital realms is a major theme in their practice and they are constantly trying to challenge the boundaries between them. Fluctuating between art and design, Wang & Söderström wants to throw out pre-existing conventions regarding the digital and put emphasis on the emotional and tactile side of materials, objects and textures to give the digital a more human-relatable quality and create more meaningful connections. “By 3D scanning elements from nature, like tree trunks, leaves and plants and mixing it with surrealistic materials and behaviors, we wanted to let them continue to grow in a digital environment.”
beGrounded is a project that explores the relationship between humans and other living organisms, as an emotional and artistic act through textiles. It proposes an exploration of a new habitable space in the form of a woven garment with growing sprouts, as a sensorial and interactive experience.
Ameen Ul Insan
The Flat Arc
Intent: Experimenting artistic freedom on data, a road to explore possibilities of telling abstract yet emotional stories not with literature but visuals corresponding to datasets. Method: Generative visual parameters based on World Urbanization Prospects data are governed by real time image/video synthesis, with the help of graphic manipulative software platforms and creative coding.
In Solaris (1972), Andrei Tarkovsky presents a vision of contemporary society as one that has become cut off from nature, and provides a narrative that illustrates the possibility of remaining human in the inhuman world that is the result. The film contrasts a life-affirming natural landscape to an urban, constructed landscape where the natural world is submerged and invisible. The Solaris space station is both a projection of this second, inhuman, landscape and an allegory for Tarkovsky’s view of urban life. The narrative of the film concerns the journey by the central character, Kris Kelvin (Donatas Banionis), from emotional deadness to a rediscovery of his humanity as he charts a course between these two worlds, and the role that art, whether painting, music or film, plays in this.
The Heart Chamber Orchestra
File Festival – Hipersonica
In the TERMINALBEACH Heart Chamber Orchestra (made up of artists Erich Berger and Peter Vatava), twelve musicians played pieces from the heartbeat, recorded by an electrocardiogram from data sent by sensors placed on their bodies. As the live score created in real time from the physical and emotional states of the musicians, their beats further influenced the resulting musical composition. In this way, the biological feedback loop becomes a self-generating, organic and evolving system, which creates a musical score and a show that adopts the form of open or network art, in which chance and interdependence, thus how emotional changes and computational reasoning create a biological and psychological dynamic at the same time.
All in all, Robert Wilson’s Peter Pan is in itself a great adventure. Although it starts slowly and affectedly, it by and by offers the most stunning images and captivating performances, which are filled with plenty of mystery and possess emotional depth, letting us reflect upon our childhoods – all the varied ones each one of us had and has.
Facial micro expressions last less than a second and are almost impossible to control. They are hard wired to the emotional activity in the brain which can be easily captured using specially developed technological devices. Free will is now in question as the science exposes decision-making as an emotional process rather than a rational one. This ability to read emotions technologically result in a society obsessed with their emotional reactions. Emotions, convictions and beliefs which usually remain hidden, now become a public matter. “Belief systems” is a video scenario about a society that responds to the challenges of modern neuroscience by embracing these technological possibilities to read, evaluate and alter peoples behaviours and emotions.
ELEVENPLAY x RZM
‘Discrete Figures’ unites the performing arts and mathematics in a dramatic exploration of the relationship between the human body and computer generated movement (simulated bodies) born from mathematical analysis. As an additional layer of complexity, the performance piece utilizes drones, A.I., and machine learning in the quest for a new palette of movement to foster undiscovered modes of expressive dance that transcend the limits of conventional human subjectivity and emotional expression.
He painted the abysses of the human soul: the British artist Francis Bacon. Basic mechanisms of relationships such as desire, domination and exclusion he presented with merciless honesty and painful beauty.
With her piece, Nanine Linning fathoms the emotional cosmos of Bacon`s paintings and detects in their uncompromising depiction an analogy with her own art. With excessive physicality, the choreography explores fundamental patterns of behavior, which blur the line between human and feral bearing by their archaic and merciless nature. From an almost disturbing proximity the spectator witnesses the struggle of the individual for affiliation.At the same time fascinating and disturbing, the piece celebrates its comeback on stage fourteen years after its first release. BACON, which received the »Swan« for the best Dutch choreography, returns with revised choreography and new video- and light design.
Studio Nick Verstand
AURA (2017) is an audiovisual installation that materialises emotions into a perceptible, physical form. The audience’s own emotional experience manifests as organic, pulsing light compositions of various form, colour and intensity. The installation visually tributes to the Solid Light Works by artist Anthony McCall, further exploring light as a medium.
The Roe’s Room
In this “absolutely singular autobiographical film opera” (Time Out London), multi-talented composer, writer, director and artist Lech Majewski presents a stunning, intimate, and ultimately magical work of unbridled creativity. A ravishing ode to the imagination, THE ROE’S ROOM is a place where the energy of youth and the eternal power of the natural world triumph over the banalities and deprivations of the commonplace.Within their apartment, a father, mother and son bear the dulling yoke of an ordinary urban life. His mind and heart borne aloft by the cycle of the seasons and the images and music within him, the son transforms his cloistered existence into a richly poetic emotional utopia. As autumn arrives, cracking flakes of plaster become falling leaves. With spring, a cold hard floor comes alive with meadow grass and love beckons in the form of a beautiful young girl’s outstretched hand.
You, the Living
The film is an exploration of the “grandeur of existence,” centered on the lives of a group of individuals, such as an overweight woman, a disgruntled psychiatrist, a heartbroken groupie, a carpenter, a business consultant, and a school teacher with emotional problems and her rug-selling husband.
오스카 슐 렘머
1-Margarete Hastings, Franz Schömbs, Georg Verden
2-Super 16mm colour film, directed by Helmut Ammann.
Oskar Schlemmer saw the human body as a new artistic medium. He saw ballet and pantomimes as being free from the historical baggage of theater and opera and, therefore, capable of presenting his ideas of choreographed geometry, the man as a dancer, transformed by his costumes, moving in space. He saw the puppet and puppet movement as superior to that of the human, as this emphasized that the average of all art is artificial. This device could be expressed through stylized movements and the abstraction of the human body. Schlemmer saw the modern world being guided by two main currents, the mechanized (man as a machine and body as a mechanism) and the primordial impulse (the depths of creative urgency). He claimed that choreographed geometry offered a synthesis; the Dionysian and emotional origins of dance become rigid and Apollonian in its final form.
O trabalho eletrônico de Berio data, em grande parte, de sua passagem pelo Studio di Fonologia em Milão. Uma das obras mais influentes que produziu lá foi Thema (Omaggio a Joyce) (1958), baseada na leitura de Cathy berberiana do Ulisses de James Joyce, que pode ser considerada a primeira composição eletroacústica da história da música ocidental feita com voz e elaboração dele por meios tecnológicos. Um trabalho posterior, Visage (1961) vê Berio criando uma linguagem emocional sem palavras cortando e reorganizando uma gravação da voz de Cathy Berberian; portanto, a composição é baseada na carga simbólica e representativa de gestos e inflexões de voz, “de sons inarticulados a sílabas, de risos a lágrimas e canto, de afasia a padrões de inflexão de idiomas específicos: inglês e italiano, hebraico e dialeto napolitano ”
In the photo project INposition (2013), which was shot by a Hasselblad 501CM camera, she’s using playful manipulation of physical fragments to express existentialism or the limits of body and mind. Anna Horcinova staged her models – mostly dancers in physically difficult dance poses expressing an emotional state of mind together with a gesture. And with the help of the body she tries to cross the imperceptible boundaries between her subject and the world around it.
The Garden of Earthly Delights
Based on his own novel “Metaphysics”, Lech Wajewski’s film is an erotic treatise on art, love and death. When British art historian Claudine learns that her cancer is terminal, she abandons caution and takes her lover, Chris, on an extraordinary journey to Venice, where their passion finds fulfillment in the fantastic paintings of Hieronymus Bosch. Videotaping their trip, Claudine intends to leave Chris a haunting record of their emotional and spiritual discoveries.
Light in Water Installation
‘Light in Water’ is a site-specific installation intended to provide an immersive and emotional experience. It was previously presented at Milan Design Week 2011. The installation took advantage of the unique status of the venue – one of the oldest concrete domes in Paris. The installation was thus adapted to the circular form of the space, defining the inner sanctuary as a ‘place to be’ and an outer area as a space for a bystander. There are sixteen rings of slotted tubes on the ceiling. From each hole, 60 drops of water fall every minute; in total 3 tons of water circulate in the space. The LED lights vibrate between on and off, with frequencies ranging from the shortest interval possible, at 7μs, allowing the viewer to materialise a point of light in water, up to 6000μs, where light becomes the line of water.
Люси Мак Рае и Барт Хесс
Imagine human bodies and faces physically altered with a shocking but artistic realism. Globules of foam, asymmetric spines… fascinating and repugnant simultaneously, the pictures become even more disturbing because they don’t hint at the emotional state of the subject. Each transformed human looks blankly back at you, neither horrified or surprised or excited about their change of form, but merely present and allowing it to be shown to you.
Luiza Kurzyna is a Brooklyn-based artist working on both paper, and immersive sculptural installations. Inspired by relationships within nature, Luiza combines the many ways that living things relate to each other (for example, through touch, mating rituals or gender roles) with elements of fantasy. Growing, bulging and decaying forms give objecthood to emotion and life’s transitions. The fantastic elements are intuitive, abstract; they create a space where the emotional inside can merge with the physical outside.
Marina Abramović was born in 1946 in Belgrade, Yugoslavia. Since the beginning of her career, during the early 1970s where she attended the Academy of Fine Arts in Belgrade, Abramović has pioneered the use of performance as a visual art form. The body has been both her subject and medium. Exploring the physical and mental limits of her being, she has withstood pain, exhaustion and danger in the quest for emotional and spiritual transformation
In my work I attempt to trigger and explore both intellectual and emotional reactions to the ways in which objects interact with their surrounding environment. I try to set up a situation where nothing is as it seems, and our notions of reality are exposed as mere assumptions, based on perceptions and experiences that may or may not bear any actual relationship to the way the world works.
“The human form is a constant within my work. I often exaggerate or distort it to reveal an emotional or physical situation, or to tell a story. Limitation and potential are as human as the flesh, yet hardly as tangible. In my works I strive to make visible this interaction.”
Mal di Testa
His art investigates various natural and emotional phenomena, often using technological and mechanical tools to create his works. Through a thorough study of human cognitive faculties, Piccolo’s art analyses the perceptive aspects of the natural world. His artwork investigates natural, physical, biological, and scientific phenomena which are the basis of living, employing their emotional aspect as a tool. He lives and works in Rome, Italy.
Be the Inside of the Vase
Part I: Million Dollar Baby
Part II: Break the Vase
“I often invite viewers to participate, drawing strength from the audiences’ emotional vulnerability, and feelings of uneasiness, to complete the performance as a whole,” Morgan explains in her artist statement. “Here, my emotions become entwined with the audiences,’ creating a symbiotic relationship based on control and power.”
LENNART VAN UFFELEN
Functionality Kills The Fun – Kast.03
Functionality Kills the Fun is a series of “broken” furniture that go by one principle: Functionality is overrated! Products become more interesting when they perform their task partly or even poorly. Most of the time the image or the emotional value that the object generates is what makes it so fascinating. In cases where the functionality is subject to the image you see that the pieces are more open for added value from the individual user.
Florian Graf’s work questions the relationship between people and architecture and the psychological and emotional influence it has on us. He interrogates the visible and invisible systems by which our daily life is structured or investigates how intimate and collective thought are represented or simultaneously affected by the built realm.
the expanding universe
The Expanding Universe is the classic 1980 debut album by composer and computer music pioneer Laurie Spiegel. The pieces comprising The Expanding Universe combine slowly evolving textures with the emotional richness of intricate counterpoint, harmony, and complex rhythms (John Fahey and J. S. Bach are both cited as major influences in the original cover’s notes), all built of electronic sounds. These works, often grouped with those of Terry Riley, Phil Glass, Steve Reich, differ in their much shorter, clear forms. Composed and realized between 1974 and 1977 on the GROOVE system developed by Max Mathews and F.R. Moore at Bell Laboratories, the pieces on this album were far ahead of their time both in musical content and in how they were made.
Akihito Ito + Issey Takahashi
FILE FESTIVAL 2018
story changes in the body as it acclimates to a new rhythm. Participating in the installation can bring about unexpected emotional responses that also affect heart rate variability and, thereby, get recorded, too. The reason why the gift-box is used as an indicator of the heartbeat is because it is a metaphor of a “Gift.”more…
burning man 2018
Arthur Mamou Mani, a prominent Architect based in London and runs Mamou Mani Ltd., had the honour of building the Burning Man Temple for the Burning Man Festival 2018. A temple made from completely eco friendly materials, that stands 30 metres high, 60 metres in width, and that will burn on the last day of the festival with hundreds of thousands standing in silence as it burns.
To achieve this, Arthur needed to raise £500k of Angel investment to bring his temple to life and gift it to the world. This meant for the crowdfunding video we had to take a more emotional approach, targeting the Burning Man community and touching people on a personal level to spiritually show the importance of the temple to one another around it.
Die Künstlerin Amy Karle offenbart kurzlebige mentale und emotionale Zustände in einer kymatischen Erfahrung. In dieser Performance-Kunst verbindet Karle ihren Körper und ihr Gehirn mit einem Subwoofer und einer Chladni-Platte und erzeugt Biosignale in Bild und Ton. Die Frequenz passt sich mit wechselnden Gehirnwellen an. Der Klang ist in Hertz über einen Subwoofer zu hören, der eine Metallplatte darüber vibriert und die Kommunikation von Vibrationen und die Symmetrie des Klangs darstellt.
Vitus Schuhwerk & Till Maria Jürgens
The Life of an Overtaxed Surface
@> <# !!! ist eine Oberfläche einer beliebigen Maschine, die auf emotionaler Ebene mit den Menschen kommuniziert. Es versucht, interne Prozesse durch eine Veränderung seiner Oberflächenstruktur sichtbar zu machen und auf Wechselwirkungen zu reagieren. Das Ergebnis ist ein spielerisches Handling, das mit einem vorsichtigen Ansatz, reibungslosen Bewegungen und dem Auschecken der Möglichkeiten beginnt. Wenn die Interaktion intensiver wird, wird die Maschine überfordert und zeigt stärkere Reaktionen. Am Ende: völlige Ablehnung, spielt tot, es braucht eine Pause; bis der nächste Benutzer damit interagiert. Ziel Um mit Maschinen arbeiten und umgehen zu können, benötigen wir eine Schnittstelle als Kommunikationsmittel. Wir brauchen es, um zu sagen, was die Maschine zu tun hat, und die Maschine braucht es, um den internen Zustand auszudrücken. Unser Plan war es, eine Maschine zu schaffen, die ihren inneren Prozess oder Zustand emotional ausdrückt. Wir wollten es durch eine Veränderung seiner Form und Struktur sichtbar machen, eine emotionale Kommunikation zwischen Mensch und Maschine ermöglichen und die Maschine ausdrücken kann: "Hey, ich bin überfordert. Bitte komm runter, gib mir eine Pause . " Idee Diese Maschine und ihre Veränderung von Form und Struktur, um auf Interaktion zu reagieren, muss so einfach und abstrakt wie möglich sein. Deshalb haben wir uns entschieden, nur eine Metapher einer Maschine zu verwenden, ihre Oberfläche, ein zweidimensionales Objekt. Wir verwenden eine metallbeschichtete Folie, die stark zerknittert und abstrakte, interessante und anorganische Zufallsstrukturen ergibt. Einfache Bewegungsmuster betonen die Abstraktion. Die goldene Farbe der Folie gewinnt zusätzliche Aufmerksamkeit. Das Endergebnis simuliert ein lebendes Objekt mit Gefühlen, Handlungen und Reaktionen. Die Benutzer behandeln es auf viele verschiedene Arten und wir konnten ein breites Spektrum ihrer Reaktionen beobachten: süßes Ding, verschiedene Arten eines Tieres, hässlich, verängstigt, seltsam, verwirrend, muss sich darum kümmern und manchmal die Frage: Was macht das? Reaktion der Folie über mich, über meine Interaktion mit ihr, üb
Rise and Fall
Fiona Tan explores storytelling, memory, and the part they play in the formation of identity throughout this exhibition of five video installations, various associated sketches and one single-channel video. Rise and Fall (2009), elongated projections onto two large, side-by-side screens, is a wordless meditation, set to music, of a woman no longer young but still conscious of her looks; she was clearly a beauty in her youth. As the video proceeds we gather that the young woman pictured on the second screen is the memory of her younger self. They often move through domestic activities (sleeping, bathing, dressing) in parallel; this is inter-cut with scenes of violently rushing water (shot at Niagra Falls, it turns out). It’s a hackneyed metaphor – the water’s endless surging as an image of time’s relentless uni-directionality – but in Tan’s hands that doesn’t seem to matter; she creates extraordinarily emotional work out of simple stories and well-worn themes.
100% Other Fibres
Through collisions of image, noise, objects, language and bodies, Heather Phillipson’s videos and sculptural installations behave as places, musical scores, poems and nervous systems – attending to how physical and affective ‘selves’ are constructed, manipulated and, above all, escape. Often rendered as walk-in conglomerations of readily accessible materials (digital images, paint, cardboard, words, audio loops and reproducible consumer detritus), her works stake out an ambiguous territory in which cultural references and emotional responses are mutually contingent and reactive. Collapsing distinctions between the forthright and the inarticulable, the banal and the ecstatic, and between metaphor and extreme literalisation, Phillipson’s work performs constant tonal shifts, disruptions and bleeds. In so doing, it oscillates between physical intimacies and conceptual distances – desire, sensuality, touching and being touched, shame, anxiety, (over-)exposure, resistant surfaces.
Delusions of self-immolation
The installation Delusions of self-immolation will lead a great number of visitors to ask themselves where the boundaries of their own body lie and why one would wish to discover them. Erik Hobijn has built a machine in which one may almost look death in the face, and that, equipped with fire and water spraying devices, sets light to the victim and extinguishes the flames, standing in the middle of a platform. During the course of the festival Erik Hobijn will give demonstrations.The borders of the body are hard to define in terms of averages, because they are closely related to the psyche that demonstrates the physical limits. Despite its extremely physical nature, the way in which it is experienced is determined by personal fears, dreams and desires. Erik Hobijn’s machine unleashes such strong emotional responses because it forces the person to be the guardian and researcher of their own body limits. It is a life of initialization toward self development, with its own warmth and beauty..