temple galaxia
ekpyrôsis
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.

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.

情绪泄漏
Dickson将现象学与建筑和数字技术相结合，以考虑空间感官和感官品质的雕塑，装置和表演为创作对象。在《情感泄漏》（Emotional Leak，2011年）中，他们产生了屋顶缓慢泄漏的物理表现。受到水的启发，并在玻璃中实现，最终的形式是黑色的整体雕塑，类似于数字哥特式建筑模型。

Where X and Y
File Festival

Utilizing the commercial genre of movie trailers, this video deals with generalizations, patterns, emotional triggers and the constant need for higher climaxes, bigger surprises and deeper emotional responses.

Presence and Erasure
Presence and Erasure is a portrait machine that explores the reality of automated facial recognition and how people relate to their self-image, instinctively and emotionally. Within a given spatial domain, the artwork constantly scans for faces in the vicinity and photographs them. When the artwork’s algorithm detects a certain quality within a photograph, this image is temporarily printed at large scale by exposing a photochromic surface to light impulses. Each automated portrait remains for little more than a minute, before gradually dissolving into blankness. RANDOM INTERNATIONAL began to combine transient mark-making with automated portraiture early on in their practice, in 2008. Presence and Erasure marks the latest development in this body of work and assumes a minimal, industrial aesthetic that references their earliest studies on this theme. The physical impact of facial recognition and machine vision is emphasised by the exposure of the printing process itself, contrasted against the aesthetic of the high resolution portraits generated. RANDOM INTERNATIONAL intend this as a counter to the perception of surveillance footage as always being low quality, aiming to create a deeper reflection on the nature of surveillance today as well as the resounding cognitive and emotional dissonances.

Test Studies
In the 20th century, the film industry largely monopolized the representation of human feelings, whereas in the 21st century, the video game industry engages our emotions through participation. At least that is what Ed Fornieles is trying to demonstrate with his video installation Test Studies in which three-dimensional simulations of a role-playing game are juxtaposed with the emotional comments of those who experience it.
video

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.

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.

Leistungspixel
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.

FILE SAO PAULO 2017
OVERVIEW

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.

emotional leak

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.

AURA
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.

INposition
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.

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.

פיונה טאן
フィオナ·タン
Фиона Тан
فيونا تان
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.

Protest

“Protest” is from the project, “Misbehaving: Media Machines Act Out”(2002-2007), a series of mechanical girls’ legs, each with their own prescribed and programmed behavior. In each tableau, an electronically controlled, mechanical being protests with a voice of erratic physical gestures and projected video imagery. As a combination of robotics and performance, they represent girls who disobey or resist expectations. Unlike machines designed for perfect job performance, these machines will declare their fallibility, impatience, approval, and disapproval through small gestural acts. In these tableaus of protest and transformation, the machine is spirited, emotional, thoughtful, and irregular. “Protest” consists of aluminum, mechanized pairs of 6 year-old girl’s legs fitted with shoes and standing on a table top. An electronic circuit and proximity sensors make her responsive to the presence of viewers for whom she stomps loudly and erratically

克雷格·格林
크레이그 그린
קרייג גרין
クレイグ・グリーン
Крейг Грин
MAN 2013

Die kultischen Runway-Prozessionen von Green, die sich mit Konzepten von Uniform und Nützlichkeit befassen, sind zu einem mit Spannung erwarteten Bestandteil des Männerkalenders geworden. Obwohl seine Kollektionen für ihre dramatischen und zutiefst emotionalen Qualitäten bekannt sind, sind sie fest in der stetigen Entwicklung einfacher, aber streng überlegter Kleidungsstücke wie der Worker Jacket verwurzelt.

Artificial Biological Clock

Revital Cohen’s Artificial Biological Clock (2008) is a clock-like device that responds to online information from a woman’s doctor, therapist and financial advisor. It is designed to remind modern women when they are fertile and emotionally and economically ready to conceive. It is an examination of how contemporary life can disconnect us from our instincts and the natural rhythms of our bodies.