Modules
Modules is a VR art experience, where architecture, sculpture, film, and music blend together to immerse viewers into Zhestkov’s world. A total work of art, it is a world that questions the established definitions of our reality. In digital space, we can abandon the logic of reality and are freed from its boundaries. New worlds with total freedom are possible, worlds only limited by our creativity and the potential of art.
Jo Goes Hunting – Run Away
Amsterdam material designer Shai Langen made sculptural headpieces and covered models in hand-painted patterns for Jo Goes Hunting’s Run Away music video.Langen was approached by the Dutch artist’s manager with a brief for “something less conventional”, and was given complete artistic freedom in his approach.The video opens with a close up of a gleaming paint-covered black and white surface, which is gradually shown to be the form of a person.
StickMan
StickMan is a minimal but full-body exoskeleton that algorithmically actuates the artist with 6 degrees-of-freedom. It is a gesture generating system capable of 64 possible combinations. Sensors on StickMan generate sounds that augment the pneumatic noise and register the limb movements. A ring of 6 speakers directs and circulates the sounds.
DATA
In “DATA”, SpY offers a reflection on the rapid and widespread inclusion of algorithms in numerous aspects of our lives. In this audio-visual work, digital abstraction is used to explore and interpret how predictive tools operated through algorithms and artificial intelligence are highly beneficial in terms of aspects such as communication, research and medicine, but can also lead us to lose some of our freedoms if they are not used ethically.
Through this immersive audio-visual format, SpY explores new tools such as the holographic fabrics used to give the graphics an amazing sense of weightlessness. A 15-metre high screen made from this fabric was installed in one of Madrid’s smallest streets between the walls of the buildings.
Infection Drivers
Infection Drivers (2019) explores the body under attack. In this work, a CGI figure struggles to move and breathe in a translucent suit, which takes her body through transmutations of stereotypically masculine and feminine physiques as it inflates and deflates. In a time of increased public surveillance through facial-recognition software and biometric data mining, Cooper’s high-definition world invites us to investigate and perhaps find freedom in the technologies often used to constrain us.
Franchise Freedom
Franchise Freedom is een performatieve kunstinstallatie van DRIFT die de relatie tussen mens, natuur en technologie onderzoekt. Een autonoom vliegende zwerm van honderden drones stelt het menselijke concept van vrijheid en sociale constructie in vraag. Het nodigt je uit om een poëtische kant van technische innovatie te bekijken en terug te verbinden met de natuur. Gebaseerd op een biologisch algoritme van meer dan 10 jaar onderzoek naar het vlieggedrag van spreeuwen, verlegt het kunstwerk de grenzen tussen natuur en technologie en genereert het een impactvolle sociale verbinding.
توماس ساراسينو
托马斯·萨拉切诺
トマスサラセーノ
Space elevator / Spark
Black polyester rope, plastic cable ties, metal frame.
Having studied as an architect, Tomas Saraceno incorporates physics, engineering, and aeronautics into his interactive and evolving artistic structures. Using arachnology, or the study of spiders, to create structures that suggest alternative ways of living, he employs tridimensional webs to better understand how unique building blocks create distinct forms. Saraceno places spiders in cubic frames and leaves them to spin webs, rotating the cubes at various intervals to introduce elements of freedom
antivirus mask and 3d makeups
“She tries to fantasize what complete aesthetic freedom of one’s appearance would look like. Her goal is to encourage a fun and creative approach to make up and self expression. By completely thrashing all preconceptions of what make-up is and how it’s used, Ines collaborates with various artists, musicians and models to produce her own fantastical versions of reality“. Teo Sandigliano
Tech Camouflage: Anti-Facial Recognition.
Model: Kim Jeong Eun
In order to help understand the main discourses covered by the project and to explore various interpretations on the theme of * c-lab 1.0, ‘Beauty, familiar familiarity’, we conducted a “Technology camouflage: anti-facial recognition technology make-up workshop” as a linked program. . Recognizing that facial recognition technology that is widely used with the generalization of smartphones and SNS can also be used as a way to monitor and control individual freedom, as a new form as an alternative to protect personal privacy from such technologies This is a workshop program that has practiced make-up and hairstyle.
Re-Wired / Re-Mixed: Event for Dismembered Body
“Re-Wired / Re-Mixed: Event for Dismembered Body” was a five-day, six-hour a day internet enabled performance, that explores the physiological and aesthetic experience of a fragmented, distributed, de-synchronized, distracted and involuntary body – wired and under surveillance. The artist wears a HUD (head up display) that enables him to see with the “eyes” of someone in London, whilst hearing with the “ears” of someone in New York. The body is also augmented by an 8 degrees-of-freedom exoskeleton so that anyone anywhere can generate involuntary movement of his right arm, using an online interface. The artist becomes optically and acoustically de-synchronized and performs partly involuntarily.
For, In Your Tongue, I Cannot Fit
‘For, in your tongue, I cannot fit,’ gives voice to 100 poets who have been jailed through time for their writing or their beliefs. The haunting work highlights the fragility and vulnerability of our right to freedom of expression today—and the bravery of those who struggle to resist. Visitors will encounter 100 microphones suspended over 100 metal rods, each piercing a verse of poetry. Over the course of an hour, each microphone in turn recites a fragment of the poets’ words, spoken first by a single voice then echoed by a chorus which shifts across the space.
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.
Scary beauty
“Scary beauty“ is a mono opera performed by “Skelton”(humanoid android) with human orchestra. This android has been developed by Hiroshi Ishiguro(professor in Osaka University) and improved the degree of freedom in motion like human by Takashi Ikegami(professor in Tokyo University). The music has three parts, each part is composed of a collage of text in each works by Michel Houellebecq, Yukio Mishima and William Burroughs. This texts is selected as imaging a weird scene after all mankind become extinct.
卡斯滕·奥莱
Карстен Хеллер
Slide
“When people are on their way down a slide, they often shout for pure joy. I’m interested in the aspect of letting go. Once you let go, you travel without motivation to some specific place. It’s a very special state of mind. Maybe “happiness” (or “pleasure”) isn’t the right word, but it has to do with relief or even freedom.”
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.
Max-Planck-Institut
The CMS consists of an industrial robot arm with six independent axes, extended with an L-shaped cabin axis. The seventh axis allows for varying the orientation of the cabin with respect to the robot arm by changing the location of the cabin’s attachment point from behind the seat to under the seat, or any intermediate position. Recently, the CMS has been further extended with a linear axis of ten meters. The resulting eight degrees-of-freedom (DOF) provide an exceptionally large workspace. Several extreme motions and positions can be achieved, such as large lateral/longitudinal motions, sustained centrifugal motions, infinite head-centered rotation, and up-side-down motions.
장영혜중공업
Heavy Industries
dakota
I discuss how the poem controls the reader’s experience and how this control affects its possible interpretations. The control is mostly executed by limiting the reader’s freedom over reading. Reading time, direction and duration are determined by the poem. It is only possible to start the poem, but not rewind, stop or fast-forward it. Furthermore, the manipulation of speed affects reading in many ways. In the fast extreme the effect is illegibility, but more subtly used speed creates varieties of emphasis and de-emphasis. The effect of emphasis of this kind, I argue, creates different layers of readings and invites re-reading. These different readings require different cognitive modes, which mirror our contemporary reading habits. Not being in control of the reading process also leads to a scattered sense of unity, one of postmodernism’s essential traits. While reading the poem I also question why I read as I do, and by doing so I hope to present more general traits of how to approach digital literature.
“This is the Berlin Egyptian Museum and Papyrus Collection’s full-color, 6.4 million-triangle 3D scan of the Bust of Nefertiti. I was able to obtain this data after a three-year freedom of information effort directed at the Prussian Cultural Heritage Foundation, which oversees Berlin State Museums.” Cosmo Wenman
Freedom Table & Democracy Chair
Suspended from the ceiling of the exhibition space, a blue office chair and a simple table each swing in a circular orbit. At times the movement of table and chair is closely aligned, at other times out of sync. Moving in a rhythm of dance-like accompaniment, the two objects seem to have attained weightless freedom.
The table and chair originate from the gallery. Computer-operated motors determine their precise circular paths, which have marginally deferred frequencies.
Corriette Schoenaerts is a photographer working in an art, fashion and commercial context. Corriette chooses not to work in one signature style. Instead she allows herself the freedom to focus on the subject, figuring formal congruencies will naturally follow. She creates strong guiding concepts for each project but is always open to chance accidents and spontaneity, thus providing an energy and fluidity that is integral to her photography.
Self Portrait as a Family Man
Guy Ben-Ner’s works display an acute, self-critical and humorous position towards his familial situation and artistic practice. The struggle between the artist’s freedom and his will to take an active part in the creation of a healthy family life has underlain his works since 1996.
I Will Stop Loving You
“For a long time I was sort of offended by being referred to as a “Painter” and preferred the title “Artist” as I felt that gave me a greater freedom in doing whatever I wanted to do. Neverthess, I do love color, and the physical feeling and texture of paint itself. Today I smile to myself, and recall that rather narrow minded view I used to have of what painting is and recall my own road toward realizing how extremely important space, room, action and story also is to me. Of course I’m not the first artist to work in an expanded idea of what painting is, but if you call me a Painter today – I will proudly say Yes! I will paint on anything, anywhere, in any way I find suitable!”
COLLECTIVE JUMPS / COLLECTIVE JUMPS (EXCERPTS)
Projekt von Isabelle Schad und Laurent Goldring
’The group’s body is made out of many. We exercise practices that have the potential to unite instead of individualize. We understand these practices as a relationship to oneself and to one another, as a pathway. These practices are biological ones, cellular ones, energetic ones. We look at freedom in relation to form : to form that is made of and found by an inner process and its rhythms. Rhythm creates the form. Therefore, there is multitude, multiplicity, subjectivity, and variation : variation within repetition. We look at freedom as the essence of happiness. We experience happiness when the flow of movement can be done together and be maintained. We look at freedom that is guaranteed once everyone within a group can find form in a subjective way. Therefore, there is a specific relation to the term equality : Everyone can be equal, once subjectivity in one‘s own respective rhythm is guaranteed within the form.’I.Schad
bionic research pavilion
The Institute for Computational Design (ICD) and the Institute of Building Structures and Structural Design (ITKE) of the University of Stuttgart have constructed another bionic research pavilion. The project is part of a successful series of research pavilions which showcase the potential of novel design, simulation and fabrication processes in architecture. The project was planned and constructed within one and a half years by students and researchers within a multi-disciplinary team of architects, engineers and biologists.
The focus of the project is a parallel bottom-up design strategy for the biomimetic investigation of natural fiber composite shells and the development of novel robotic fabrication methods for fiber reinforced polymer structures. The aim was the development of a winding technique for modular, double layered fiber composite structures, which reduces the required formwork to a minimum while maintaining a large degree of geometric freedom. Therefore, functional principles of natural lightweight structures were analyzed and abstracted in cooperation with the University of Tübingen and the Karlsruhe Institute of Technology. Through the development of a custom robotic fabrication method, these principles were transferred into a modular prototype pavilion.
Wave house
If you would build a house made of moving waves? What it would be? Art director Justin Vin has collaborated with team of talented artists to find this out. This project is an approach to see and feel technologies in new way – as organic, friendly environments. It is nurturing, divine and filled with spirituality. Intuitive and friendly. Inspired by today’s emerging technologies – claytronics, programmable matter, quantum locking – we eventually came to the vision of Wave House. A home of beauty, freedom and softness. We see big spaces, like temple or church and a surrealism, surrounding it.
孙原和彭禹
ВС Юань и Пэн Юй
Old persons home
Sun was born in Beijing and Peng in Heilongjiang. Sun and Peng are contemporary conceptual artists whose work has a reputation for being confrontational – they have previously used live animals in their installations. As their contribution to the 2005 Venice Biennale, the duo invited Chinese farmer Du Wenda to present his home-made UFO at the Chinese Pavilion. They won the Contemporary Chinese Art Award in 2001. Their 2009 solo exhibition, “Freedom”, at Tang Contemporary in Beijing, was seen by some critics as a memorial to the Tiananmen Square incident. The installation featured a large fire-hose hooked to a chain that erupted water spray at a distance of 120 meters.
robotVOCALOID
VOCALOID6 is an AI-based technology created by Yamaha to fully support the musical expressiveness of creators from all perspectives, offering an even more natural singing voice than ever before together with unprecedented freedom to express your vocal ideas. This product lets you express your ideas on the spot in vocal form while producing music.
