BECHA-KPACHA
BECHA-KPACHA is an algorithmic music video for the electronic musician COH. The song’s tittle (pronounced Vesna Krasna) was taken from an old Russian poem and roughly translates “Spring the beautiful”, though it can also mean “Spring the red.” The animation reference’s traditional Russian folk patterns, commonly known as Hohloma. In these patterns, colorful plant leaves expand and twist around one another while fruit grows along side. These patterns were a starting point for this sound-responsive animation.

Impeach
Suicidal peaches and many other fruits conspire to impale themselves against an invisible wall hoping to facilitate impeachment for the “Racist, Liar, Cheat”.

Computer Visions 2
After more decades of trying to construct an apparatus that can think, we may be finally witnessing the fruits of those efforts: machines that know. That is to say, not only machines that can measure and look up information, but ones that seem to have a qualitative understanding of the world. A neural network trained on faces does not only know what a human face looks like, it has a sense of what a face is. Although the algorithms that produce such para-neuronal formations are relatively simple, we do not fully understand how they work. A variety of research labs have also been successfully training such nets on functional magnetic resonance imaging (fMRI) scans of living brains, enabling them to effectively extract images, concepts, thoughts from a person’s mind. This is where the inflection likely happens, as a double one: a technology whose workings are not well understood, qualitatively analyzing an equally unclear natural formation with a degree of success. Andreas N. Fischer’s work Computer Visions II seems to be waiting just beyond this cusp, where two kinds of knowing beings meet in a psychotherapeutic session of sorts[…]

Roombot
Biorobotics Laboryator
The individual Roombots are about the size of fat grapefruits, but one day they could be much smaller. Vespignani and his fellow researchers are investigating ways for the bots to communicate among themselves, like bacteria. In a hundred years, maybe the individual units will be so small as to be microscopic–and instead of summoning 10 friendly robots from different corners of the room, a person could summon something as nebulous and numerous as an army of technological spores.

Eric Kellerman is a Briton who has lived near Nijmegen in the Netherlands for a very long time. In 2008, he retired from academia to spend more time on photography.
Specialising in the nude, he works almost entirely in the studio with a regular team of female collaborators, most of whom have a serious interest in movement (dance, acrobatics, yoga, martial arts). Sometimes, when nobody is available, he photographs vegetables and fruit out of desperation.

PROJECT PLAIN
Kirsten Becken est une jeune photographe allemande née en 1982. Son dernier projet, qui s’intitule Plain, est le fruit de sa collaboration trés réussie avec un collectif de graphistes et d’illustrateurs.

Eric Kellerman is a Briton who has lived near Nijmegen in the Netherlands for a very long time. In 2008, he retired from academia to spend more time on photography.
Specialising in the nude, he works almost entirely in the studio with a regular team of female collaborators, most of whom have a serious interest in movement (dance, acrobatics, yoga, martial arts). Sometimes, when nobody is available, he photographs vegetables and fruit out of desperation.

Jacobson’s Fabulous Olfactometer
Created by Susanna Hertrich, Jacobson’s Fabulous Olfactometer (JFO) is a sensorial prosthesis that mimics mammalian ‘flehmen’ when air pollution levels are high. The prosthetic is designed around a new human sense modeled after a mammalian sense organ called the vomeronasal or “Jacobson’s” organ. This olfactory sense organ enables certain animals to sense odourless chemicals. When a mammal senses chemicals, it lifts its upper lip to expose this organ. This behaviour is called ‘flehmen’ (wikipedia).Two air chemical sensors located at the top part of the prosthetic register small particles (smoke) and CO2 levels. This data is fed into an Arduino board. When air pollution levels are registered as ‘high’, two stepper motors on either side of the head set exaggerated bone gears in motion and the wearer’s lip is slowly pulled upwards. Thus, JFO enables its wearer to ‘sense’ airborne chemicals and modifies his/her face similar to mammalian flehmen.Sensing and data processing is achieved using an Arduino with a Smoke detector (fine particles) & a Co2 sensor. The device also includes Adafruit stepper motor shield, two stepper motors and a custom designed gears carved from camel bone.

Strange Fruit
Using both sculpture and musical performance in his practice, Kevin Beasley explores the physical materiality and cultural connotations of both objects and sound. His sculptures typically incorporate everyday items like clothing, housewares, or sporting goods, bound together using tar, foam, resin, or other materials. Often they also contain embedded audio equipment that warps and amplifies the ambient tones of their surroundings. For Storylines, Beasley has created two new works specifically for the Guggenheim’s Frank Lloyd Wright–designed building. Within this vast and open sonic environment, Strange Fruit (Pair 1) and Strange Fruit (Pair 2) (both 2015) offer an experience of intimacy, absorbing and reflecting the sound of the crowd at the scale of a personal conversation. Each work embodies this spirit of dialogue in its two-part structure—at its core are two athletic shoes, one merged with microphones, the other with speakers. Suspending these objects in space, Beasley compounds their technological interchange with additional layers of meaning, bringing to mind the urban phenomenon of shoes hanging from overhead wires or poles (itself an open-ended form of communication). At the same time the works’ titles refer to history of lynchings in the American South memorialized by Bronx schoolteacher Abel Meerepol in the 1937 protest song “Strange Fruit.” In these contexts, the hanging forms of Beasley’s sculptures resonate not only with his body, which molded them by hand, or with the bodies moving through the museum, but also with those inscribed in the problematic history of race and class in the United States.

Eric Kellerman is a Briton who has lived near Nijmegen in the Netherlands for a very long time. In 2008, he retired from academia to spend more time on photography.
Specialising in the nude, he works almost entirely in the studio with a regular team of female collaborators, most of whom have a serious interest in movement (dance, acrobatics, yoga, martial arts). Sometimes, when nobody is available, he photographs vegetables and fruit out of desperation.

Eric Kellerman is a Briton who has lived near Nijmegen in the Netherlands for a very long time. In 2008, he retired from academia to spend more time on photography.
Specialising in the nude, he works almost entirely in the studio with a regular team of female collaborators, most of whom have a serious interest in movement (dance, acrobatics, yoga, martial arts). Sometimes, when nobody is available, he photographs vegetables and fruit out of desperation.