1024 ARCHITECTURE

FILE LED Show

The art-technology exhibition of FILE São Paulo 2013 brings the new interactive work by the famous 1024 architecture group to be presented on the gigantic LED panel of FIESP building on Paulista Avenue. People could change the images on the panel through their voices or by humming a song.
The 1024 architecture group created the “interactive LED” digital graphic project for the Paulista Avenue, which will be presented from July 22 through August 18, 2013. The project consists of a podium with a microphone installed on the sidewalk of the Paulista Avenue, where people could interact through the vocal conversion into musical notes. The 1024 architecture group elaborated a brand new algorithm for this project, which changes the graphic behaviors by means of sounds. Depending on the note sung, several parameters of the program, such as colors, shapes, density, and rhythms (squares, circles, stripes, etc.), will change.

Cornelius Cardew

TREATISE
KYMATIC ensemble
Treatise is a graphic musical score comprising 193 pages of lines, symbols, and various geometric or abstract shapes that largely eschew conventional musical notation. Implicit in the title is a reference to the philosophy of Ludwig Wittgenstein, which was of particular inspiration to Cardew in composing the work.

MOMU3 X BULO

Frederik Heyman and Wout Bosschaert

For MOMU3, Frederik Heyman creates, in collaboration with graphic artist Wout Bosschaert, 3 fashion films in which he infuses the rich collection of the ModeMuseum with digital life by using 3D scans and manipulations.

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MOMU3 では、フレデリック ヘイマンがグラフィック アーティストの Wout Bosschaert と協力して、3D デジタル化と操作を使用して ModeMuseum の膨大なコレクションにデジタル ライフをもたらす 3 つのファッション映画を制作しました。

 

Thom Kubli

Brazil Now
BRAZIL NOW is a composition that addresses increasing militarization and surveillance within urban areas. Its geographical and acoustic reference is São Paulo, the largest megacity in Latin America. The piece is based on field recordings that capture the symptoms of a Latin American variant of turbo-capitalism with its distinctive acoustic features. Eruptive public demonstrations on the streets are often accompanied by loud, carnivalesque elements. These are controlled by a militarized infrastructure, openly demonstrating a readiness to deploy violence. The sonic documents are analyzed by machine learning algorithms searching for acoustic memes, textures, and rhythms that could be symptomatic for predominant social forces. The algorithmic results are then used as a base for a score and its interpretation through a musical ensemble. The piece drafts a phantasmatic auditory landscape built on the algorithmic evaluation of urban conflict zones.

Stefan Tiefengraber

your unerasable text
“your unerasable text” is an interactive installation, dealing with the topics of data storage and elimination of data. The installation can be placed in an exhibition, but ideally it’s exhibited in a public space window, where it can be used by people passing by 24h a day. The participant is asked to send a textmessage to the number written on a sign next to the installation. “send your unerasable textmessage to +43 664 1788374”. The receiver mobile transfers it to a computer, which is layouting the message automatically. Then it is printed on to a DIN A6 paper, which is falling directly on to a papershredder. There the message remains readable for a few moments and gets destroyed then. The shredded paper forms a visible heap on the floor, which reminds of a generative graphic.

ADRIEN M / CLAIRE B

The Movement of Air

A frontal show for three dancers evolving in an immersive environment made up of images projected, generated and animated live. A show where two impossible ones come together: the body that flies, thanks to suspension devices and the body that fits into the image. An acrobatic and digital choreographic writing which outlines a body language opening onto other relationships to time, space and the world. Beyond the search for technical prowess, it is that of a dreamlike movement and writing through images.

Matt Taylor

Motion Graphics Designs
He is working on abstract art, motion graphics, and computer based arts using Cinema 4D and Houdini.

The OCR

Specimen Box

The OCR began work on Specimen Box in 2014 at the request of Microsoft’s Digital Crimes Unit. Microsoft’s Cybercrime Center monitors communications coming from hundreds of millions of PCs around the world that have become infected by botnet malware. Employing data sonification together with advanced visualization techniques, Specimen Box provides a configurable multi-sensory presentation of botnet signal activity in real time. It also features a multitouch gesture-based interface for navigating, exploring, selecting, and examining the billions of signals that have previously been collected. Users can access the collected signals based on their activity levels, the geographic locations of their sources, or their daily activity patterns over time, using clustering to group sources with similar behavior.

Nicolas Bernier

frequencies (light quanta)

The project is part of an ongoing process entitled «frequencies», exploring basic sound and light dichotomic systems. Here, frequencies (light quanta) stems from a fascination towards science, light, and granular synthesis allowing to create clouds/grains of sounds. The conceptual focus lies in the quantum — the smallest measurable value of energy —, on the smallness of matter. The whole project is based on the possible conceptual relationships between basic quantum physics principles applied to the audio-visual creative process: particles, probabilities, wave/particle duality and discontinuity. Metaphorically structured around these notions, the audio-visual composition stems from 100 sound and light micro-sequences that develop themselves, generating an ever expending but yet disruptive form in time and space. With the use of randomness, the vectorial graphics are always creating new ways to look at the visual, physically superimposing pattern images.

Robert Henke and Anna Tskhovrebov

CBM 8032 AV
The CBM 8032 AV project is an exploration of the beauty of simple graphics and sound, using computers from the early 1980’s. This work is about the ambivalence between a contemporary aesthetic and the usage of obsolete and limited technology from 40 years ago. Everything presented within the project could have been done already in the 1980, but it needed the cultural backdrop of today to come up with the artistic ideas driving it.

KOHEI NAWA

كوهي ناوا
名和晃平
КОХЕЙ НАВА
stroke-yana

TRANS, the newest series of sculptures by the artist Kohei Nawa, was produced using techniques that involve the use of the computer and a 3D scanner. The artist scans people using a 3D scanner and then uses computer graphics to create works using the scanned data as a basis. Once with the scanned models, Kohei uses techniques such as texture mapping and smoothing to carve and apply reliefs to his digital models. When finalized, the 3d models are used to create molds for the final sculptures.

kimchi and chips

キムチアンドチップス
Light Barrier

Kimchi and Chips create phantoms of light in the air, crossing millions of calibrated beams with their work Light Barrier, 2014. The light installation creates floating graphic objects which animate through space as they do through time.

HOLGER LIPPMANN

TriangPaint

Holger Lippmann describes a part of his work as digital painting. What distinguishes digital painting from traditional painting on canvas or paper? We need to distinguish between two categories of digital painting. The first includes works created on the computer with ready-made graphic tools like virtual paint brushes or pens, in something like the way that non-digital pictures are created on paper or canvas. David Hockney’s painting of a sunflower on an i-pad is an example of this. The second category includes works using computer generation, in which programs coded by the artist continually produce new aesthetic concepts as images or animations. Every execution of the software creates new works within the pre-defined boundaries of the system. This process can be called generative painting.

Yihan LI

Since the emergence of time as a concept, the circle has been a graphic representation that registers and measures the passing of seconds, minutes, hours, and even decades. . . . The torus may be seen as a three-dimensional form utilized to represent time as it travels through a cyclic loop. The geometric shape of the torus speaks of duration, of looped time, and of transformations along and in time. In this project, Boolean operations between varying tori in multiple dimensions indicate the interaction between durations—possibly time in addition to time, or interactions diluted by time—that reveal a new architectural realm featuring free curves which direct visitors’ movements inside flowing spaces. People will lose the perception of direction or time and find themselves worshipping in open and serene volumes.

ingo gunther

exosphere

The Exosphere has a diameter of 12 m (39’4″), weighs 4.5 tons, and relates to the Earth at a scale of 1:1,000,000. Its blue LED display indicates the geographic location of Wolfsburg, local temperature and time (supplied by the Atomic clock). It is positioned where Wolfsburg would be on this globe, assuming that the bottom of the globe is North and the vertical red display represents the position of the international dateline.

Field of Globes is a permanent installation of ninety World Processor globes. These spheres are readymade acrylic globes altered by the artist to visualize data on a variety of topics. This data comes from myriad sources, including the United Nations, the Organization for Economic Cooperation and Development, and other organizations.

video

NIV ROZENBERG

The photographic images Niv Rozenberg creates allows us to see the urban environment through a new perspective. With New York City and Tel Aviv as his subjects, he “breaks the visual and spatial congestion of the city by constructing an archetypal form, isolated from function and separated from the city’s total urban structure.”

ANDREW HIERONYMI

move
File Festival
MOVE is an interactive installation divided into six distinct modules, JUMP, AVOID, CHASE, THROW, HIDE and COLLECT. Each module offers a single-user interaction, based on a verb corresponding to the action the participant is invited to perform. Each verb corresponds to a common procedure acted out by avatars during videogame play. Each module offers an interaction with abstracted shapes (circles, rectangles) behaving according to simplified rules of physics (collision, friction). Each module is color-coded with consistency, where the color red is used for the graphical element that poses the core challenge. Each module increases difficulty in a similar linear manner.What makes MOVE unusual is that unlike most computer vision or sensor based games like Eye-toy or Dance Dance Revolution, the participant IS the avatar, he is not seeing a representation of herself or an indirect result of her actions on a separate screen but instead interacts directly with the projected graphical constituents of the game. Because those graphical elements are non-representational they do not allow for a projection in a fictional space. The combination of abstracted shapes and direct interaction reinforces in the player the focus on the action itself (JUMP, AVOID, CHASE, THROW, HIDE or COLLECT) instead of an ulterior goal.

John Liebler

The Inner Life of the Cell
короткий фильм 3D-анимации, рассказывающий о различных биологических процессах в лейкоците, клетке человеческого тела. Фильм создали Дэвид Болинский (иллюстратор Йельского университета), ведущий аниматор Джон Либлер и Майк Астрахан из XVIVO для факультета Молекулярной и клеточной биологии Гарвардского университета. 8,5 минут анимации заняли 14 месяцев работы. Впервые фильм был продемонстрирован в 2006 на ежегодной конференции SIGGRAPH (short for Special Interest Group on GRAPHics and Interactive Techniques) в Бостоне.

DIANA GAMBOA

ديانا جامبوا/
戴安娜甘博亚/
Диана Гамбоа

Diane Gamboa has been producing, exhibiting, and curating visual art in Los Angeles for more than 20 years. From 1980 to 1984, she photographically documented the punk rock scene in East Los Angeles. Between 1980 and 1987, she was a member of ASCO, a conceptual multi-media performance art group. During this time she also organized numerous site-specific “Hit and Run” paper fashion shows. Created as easily disposable streetwear, Gamboa’s paper fashions became quite popular, and some were even exhibited in museums.

Irina Shaposnikova

Crystallographica
The futuristic curves highlighted the collection’s minimalistic inspiration. The unusual creations brought to mind robotic-like fixtures, while exuding elegance and grace. We fell instantly in love with the cold yet fascinating faceted dresses.

Thomas Bayrle

Telefon Portrait
Thomas Bayrle (*1937) has been invited to Museum Ludwig’s main gallery to install an overview of his works from the last 40 years that all explore a particular artistic strategy: the loop or looping. While a loop is a kind of ring, the activity of looping refers to the continual repetition of the one and the same motif, whether in Rap music or by constantly running through the same sequence when writing a computer programme. Just such a game between difference and repetition has developed in Thomas Bayrle’s graphic oeuvre

JENNY MORGAN

WITH NEW EYES
This new series of paintings present amorphous, yet graphically stark figures rendered in a richly saturated prismatic array of colors. Centered on themes of life, death, and rebirth, Morgan’s works question how we relate to our past and challenge us to live in the present.more

CALEB CHARLAND

КАЛЕБ ЧАРЛАНД
apple trees and LED
Portland, Maine-based photographer Caleb Charland frequently merges art and science with his photographic experiments involving electricity, fire, and magnetism. One of his ongoing projects involves a series of alternative power sources created using fruit, coins, and even vinegar to power the lights in his long exposure photographs. The apple photograph above involved a nearly 11-hour setup as he carefully hammered 300 zinc-coated galvanized nails into apples (zinc reacts with acid in the apples creating electricity, science!) and used copper wiring to transfer the current to a standard living room lamp. Even then, the light was so dim it required a 4-hour exposure during which Charland fended off ravenous deer through the night with an impromptu shaker made from a tin can and wire nuts. You can read much more about the ordeal over on Discover, and here’s a video of the entire project coming together.

FILE LED SHOW 2013

1024 ARCHITECTURE

FILE FESTIVAL

The project consists of a podium with a microphone installed on the sidewalk of the Paulista Avenue, where people could interact through the vocal conversion into musical notes. The 1024 architecture group elaborated a brand new algorithm for this project, which changes the graphic behaviors by means of sounds. Depending on the note sung, several parameters of the program, such as colors, shapes and density.

JENNIFER RUBELL

جنيفر روبل
제니퍼 루벨
ジェニファールベル
Portrait of the Artist

Jennifer Rubell, the American artist and niece of Studio 54 co-founder Steve Rubell, brings a maternal touch to this year’s Frieze Art Fair with her autobiographical piece Portrait of the Artist. The pristine white nude, cast from steel-reinforced fibreglass, reclines like an odalisque at the Stephen Friedman Gallery stand. The sculpture is a replica of Rubell’s own eight-months-pregnant body, except it is eight metres high: the large belly, which is carved out to leave an egg-shaped void, can accommodate a fully grown adult. Spectators are able to clamber into the artwork and curl up inside as if they are the artist’s unborn child.Rubell’s intention was to create a monumental gesture of unconditional motherly love. There is a feminist statement here, too: Rubell has appropriated a style and scale historically reserved for male leaders to show, she says, “an emotion that is intensely personal and un-heroic”. The artist adds that watching members of the Frieze audience enter in the sculpture’s womb is “tremendously satisfying” – in her eyes the enlarged form was “incomplete until the first viewer entered”. Amid the hustle of Frieze’s mini-city there is something undeniably appealing about the opportunity to put your feet up in the foetal position in the name of art. Not to mention the comfort factor.

EDUARD HAIMAN AND VADIM SMAKHTIN

Struct- Generative Realtime Audio-Visual Environment
The target of “Struct” was to create installation which could make immersive environment inside the space of public event dedicated to the opening of the office of an architectural company UNK Projects. It was planned to make this installation fully autonomic during the several hours as well as there was an idea to hold the public interested and immersed into the space of environment during the all period of time.

The main conception of the installation is to create the second alternative scale inside the internal space of the office. It was realized screen projection for this with the size of 18×4 meters and taken almost whole the length of the interior. The Animated surface was projected as the extension of the super-graphic situated on the facade of office`s building. The external graphic was created by Vladimir Garanin. The first one layer is the super-graphic onto the facade and another one layer is the real-time generative graphic inside the interior. The visual image and algorithmic sound of the whole structure are connected each other and are forming the whole organism.