Oracle Collection
The performance centered around ORACLE, a digital palm reading given by model and iconic muse Axelle Doué. The surrounding luminous dresses embodying the four elements— air, earth, water, and fire—come alive during the reading, with mirrors reflecting them into infinity. The pieces are crafted from diverse materials, both natural and synthetic. Well beyond typical textiles, Clara Daguin implements optical fibers, pleating, embroidered circuits, addressable LEDs, sculpted resin, home-grown alum stone crystals, Swarovski Elements, silk organza, microcontrollers and radio frequency modules.

ADAD
This installation is a mechanism that serves as a kind of interface between planetary processes and an audience. It consists of 12 transparent piezocrystals, grown especially for the project, and 12 motorized hammers that strike them. The installation is connected to the internet. Its core algorithm is controlled by data from a meteorological site which shows lightning strikes in real time (on average, 10~200 lightning flashes occur on the planet every minute). Each time the installation receives information about a lightning strike, a hammer strikes one of the crystals, resulting in a small electrical discharge produced by the crystal under mechanical stress. Each of these charges activates a powerful lamp and sound effects.

Morphogenetic Creations
Created by a mathematician, digital artist and Emmy award winning supervisor of computer generated effects – Andy Lomas, Morphogenetic Creations is a collection of works that explore the nature of complex forms that can be produced by digital simulation of growth systems. These pieces start with a simple initial form which is incrementally developed over time by adding iterative layers of complexity to the structure.The aim is to create structures emergently: exploring generic similarities between many different forms in nature rather than recreating any particular organism. In the process he is exploring universal archetypal forms that can come from growth processes rather than top-down externally engineered design.Programmed using C++ with CUDA, the series use a system of growth by deposition: small particles of matter are repeatedly deposited onto a growing structure to build incrementally over time. Rules are used to determine how new particles are created, and how they move before being deposited. Small changes to these rules can have dramatic effects on the final structure, in effect changing the environment in which the form is grown. To create these works, Andy uses the GPU as a compute device rather than as a display device. All the data is held in memory on the GPU and various kernel functions are called to do things like apply forces to the cells, make cells split, and to render the cells using ray-tracing. The simulations and rendering for each of the different animated structures within this piece take about 12 hours to run, Andy explains. By the end of the simulations there are over 50,000,000 cells in each structure.The Cellular Forms use a more biological model, representing a simplified system of cellular growth. Structures are created out of interconnected cells, with rules for the forces between cells, as well as rules for how cells accumulate internal nutrients. When the nutrient level in a cell exceeds a given threshold the cell splits into two, with both the parent and daughter cells reconnecting to their immediate neighbours. Many different complex organic structures are seen to arise from subtle variations on these rules, creating forms with strong reminiscences of plants, corals, internal organs and micro-organisms.

STEVE WILHITE
R.I.P
dancing baby
GIF (JIF)
graphics interchange format

The inventor of the Gif file has revealed that the world has been mispronouncing his creation.
Steve Wilhite, who invented the Gif file in 1987, told the New York Times that the word is pronounced “jif” not “giff”.
“The Oxford English Dictionary accepts both pronunciations. They are wrong. It is a soft ‘G,’ pronounced ‘jif.’ End of story,” he said.
The internet has reacted strongly to Wilhite’s claim, pointing to a range of evidence from the White House announcing their allegiance via a note on their Tumblr: “Animated GIFs (Hard ‘G’)”, to simple common consensus.
Others have suggested that the hard ‘G’ relates to the acronym that the word springs from, which stands for Graphical Interface Format.
The Gif has enjoyed a surge of success in the last five years thanks to Buzzfeed-style listings of puppies and kittens and ‘live-giffing’, a form of on-the-spot reporting that had its first major outing during the 2012 presidential debates.
Wilhite may be the parent of the Gif, but most agree that the creation has outgrown its creator.
When even the White House is on the other side of the debate, it seems it might be best if Wilhite concedes defeat with grace.

Fabfungus
FabFungus is a physical installation inspired by questions of digital life and cellular growth. FabFungus is also a computational tool for creating digital structures grown out with a simulated process. It is also a manifestation of couple of these forms, brought to physical reality through imperfect 3D printing.

CARBON
CARBON merges the aesthetics of space exploration and scientific imaging with the interpretation of abstract symbols. I’m interested in extremophiles, the origins of life on earth, and what forms sentience might assume elsewhere in the universe. Would we recognize it hovering in front of us? What began with a camera-less method I discovered while experimenting with photograms, and drawing, has grown into immersive environments including large stills, video, multi-point sound and inter-active sculptures.

Fifty Sisters, Series of fifty evolved digital plant images
Fifty Sisters is comprised of fifty 1m x 1m images of computer synthesised plant-forms, algorithmically “grown” from computer code using artificial evolution and generative grammars. Each plant-like form is derived from the primitive graphic elements of oil company logos.

جانين أنتوني
珍妮安东尼
ג’נין אנטוני
재닌 안토니
Жанин Антони
INGROWN
Since the 1990s, New York–based artist Janine Antoni has established an international reputation with labor-intensive projects in a wide range of media. She incorporates both art history and personal exploration, investigating the ways in which contemporary definitions of aesthetics and art making are connected to issues of gender identity and sexuality. Inspired by the feminist artists of the 1970s, she reframes and subverts art-historical and societal conventions surrounding women and beauty.

Stanislav Istratov is a brilliant photographer from Ukraine. He started photography back in 2007 and got his very first DSLR back in the days of 2008. Ever since photography has grown on Stanislav – and he definitely has an amazing eye for creativity.

Sugababe
Sugababe is a living replica of Vincent van Gogh’s ear, grown from tissue engineered cartilage. It is composed of living immortalized van Gogh cells from a male descendant, containing natural genetic information about Vincent as well as genetically engineered components amongst using genome editing CRISPRCas9 technique, and most recent bioprinting technology.

The Floating Green Chair
The founder of Derbyshire, England-based Fully Grown, says the idea of creating “living furniture” came to him at a young age when he stumbled upon a bonsai tree that resembled a chair. Though it took another 25 years before Munro began to morph trees into furniture and an additional eight for his vision to become a reality, he never gave up.

Sears Kit: The American Dream
Blending art with design, paper and a little imagination, artist Judith Hoffman builds her own ‘castles in the air.’ Think children’s paper and cardboard cities, all grown up. “Environment is the central factor in my work. My surroundings and the complexities of location are heavy influences in what I build,” she says.

جانين أنتوني
珍妮安东尼
ג’נין אנטוני
재닌 안토니
ЖАНИН АНТОНИ
Ingrown

SIMULACRA
file festival

“SIMULACRA” is an optophysical experimental arrangement. At its heart are four LCD monitor panels, which are assembled in the form of a hollow square, and installed at eye level in the middle of the room. The ensemble appears internally gutted, overgrown and embraced. A tangle of cables and control devices pours out of the middle of the square. All around it several magnifying lenses dangle from chains. The imageless glaring ray of the monitors looks as if the images had fallen out of them. What remains is the essence of the medium: Light.It is an impressive, wondrous experience when images suddenly appear from the pure white by the mere glance through a seemingly transparent film. But if you turn the lens in front of your eyes, the polarizing structure of the film creates wild color shifts or even complementary negative images.

РОМАНА ЗИГНЕРА
Ladder with barrel
Signer’s work has grown out of, and has affinities with both land art and performance art, but they are not typically representative of either category. It is often being described as following the tradition of the Swiss engineer-artist.

РОМАНА ЗИГНЕРА
Stühle Mit Raketen
Signer’s work has grown out of, and has affinities with both land art and performance art, but they are not typically representative of either category. It is often being described as following the tradition of the Swiss engineer-artist

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.

Романа Зигнера
Rad (Wheel)
Signer’s work has grown out of, and has affinities with both land art and performance art, but they are not typically representative of either category. It is often being described as following the tradition of the Swiss engineer-artist

Романа Зигнера
Table
Signer’s work has grown out of, and has affinities with both land art and performance art, but they are not typically representative of either category. It is often being described as following the tradition of the Swiss engineer-artist

Романа Зигнера
Signer’s work has grown out of, and has affinities with both land art and performance art, but they are not typically representative of either category. It is often being described as following the tradition of the Swiss engineer-artist

Романа Зигнера
Beim Chef (With the Boss)
Signer’s work has grown out of, and has affinities with both land art and performance art, but they are not typically representative of either category. It is often being described as following the tradition of the Swiss engineer-artist

Crazyflie
The Crazyflie quadcopter was started late 2009 as a competence development project in the Swedish consulting company Epsilon AB in which all three of us where employed. This project was done on our free-time with component cost handled by Epsilon. In 2010 we finally decided to send to a video of the Crazyflie to Hackaday.com and that’s when things really took off. More development was done and we decided to make a Crazyflie kit that could be manufactured and sold as an open source development platform. To finance the development and manufacturing of the kit we created Bitcraze AB. At this point we felt that the project had outgrown the Daedalus Projects and decided to launch Bitcraze.se. The Daedalus projects website still exists to show off and advertise other Epsilon competence development project but the Crazyflie now lives in Bitcraze.Crazyflie is a small quadcopter that stated with a simple idea: get an electronic board to fly. We are three electronic engineer from Sweden and we wanted to make a small flying machine that could fly indoor (Sweden is often cold outside ) and with as few mechanical parts as possible. The result of this idea was a small quadcopter that uses its electronic board as main mechanical frame and with motors glued to the PCB:This fist prototype was as simple as possible while following our initial target to be small with the minimum of mechanical thought. After a couple of month of programming and debugging it actually flew and had some success when Hackaday featured it. This prototype was however a lot more frustrating to fly then it appears: each crash was potentially fatal for one or many motors. That made it quite stressful to fly as it would not allow mistake and we eventually broke all 3 prototypes (the red board is the 2.4GHz radio and was also a weak point).

Романа Зигнера
Signer’s work has grown out of, and has affinities with both land art and performance art, but they are not typically representative of either category. It is often being described as following the tradition of the Swiss engineer-artist.