DNA (genes)

A gene is a sequence of DNA that contains genetic information and can influence the phenotype of an organism. Within a gene, the sequence of bases along a DNA strand defines a messenger RNA sequence, which then defines one or more protein sequences. The relationship between the nucleotide sequences of genes and the amino-acid sequences of proteins is determined by the rules of translation, known collectively as the genetic code. The genetic code consists of three-letter ‘words’ called codons formed from a sequence of three nucleotides.

Ei Wada

Toki Ori Ori Nasu – Falling Records


In this work, open reel tape recorders are placed on top of high pedestals and, as they play back, the magnetic tape unspools down into plastic receptacle below. The tape that accumulates in the container piles up as time passes, weaving an unusual pattern in the space. When the tape stops accumulating it is wound back up at high speed to a symphonic soundtrack. The pattern that had existed until then is extinguished and a new pattern is then woven.

Ben Katz & Jared Di Carlo

The Rubik’s Contraption
“That was a Rubik’s cube being solved in 0.38 seconds. The time is from the moment the keypress is registered on the computer, to when the last face is flipped. It includes image capture and computation time, as well as actually moving the cube. The motion time is ~335 ms, and the remaining time image acquisition and computation. For reference, the current world record is/was 0.637 seconds. The machine can definitely go faster, but the tuning process is really time consuming since debugging needs to be done with the high speed camera, and mistakes often break the cube or blow up FETs. Looking at the high-speed video, each 90 degree move takes ~10 ms, but the machine is actually only doing a move every ~15 ms. For the time being, Jared and I have both lost interest in playing the tuning game, but we might come back to it eventually and shave off another 100 ms or so.” Ben Katz

nobumichi asai

INORI (Prayer)
The latest work to utilize real time tracking and face projection mapping using a state of the art 1000 fps projector and ultra high speed sensing, “INORI-prayer-,“ has been released. This project was born by the collaboration with Nobumichi Asai (WOW) ,the dancing duo AyaBambi, and the Ishikawa Watanabe Laboratory (the University of Tokyo), TOKYO.


high speed rail transit



Spatial Sounds (100dB at 100km/h) is an interactive installation that is capable of very intelligent behavior. Not only can the arm spin quickly or slowly, it can also make very well-defined movements in both directions. On the one hand, Spatial Sounds (100dB at 100km/h) lives a life of its own; on the other, it reacts very directly to the people in its space. The sensor can detect how close the visitors are and where they are in relation to the arm. When the installation scans the space, it makes inspecting movements and generates sounds that symbolize this scanning. It produces remarkably short, loud pulses and ‘listens’ to the reverberations from the empty space. The pulses combine different frequency ranges and rhythmical patterns. When visitors enter the room, they are detected immediately. The installation reacts in both a musical and a gestural way. The sounds relate directly to both the position of the arm and the dynamic ‘map’ of the space and the visitors. These sounds are very physical. For example, when the speaker is pointing at someone, it will generate a specific sound. This is also the case at high speeds and with several people in the room. However, the sounds and movements of the arm also tempt visitors to move around. Different locations in the space represent different sounds, as does the distance of the visitors to the rotating arm.


Present Shock
Present Shock confronts the viewer with a barrage of statistical clocks representing real-time information about the world—from life-changing global events to the banal trivia of everyday existence—highlighting how the speed and volume of data in the Information Age present new challenges to our limited cognitive apparatus. Many of the statistics presented occur at timescales and spatial horizons that similarly defy our perception or comprehension. Disturbing the inertia of the here and now, they reveal the fluctuating state of dynamic transformation that characterizes life on earth.

Jennifer Townley

A circular axle is able to rotate by the use of 36 universal joints hanging from perspex rods and transmitting their rotary motion onto the next. In between the joints, 36 stainless steel objects are attached that rotate at the same speed as the axle. One of the objects has a slightly thinner body, making room for two integrated timing pulleys and thin cogged belts that connect it with the drive mechanism situated on the upper circular frame. The objects are made from thin sheet material and are carefully balanced by placing several counterweights inside their hollow bodies and by perforating their tails, reducing the amount of material furthest away from the axle. During the entire revolution their centre of gravity perfectly aligns with the position of the axle so that a stable rotation is ensured.

Pierre Boulez


“Oh yes, there is a metre, slightly irregular on one level but very regular on another. There are so many irregular things in this piece that at one point you need to have a regular metre as you say – a bass and a regular pulse anyway – but also a series of harmonies which are all symmetrical. The harmony always gives this impression of something followed by its inverse; there is always a centre – an axis of symmetry. This symmetry of harmony corresponds in harmonic terms to a regular metre. This is very important. There are three types of time. That which is chaotic and irregular such as you have in the beginning (in the speed I mean). Then you have, in the speed, the very regular rapid repeated notes – always in semiquavers. Finally at the end there is a regularity, a kind of metre – but with much ornamentation. The ornamentation is in fact very irregular, but the metre itself is very regular”. Pierre Boulez


Каролина Собечка

At night a projection from a moving car is shone on the buildings. The car projects a video of a tiger whose movements are programmed to correspond to the speed of the car: as the car moves, the tiger runs along it speeding up and slowing down with the car, as the car stops, the tiger stops also. The framerate of the movie corresponds to the speed of the wheel rotation, picked up by a sensor. The viewers are elevated from the everyday reality through this element of fantasy into a world with more dimensions, possibilities and perhaps beauty.

Kutin | Kindlinger

The Rotor is equipped with a four channel speakersystem and a 360° camera. The artists control the speed of it’s rotation which directly influences the projected video-images as well as the sound-characteristics and the perception of the object itself. Acceleration & deceleration become main parameters, which enables the artists to compose an otherworldly piece that seems to follow it’s own logic. A strange communication between audio, video, object and light establishes itself and seduces the audience. There is the hypnotic movement of the sculpture while inevitable auditory and visual feedback is used as a central aesthetic element: The rotating speakers are amplified by static microphones, provoking complex feedback loops and patterns, that trigger psychoacoustic sensations.

François Quévillon

Pyroclastic Trails
The work shows volcanic rocks rising from the ground that create trails of pixels. The layering of tezontle is generated by a software by modifying the size, speed, trajectory and selection of rocks from a database of photogrammetric 3D scans. Made in November 2019 in collaboration with UNAM’s Instituto de Geografía during a residency for Connecting the Dots, the work is related to research on the impact of mining activities in extinct volcanoes of Sierra de Santa Catarina located south of Mexico City. The video also shows Orbiting Bauxite and 3542 of the Meteors body of works.


Body Paint
File Festival

The interaction is simple, movement creates paint. Hidden in the simplicity are layers of subtle details. Different aspects of the motion: size, speed, acceleration, curvature, all have an effect on the outcome: strokes, splashes, drips, spirals; and is left up to the users to play and discover. The installation is designed to work with any number of people and is scalable to cover small or large areas. While the installation is suitable for a single user, when multiple users are present a new dynamic emerges. A user-to-user interaction is born when the audience starts playing with each other via the installation, throwing virtual paint on each other, trying to complete or destroy each other’s paintings.



Dromos is a metaphoric AV Performance that takes its concept from the philosophical work of P. Virilo who is mostly known for founding the idea of Dromology (science of speed). Dromos invites audience to a criticism experience of the ’peed’ role that impacts all aspects of our daily lives. During 40mns, it focuses people attention on this essential factor that shapes our world. With its message, Dromos invites you to wonder about your relationship with progress. It’s an unconventional work with an original sensorial approach, placing the audience inside an immersive environment.


Algenfenster ist eine Anordnung von Glaskugeln, die in einer Wand montiert sind. Direkt hinter der Wand und den Kugeln befindet sich ein Fenster; So erscheinen in jeder Sphäre lebendige, invertierte Miniaturansichten der Szene außerhalb der Galerie und bewohnen sie. Die Zusammensetzung der Arbeit ähnelt stark der Struktur eines Typs einzelliger Algen, die als Kieselalgen bekannt sind und große Mengen Kohlenstoff aus der Atmosphäre entfernen.


Janela de algas
A janela de algas é um arranjo de esferas de vidro que são montadas em uma parede. Há uma janela logo atrás da parede e das bolas; Assim, em cada esfera, miniaturas vivas e invertidas da cena aparecem fora da galeria e a habitam. A composição da obra se assemelha muito à estrutura de um tipo de alga unicelular conhecida como diatomácea, que remove grandes quantidades de carbono da atmosfera.


Jim Chen-Hsiang Hu

Hu atualmente aplica suas técnicas ao reino da moda, mas não necessariamente vê a tecelagem em 3D como algo restrito a esse campo. Ele diz: “Poderia ter um futuro possivelmente menos associado à moda … seria este o ponto de partida da arquitetura superleve?” Apropriadamente, o mais novo empreendimento de Hu é chamado de One More Dimension, como ele disse à 1 Granary Magazine em uma entrevista: “Eu queria introduzir mais um ângulo ou dimensão no design.” Ele explicou: “Visualmente, isso aparece como uma terceira dimensão nas roupas”. As peças de Hu refletem essa diversidade de material, textura e densidade. Certos artigos são mais parecidos com vestidos tradicionais, exceto por uma ou duas esculturas de tecido saliente, enquanto outros usam a técnica 3D para criar grandes faixas de tecido em malha, simulando golas de capuz exageradas ou delicadas, máscaras faciais e véus de renda. Essas peças de tecido vermelho são um jogo delicado e deliberado, alternando entre semissólido e vazio, tecido e rede, ao mesmo tempo que confunde os limites entre a superfície, a frente e o verso.

Mischa Kuball

speech – speed

С 1984 года Миша Кубалл (* 1959 в Дюссельдорфе) работает в общественных и институциональных пространствах. Он получил заметные награды и стипендии, а с 1991 года преподает в различных университетах и ​​художественных школах. 1999/2000 он был приглашенным профессором Академии визуальных искусств в Лейпциге, работая над темой света и пространства, с 2004 по 2008 год преподавал медиаискусство в Университете искусств и дизайна Карлсруэ. С октября 2007 года он был профессором медиаискусства в Академии медиаискусств Кельна и основал там «-1 / MinusEins Experimentallabor». Используя средство света – в инсталляциях и фотографии – он исследует архитектурные пространства и вносит свой вклад в социальные и политические дискуссии. Он отражает различные грани культурных социальных структур вплоть до архитектурных вмешательств, которые либо подчеркивают, либо перепрограммируют характер и архитектурный контекст. В политически мотивированных и совместных проектах общественное и частное пространство пересекаются. Они делают возможным общение между участниками, художником, произведением искусства и публичным пространством.

New Media Tribe

BLOOM is kinetic laser and sound installation by TRIBE investigating illusions of stillness unfolding at speeds unable to be registered by human sight. It is named for intangible flower-like shapes produced by moving lasers filling all the space and bringing new dimension to surroundings.

Kimchi and Chips

Difference and Repetition
The title references Deleuzes thesis ‘Difference and Repetition’ – his attempt to understand reality without referring to identities. The artists aim to ‘unidentify’ the audience – to criticize the bubbles of reality which technology has helped us to build around ourselves. By allowing ourselves to remove our identity occasionally, we can better understand the thoughts of those we disagree with and therefore better work together to build a combined reality. Difference (in both senses) is generated by the motion control system which continuously changes the pose of the mirrors relative to the viewer. This movement disrupts space itself, creating a transformation similar to that of a Lorentz transformation when one travels close to the speed of light. This causes space itself to compress, twist and break, giving the viewer a tool for observing the non-absolute nature of time.

Alexandra Dementieva

Limited Spaces N2
On approaching the piece, the viewer must mount a bicycle and start pedaling at a suitable and steady speed — only then will the projection of a film onto the screen start. In order to watch the film to the end one has to continue cycling without stopping. This work is built around a performance, produced by two actors: a man riding a bicycle and a woman, who, concealed behind the screen, moves depending on the man’s velocity, unintentionally creating changing reliefs which resemble sculptures. The abusive nature of the relationship embodied in the performance clearly draws on the ancient Greek myth about sculptor Pygmalion and his “artwork” Galatea on the one hand, and on the other references more contemporary feminist discourse, something to which the artist is far from being indifferent. The faster the man pedals, the faster and more forcedly the woman moves. Few trained artists could withstand such a speed.

Michael Najjar

The video work “terraforming” focusses on the transformation of a natural environment through energy input. The underpinning idea is that of three phase system change. This begins with the stage of equilibrium where a system is in a certain balance and not changing at all. In the next stage an evolving system enters a state of motion and change where it moves away from equilibrium. The third and final stage is the phase of transformation in which the original system becomes something else. The key element in this transformation process is the sun. This process is called terraforming, whereby a hostile environment, i.e. a planet that is too cold, too hot, or has an unbreathable atmosphere, can be altered to make it suitable for human life. Such a process is not merely a futuristic scenario but represents exactly what is happening on Earth at this moment as the process of atmospheric change brought about by increasing CO2 emissions heats up our planet and speeds up the process of climate change.


This Flip-Discs artwork visualizes the real-time ebb-and-flow of the tides on a specific coast somewhere in the world. The speed, direction, and swell height are all represented in how the piece moves. As one walks up to the piece, their image is reflected back. The contrast of their image changes based on the state of the current tide.

Oscar Sol

Trinity is an audiovisual interactive dance piece which tells the journey of a body going through different states of perception of the space. Through movement, the body is immersed in an environment of textures and audiovisual landscapes that not only accompany but will push to a transformation process.This work proposes a profound, clear and efficient interaction between its three elements: the triad of movement, sound and visuals. This interaction is understood as a dialogue which passes through different levels of intensity and transformations throughout the piece and is focused in the detection of the following qualities and patterns of movement like: forces and directions, acceleration, position, speed and body area.


Рафаэль Лозано-Хеммер
拉斐尔·洛萨诺 – 亨默
라파엘 로자노
רפאל לוזאנו, המר

A circular display that simulates the turbulence at the surface of the Sun using mathematical equations. The piece reacts to the presence of the public by varying the speed and type of animation displayed. If no one is in front of the piece the turbulence slows down and eventually turns off. As the built-in camera detects people more solar flares are generated and the fake Sun shows more perturbation and activity. At 140 cm diameter, Flatsun is exactly a billion times smaller than the real Sun. The piece consists of custom-made panels with 60,000 red and yellow LED lights, a computer with 8 processing cores, a camera with a pinhole lens and a mechanically engineered aluminium, steel and glass structure that pivots for maintenance. A single knob lets the collector set the brightness of the piece and turn it on and off.

Liu Wa

2020 Got Me Like
As COVID-19 speeds around the world and continues to shut down more cities, people begin to consume Internet culture in order to escape the apocalyptic anxiety in 2020, allowing Internet memes to go viral across the globe. Built upon social media, this work merges everyday sentiments with classical movie scenes to deconstruct the common imagination of “apocalypse” in entertainment industry. The video also incorporates the artist’s footage during protests, turning memes into public commentary and political satire. In this eventful year, meme does more than hijacking and decontextualizing meanings, it has become a form of silent revolt against the absurd.


Harmonics challenges our perception of light and sound unfolding at great speed, an illusion of time blending. As the two kinetic sculptures speed up, rotating beams of light blend to form volumes of colour, while multiple discrete sounds become a major chord. Unable to process extremely fast information, our brain reads sequential sensory inputs as a single event in time. A disconnected reality perceived as a continuum, a harmonious whole.

Kohei Nawa

“Biomatrix” is an installation of endles scycles of eruptive cell bubbles emerging on the surface of liquid silicone oil. This circulation of the colored liquid evokes the behaviour of magma or blood, and due to the high viscosity of silicon oil, illustrates the movement of the material at a speed deceptively slower than the viewer’s expectation. The electrically controlled pool becomes an interface that amplifies visual impact, and infinitely produces cell patterns. An orderly grid formation appears as a digital matrix, while closer observation reveals irregularities such as sporadic and simultaneous effervescence and plosive sounds breaking the surface tension.


Shifting Intimacies
An interactive/media artwork for one person at a time. Each participant enters a large, dark space containing two circles of projected film imagery presented within an immersive sound environment. One image floats upon a disc of white sand and the other on a circle of white dust. Participants’ movements direct and affect the filmic image and spatialised audio experience. Throughout the work a layer of dust (an artificial life form) slowly eats away and infuses itself deep into the imagery and sound. Each person has 10 minutes alone with the work. Their movement through the space continually affects speed, quality, balance and flow within the work. At the end of the experience they are invited to climb a lit platform and cast dust back onto the images below.

Diana Thater

Abyss of Light

Abyss of Light is divided into three screens and into three acts, the traditional structure of classic narrative film. In the first act, all the images synchronize to form a single panorama of Bryce Canyon in Utah. In the second, the screens break away from one another into three parallel sequences wherein each projection shows the same one hundred images at different speeds. In the third, all three images synchronize once again to form a single wrapping panorama of Death Valley, California. The work is an ode to the American western, one of my favorite film genres. Despite my admiration, however, my desire is not to imitate westerns. Instead, I set up an abstraction in opposition to the idea of narrative, something that can be seen in all of my work. In Abyss of Light, continuous disruptions of the American landscape document my refusal to see the land as backdrop for man’s heroic conquering of the wild; instead I see it as a foreground, a subject to be contemplated for itself and for which wildness is a state of grace.

Felipe Pantone

Distance, Speed, Time, Formula
He works on gradients, combining geometric shapes and colors.

Carsten Nicolai

reflektor distortion

The installation reflektor distortion – conceived as a rotating, water-filled basin – is inspired by the shape of a parabolic mirror that ‚rotates‘ water via centrifugal force. The work consists of the three main components mirror, reflection and distortion. Both curve and distortion of the water surface is affected by speed and integrated resistors that generate a permanently new and re-organizing mirror reflection. The water surface will be supplementary distorted via speaker by resonating low sound frequencies. The function of the mirror is hereby eminent: The mirror surface is the medium that reveals reality as distorted reflection. Rising the question of the observed and the real image the installation plays with the artist’s thesis that we all have a permanent distorted perception of reality.

kite & laslett

Orbit is a kinetic light installation designed for a former railway tunnel. A series of rotors of increasing diameter and speed are positioned along the 80m space, projecting laser beams into the void. Their orbiting constellation targets towards a circular plane at the end of the tunnel.

Philippe Malouin

The Speed Of Light
Лондонский дизайнер Philippe Malouin представил арт-инсталляцию в одном из районов Майами, в рамках которой он создает уникальную установку для рождественского сезона. Получивший название «Speed of light», что можно перевести с английского как «скорость света», проект задуман, как произведение, которое могло бы охватить всех зрителей и каким-то образом взаимодействовать с ними. Установка представляет из себя шаровидную светодиодную лампу, которая передвигается по рельсам через пешеходную зону района.

Steve Reich

סטיב רייך
스티브 라이히
Pendulum Music

Reich came up with the concept while working at the University of Colorado. He was swinging a live microphone in the style of the cowboy’s lasso, and noting the produced feedback, he composed for an “orchestra” of microphones.Three or more microphones are suspended above the speakers by means of a cable and stand. The microphones are pulled back, switched on, and released over the speaker, and gravity causes them to swing back and forth as pendulums. As the microphone nears the speaker, a feedback tone is created. Different lengths of cable will swing at different speeds, creating an overlapping series of feedback squeals. The music created is thus the result of the process of the swinging microphones.

Myriam Bleau

Soft Revolvers is a music performance for 4 spinning tops built with clear acrylic by the artist. Each spinning top, 10’ in diameter, is associated with an ‘instrument’ or part in an electronic music composition. The tops are equipped with gyroscopes and accelerometers that communicate wirelessly with a computer where the motion data collected (speed,unsteadiness at the end of a spin, acceleration spikes in case of collisions) informs musical algorithms designed in Pure Data. LEDs placed inside the tops illuminate the body of the objects in a precise counterpoint to the music.


Heavy Industries
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.


versuch unter kreisen

This is the artistic result of a residency spent at CERN, where particles circulate on rings at great speed. The four lamps that are suspended from the ceiling also describe circles, but at varying speeds. Starting from there, every imaginable choreography is possible as well as every interpretation. The lamps describe figures that imperceptible transitions trigger one to the other. According to the artist, it’s only a question of mathematics here, though one asks oneself which one of the four incandescent lamps directs the others. And just as quick as they come into alignment as though linked by invisible ties, there is one that seems to accelerate while another can’t manage to keep up with the group. You can watch them for hours on end, hypnotised by the aesthetic beauty of physical laws. The artist, Julius von Bismarck, when receiving his prize admitted to having learned a lot at the CERN. It is likely that the scientists were also marked by his presence.

Refik Anadol Studios

Wind of Boston: Data Paintings
Wind of Boston: Data Paintings is a site-specific work that turns the invisible patterns of wind in and around Boston into a series of poetic data paintings within a 6’ x 13’ digital canvas. By using a one-year data set collected from Boston Logan Airport, Refik Anadol Studios developed a series of custom software to read, analyze and visualize wind speed, direction, and gust patterns along with time and temperature at 20-second intervals throughout the year.


I employ visual cues culled from mass culture, excerpt processes from industry and patterns from the decorative arts to create handmade, one-off objects that manifest the nostalgia of history, the speed of progress and the memory of the human hand.

Michael Pinsky

Transparent Room
Transparent Room suspends viewers in a virtual space where they see through walls to hidden rooms and city streets, and through ceilings to the sky. The room’s confining walls are replaced by projections of the outside world, its time accelerated as clouds speed by and as cars and pedestrians alike race down the street. In this caricatured passing of time, views of the cityscape and of the building’s interiors are magnified, first showing details, then textures and, finally, just single colours.

Mai Yamashita + Naoto Kobayashi

“Paths are made by walking.” In order to determine whether the above phrase was actually true, Yamashita and Kobayashi kept running in a park for five days. In the fast-forward movie compiled from digital photographs taken one per second, a path with the shape of infinity gradually emerges as they move in high-speed.

kathy hinde

Tipping point
Tipping Point forms both a sculptural sound installation and the basis of a live performance in which Kathy Hinde controls all the aspects of the installation live including the speed of the motors, the positions of the mechanical arms, the water levels, and how many glass vessels are resonating. She works with a range of guitar pedals to re-pitch the sounds, accentuate different frequencies, and add reverb to augment the soundscape to create an immersive composition.


Return to the Real
‘Return to the Real’ is Aitken’s device to make us think about our devices, the experiential subletting to Instagram, the squeal and squawk of social media. ‘It’s a counterpoint to that world of de-materiality and speed,’ he says, ‘and about seeking something which is unique or being in a place which is physical and tactile or a moment which is unrepeatable.’


Water Cathedral
Supported by a minimal external steel framework, the inverted cones are suspended from a wire grid to capture rainwater within a plastic bag. Dripping at different pulses and speeds, water drops exit the textile covering to generate a cool atmosphere for visitors beneath the canopy. Stalagmites formed with concrete blocks double as benches, strategically placing individuals below the streams of water.


Gravicells puts the senses on edge. This installation produces a visualization and sonification of the force of gravity acting upon the visitor. Interconnected sensors continuously measure the visitor’s weight, movements and speed. The resulting data are converted into physical audio-visual experience by various media systems.

olafur eliasson

اولافور الياسون
אולאפור אליאסון
cirkelbroen bridge
The bridge is made of five circular platforms, and it contributes to a larger circle that will form a pedestrian route around Copenhagen Harbour, where people – cycling, running, walking – can see the city from a very different perspective. As many as 5,000 people will cross this bridge each day. I hope that these people will use Cirkelbroen as a meeting place, and that the zigzag design of the bridge will make them reduce their speed and take a break. To hesitate on our way is to engage in bodily thought. I see such introspection as an essential part of a vibrant city

barbara cole

White Noise
“I rework this canvas with a toolkit that includes clouds, reflections, plastic sheeting, cloth-encased figures as well as aperture, shutter speed and artificial lighting. I will photograph from above in order to flatten the perspective[…]” more

Benedikt Groß

The Autonomous Human Drone Taxi

We keep hearing how technology will eventually solve the problem of vehicular traffic for good. Self-driving cars will only get us halfway to that future — they’re still cars, clogging up our roads, speeding down our freeways. The personal mobility future that I’m waiting for includes autonomous drone taxis that can sail high over the city, delivering me safely to my destination.


Cosmic Pulses
COSMIC PULSES is the 13th “hour” of Stockhausen’s originally-planned 24-part cycle KLANG (“SOUND”) which is based on the 24 hours of the day. This electronic work is composed of 24 layers of synthesizer-generated melodic material, with each layer having a different speed and pitch register. The layers enter one by one, starting from the lowest/slowest layer, and go up in sequence to the highest/fastest layer. After a period of several minutes where all 24 layers are active, the layers begin to individually drop out, again starting from the lowest layers and moving upwards (gradually leaving just the higher/faster layers). This “draw down” is about twice as fast as in the “build-up”.

Arvo Part

Tabula Rasa – II.

The second movement of Tabula Rasa, “Silentium,” or silence, is composed in the key of D minor, giving the impression of a V-I cadence in relation to “Ludus” in A minor. The movement begins with an arpeggiated D minor second inversion chord, played by the prepared piano. “Silentium” expands as a mensuration canon. Pärt divides the instruments into three sections; solo violins, violin I and violin II, and viola and cello. Each pair, divided into melodic and tintinnabuli voices, begin on a central pitch, and move at a different rhythmic speeds. Pärt expands the music by adding one pitch above and below the central pitch of each pair in each successive section. Every time the solo violins reach their central pitch, “D,” the piano again plays a D minor chord and the contrabass plays an octave “D.” Once each of the sections reach their expanded octave range, they fade out of the texture. The solo violins, moving at the slowest rhythmic speed, reach their octave span in measure 130, and then begin a downward descent of a D minor four-octave scale.


The Blur Building (an architecture of atmosphere)
The Blur Building is a media pavilion for Swiss EXPO 2002 at the base of Lake Neuchatel in Yverdon-les-Bains, Switzerland.From piles in the water, a tensegrity system of rectilinear struts and diagonal rods cantilevers out over the lake. Ramps and walkways weave through the tensegrity system, some of them providing a counterweight for the structure. The form is based on the work of Buckminster Fuller.The pavilion is made of filtered lake water shot as a fine mist through 13,000 fog nozzles creating an artificial cloud that measures 300 feet wide by 200 feet deep by 65 feet high. A built-in weather station controls fog output in response to shifting climatic conditions such as temperature, humidity, wind direction, and wind speed.The public can approach Blur via a ramped bridge. The 400 foot long ramp deposits visitors at the center of the fog mass onto a large open-air platform where movement is unregulated. Visual and acoustical references are erased along the journey toward the fog leaving only an optical “white-out” and the “white-noise” of pulsing water nozzles. Prior to entering the cloud, each visitor responds to a questionnaire/character profile and receives a “braincoat” (smart raincoat). The coat is used as protection from the wet environment and storage of the personality data for communication with the cloud’s computer network. Using tracking and location technologies, each visitor’s position can be identified and their character profiles compared to any other visitor.In the Glass Box, a space surrounded by glass on six sides, visitors experience a “sense of physical suspension only heightened by an occasional opening in the fog.” As visitors pass one another, their coats compare profiles and change color indicating the degree of attraction or repulsion, much like an involuntary blush – red for affinity, green for antipathy. The system allows interaction among 400 visitors at any time.Visitors can climb another level to the Angel Bar at the summit. The final ascent resembles the sensation of flight as one pierces through the cloud layer to the open sky. Here, visitors relax, take in the view, and choose from a large selection of commercial waters, municipal waters from world capitals, and glacial waters. At night, the fog will function as a dynamic and thick video screen.



o what extent does the quality of movement of the virtual world influence real sequences of human movement? Will the real world of the 21st century assume via nanotechnology attributes of the virtual world? Are there still significant differences between a body that is made of synthetic material and warmed artificially and the deep glow of trillions of living cells? VIVISECTOR is an examination of the different speeds of people/nature and technology/information society and of their acceleration; an experiment to overcome the space-time continuum in the real world. It breaks the linearity of movement and in doing so shows the absurdity of momentum. Based on the video-technological concept of the moving body-projection that made D.A.V.E. an international hit, VIVISECTOR now goes one step further: the exclusive concentration on video light and video projection produces a new stage aesthetic in which light, body, video and acoustic space form an unprecedented unity.