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German Ermics

Ombré Glass Chair

“German Ermics is a Latvian designer who has recently presented to the public his splendid Ombré Glass Chair, which embodies the perfect tribute to To Shiro Kuramata and his iconic Glass Chair (1976), considered one of the iconic furniture designers of the 20th century. The keyword of his creation is “simplicity” combined with the transparency and the apparent lightness of the material, the result is an elegant minimal work.Another peculiarity of the chair is that it was manufactured with a new industrial product, the Photobond 100, welded without the use of screws or mounting-reinforcements, thus eliminating any superficiality.” Claudia Fuggetti

CLIVE VAN HEERDEN AND JACK MAMA

Skin Sucka

A project conceived with Clive van Heerden, Jack Mama (Philips Design Probes) and Bart Hess, Skinsucka explores a vision of our nano technology future whereby bio technology and robotics come together to question our attitudes of a synthetic future. Skinsucka reveals a future where microbal robots live in our shared spaces and autonomously they will undertake menial tasks such as cleaning our homes by eating the dirt. ‘Skinsuckas’ clean the skin, removing the vestiges of make up and providing the remedies to combat the excesses of the night before They swarm over the body extruding metabolized household dirt, dressing the body in a daily ritual of real time, customized manufacture – yesterday’s discarded clothing ready for recycling.” Clive and Jack’s work has consistently brought very diverse skills together in new innovation processes. In the late 1990’s they took designers and other creative skills into Philips Research labs in the Redhill, London and New York and created a specialist studio in London to develop the skills, materials and technologies for a host of Wearable Electronic business propositions in the areas of electronic apparel, conductive textiles, physical gaming, medical monitoring and entertainment.

Michael Candy

Synthetic Pollenizer
The Synthetic Pollenizer project Intervenes in real-world ecological systems using robotic flowers to Integrate in the reproductive cycle of local flora, these imitations offer a manufactured nectar supplement while attaching locally harvested pollen to bees.

Ani Liu

Untitled: (A Search for Ghosts in the Meat Machine)
What does it mean to be human? At first glance a simple question, the idea of being human is an unstable construct, continuously recrafted. Recent technological innovations allow us to redesign ourselves profoundly— from networked prosthetics and artificial intelligence, to the genetic code of life itself. Can our behaviors be reduced to algorithms? Can our bodies be upgraded with nonorganic integrations? Can sentience itself by manufactured in a lab? This set of nine sculptures examines personhood from anatomical, psychological, genetic, biochemical, behavioral, algorithmic, personal narrative and memory. In many ways, this installation is an emotional confrontation with being quantifiable.

ROBOTICS

ROBOTICS
Robotics is the art and commerce of robots, their design, manufacture, application, and practical use. Robots will soon be everywhere, in our home and at work. They will change the way we live. This will raise many philosophical, social, and political questions that will have to be answered. In science fiction, robots become so intelligent that they decide to take over the world because humans are deemed inferior. In real life, however, they might not choose to do that. Robots might follow rules such as Asimov’s Three Laws of Robotics, that will prevent them from doing so. When the Singularity happens, robots will be indistinguishable from human beings and some people may become Cyborgs: half man and half machine.

Pedro Reyes

Return to Sender
Disarm music box
For the work group Disarm, he was able to use 6,700 weapons confiscated in the Mexican drug war and transform these into musical instruments[…] They play well-known, classical music pieces from the respective manufacturer’s country of origin. A musical box made with Glock pistol parts plays Mozart, Beretta barrels Vivaldi, while Reyes’s weapon of choice for Swiss songwriter Mani Matter is the Carabine. Reyes is concerned with «upcycling» – transforming an instrument of death into a musical instrument that stands for dialog and exchange. He undertakes this transformation process with the conviction that the physical act is always accompanied by an idealistic one and appeals to the spiritual dimension of this quasi-alchemical operation towards the good.

Adam Ferriss

Glitch art
Finding his own niche between new media arts and conceptualism, Adam Ferriss creates unique digital coding that manipulates, distorts, and engineers images into psychedelic terrains. At times, his technicolor abstractions feel organic despite their technological roots – an ambiguous craft born of the RGB Tricolor separation process and pixel sorting algorithms he so carefully employs. Using these “procedural mechanisms,” Ferriss initiates iterative changes in light and pixel structure of his given source material – creating a literally infinite array of compositional possibilities that grapple with human perception during an era of ubiquitous manufacture.

Wyne Veen

Wyne Veen is a Dutch artist working in the photographic medium. Veen’s work consists of sculptural arrangements, utilizing everyday objects and their isolated materials. The work possesses an aesthetic and absurd appeal. Inspired by all things overly developed, Veen is fascinated by our highly manufactured lives, while also endlessly drawn to all steps of the production process. Veen graduated from the Royal Academy of Fine Arts in 2008 and maintains a studio in the Red Light district of Amsterdam

Tom Lovelace

In Preparation No.04
Tom Lovelace works across photography, sculpture and performance, where concept prevails over form and his methodology is one of deconstructing conventions of a conceptual understanding of ‘discipline’. Primarily using the industrial landscape as his sourcing ground, he seeks to manufacture an ephemeral subject, creating environments and interventions that exist solely for the camera.

Shayne Dark

Force of Nature
Whereas in the materials, there is a combination of natural and manufactured materials, most notably the various wood vs. refined metals. There is a duality at play, that between the natural and the urban. It seems that in this age of post-Industrial Revolution, where we are plagued with the problems that surround finding a balance between these two worlds, Dark has found some common ground in the organic aspects of each, uniting the two in his oeuvre.

Nives Widauer

Global Globes

“..In Global Globes (2011), Widauer has collected over 290 globes of all different sizes, years of manufacture and locations and geopolitical variation, putting them together into a mosaic-like map of the world. Global Globes is conceptually designed by the artist as a floor installation, so that the best place to see it is via a live circuit camera installed high above the ‘globe world map’..”

Raffaello D’Andrea and Max Dean

The Table
The Table is an autonomous robot with an automatic mechanized system able to react to unexpected movement or obstacles and to carry out one or more tasks by executing a program in a given environment. As is the case with most “prototypical” robotic works, or single editions, the basic physical components can be pre-manufactured then modified or custom built to meet specific needs. In the case of The Table, the control system and its algorithms were entirely conceived by Max Dean and Raffallo D’Andrea. All the components, including the wheels and motors, were also custom manufactured, giving the installation a unique character. The singular characteristic of this work lies in the robotic nature of the table and it’s capacity to operate in an environment specifically designed for it. For example, the shade of red painted on the floor is directly linked to the effective functioning of the camera and the control software. Also, the space lights used in the room produce a light that prevents the creation of shadows, which the software could mistakenly interpret as a physical presence.

ROBERT WILSON

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
Боб Уилсон
Bertold Brecht
Kurt Weill
Berliner Ensemble
Die Dreigroschenoper

Revel in this 30-strong ensemble of actors and musicians performing one of the most familiar scores in musical theatre today. Be warned, with a strictly limited engagement in Perth and following sellout seasons in New York, Hong Kong and Berlin, you need to be quick. In 1928, Bertolt Brecht and Kurt Weill created a masterwork that would change the shape of theatre forever. Eighty-five years later, visionary director Robert Wilson leads Brecht’s own company, the Berliner Ensemble, to perform in Australia for the very first time. Mack the Knife is the original city crim who’s never met a law, a woman or a cop he couldn’t seduce – but when he challenges the supremacy of the Beggar King and his empire of manufactured woes, the fallout threatens to tear the town apart.
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DESIGN STUDIO EMERGING OBJECTS

设计工作室新兴对象
Saltygloo
American studio Emerging Objects 3D-printed this pavilion using salt harvested from San Francisco Bay. “The structure is an experiment in 3D printing using locally harvested salt from the San Francisco Bay to produce a large-scale, lightweight, additive manufactured structures,” said Ronald Rael and Virginia San Fratello of additive manufacturing startup Emerging Objects. They explained that 500,000 tonnes of sea salt are harvested each year in the San Francisco Bay Area using power from the sun and wind. “The salt is harvested from 109-year-old salt crystallisation ponds in Redwood City,” they said. “These ponds are the final stop in a five-year salt-making process that involves moving bay water through a series of evaporation ponds. In these ponds the highly saline water completes evaporation, leaving 8-12 inches of solid crystallised salt that is then harvested for industrial use.”

PAUL MCCARTHY

بول مكارثي
保罗麦卡锡
פול מקארת’י
ポール·マッカーシー
폴 맥카시
Пол Маккарти
Train, Mechanical
“Train, Mechanical, is a fully-automated mixed-media work in which the sculpted likeness of George W. Bush engages in serialized bestiality with a number of pigs. The manufactured ménage-à-trois is completed by a lateral, third-party pig, who penetrates the fore-facing pig in the ear (a sexual maneuver described by Christopher Walken in an SNL skit as “Shin-Shee-Shin-Shee”). The piece functions as both a political satire and a parody of popular amusement park rides like Disney’s Pirates of the Caribbean. With “process as sculpture” as a subtext, McCarthy addresses nuanced cultural mechanisms in a vocabulary which retains essential, playful relevance to the practice of art making”. S.Humphrey

URS FISCHER

Урс Фишер
nomadic art tent
The nomadic sculpture that Urs Fischer created for Station to Station is something of a steamy interior dreamscape, a glittery, shimmering vision that hypnotizes with lights and textures that both welcome and disorient. In the center of the piece is a plush Hasten’s bed on which viewers lie surrounded on all sides by mirrors and cloud-like smoke. A disco ball rotates above. Is this a place for disco naps? Or is it a glamorous fantasy of decadence and visual riches? Spend some time, look at yourself in the many reflective surfaces, and feel the bedding against your skin and decide for yourself. Dreamy as it is, this space is grounded in the real world and governed by the laws of physics. This place seems like a fantasy, but it is entirely real. As one critic noted of an earlier Fischer work:In a world increasingly defined by virtual realities and digital imaging, is the creative mastery of hand manufacture merely a quaint artistic throwback — nostalgia for a lost cultural past? Is this sculpture a memorial? Given today’s ubiquitous special effects wizardry, shouldn’t art clasp technology to its bosom? There’s nothing virtual about the softness of the bed, nothing digital about the gleam of those lights or the mist surrounding you. Take off your shoes. Climb inside. This is real life.

POTLATCH

Gretchen at the Potlatch Feast

“Potlatch is a festive event within a regional exchange system among tribes of the North pacific Coast of North America, including the Salish and Kwakiutl of Washington and British Columbia.”
The potlatch takes the form of governance, economy, social status and continuing spiritual practices. A potlatch, usually involving ceremony, includes celebration of births, rites of passages, weddings, funerals, puberty,and honoring of the deceased. Through political, economic and social exchange, it is a vital part of these Indigenous people’s culture. Although protocol differs among the Indigenous nations, the potlatch could involve a feast, with music, dance, theatricality and spiritual ceremonies. The most sacred ceremonies are usually observed in the winter.
Within it, hierarchical relations within and between clans, villages, and nations, are observed and reinforced through the distribution of wealth, dance performances, and other ceremonies. Status of families are raised by those who do not have the most resources, but distribute the resources. The host demonstrates their wealth and prominence through giving away the resources gathered for the event, which in turn prominent participants reciprocate when they hold their own potlatches.
Before the arrival of the Europeans, gifts included storable food (oolichan [candle fish] oil or dried food), canoes, and slaves among the very wealthy, but otherwise not income-generating assets such as resource rights. The influx of manufactured trade goods such as blankets and sheet copper into the Pacific Northwest caused inflation in the potlatch in the late eighteenth and earlier nineteenth centuries. Some groups, such as the Kwakwaka’wakw, used the potlatch as an arena in which highly competitive contests of status took place. In rare cases, goods were actually destroyed after being received. The catastrophic mortalities due to introduced diseases laid many inherited ranks vacant or open to remote or dubious claim—providing they could be validated—with a suitable potlatch.
Sponsors of a potlatch give away many useful items such as food, blankets, worked ornamental mediums of exchange called “coppers”, and many other various items. In return, they earned prestige. To give a potlatch enhanced one’s reputation and validated social rank, the rank and requisite potlatch being proportional, both for the host and for the recipients by the gifts exchanged. Prestige increased with the lavishness of the potlatch, the value of the goods given away in it.

LEON THEREMIN

ליאון טרמין
레온 테레민
Лев Термен
théremin

he invented an electronic device known as the theremin, which was a unique musical instrument that could be played without physical contact. Rather than plucking strings or pressing keys, the musician need only move their hands around antennas located on the device.The device became a popular curiosity and he proceeded to tour Europe in order to demonstrate it. In 1928, he moved to New York City in the United States, where he played a theremin in the New York Philharmonic Orchestra in 1928. In 1929, he was granted a patent for the device by the United States. He decided to give RCA the rights to manufacture and sell the theremin for a lump sum payment and a percentage of the sales.In the early 1930s, Theremin purchased a laboratory in New York that he used for experimenting with electronic musical instruments. One of the products of his lab was the Rhythmicon, which was purchased by Henry Cowell, a composer. In 1930, a group of ten “thereminists” performed at Carnegie Hall.Theremin also began researching a method to cause lights and sound to respond to the movement of dancers. His system became popular with ballet and dance clubs throughout the country.

BITCRAZE

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).

DAMIAN ORTEGA

داميان أورتيغا
达米安·奥尔特加
דמיאן אורטגה
ダミアン·オルテガ
데미안 오르테가
Дамиан Ортега
Cosmic Thing
Mexican deassemblage artist Damian Ortega creates suspended sculpture, diagrams and manuals brought to life, exposing the inner workings and mystery of products and concepts. In the 2003 Venice Biennale, Ortega acheived international acclaim with his breakout hit, “Cosmic Thing,” which reassembled a Volkswagon Bug, the populist car manufactured in his home country. With roots in cartooning and satire, Ortega’s tongue in cheek works exemplify his former craft and present new perspectives to commonplace items. Get a look at several of the artist’s most famous installations here on Hi-Fructose.