Wave Interference
Any image can be made to elicit any emotional response based on the soundtrack that accompanies it. This is a fact that filmmakers have exploited for years; a soundtrack can make an image cheerful, or nostalgic, or (in a minor key) induce feelings of melancholy or dread. Wave Interference combines a beautiful and elegant vision of a wave of light with a gradually changing melancholic soundtrack;
Henryk Górecki
Concerto for Harpsichord and String Orchestra Op. 40
Harpsichord: elisabeth chojnacka
Less than nine minutes long, the bipartite Concerto for Harpsichord (or Piano) and String Orchestra, which the composer sometimes called a “prank”, is a veritable volcano that carries the listener away from the very first bars with its immense energy. Its repetitive, motoric nature and rhythmic vigour suit the specific, slightly clattery sound of the harpsichord which is usually somewhat amplified, complemented by the chordal texture of the strings. In both parts, the mood of the piece clearly draws on the highlander music of the southern Podhale region, of which Górecki was a great admirer. In the context of his monumental sacred music from the same period, this Concerto is like the artist’s brief “respite”. It reflects the whirl and “profane” energy of a folk dance.
Elżbieta Chojnacka, to whom the piece was dedicated, has always stressed that every performance of the Concerto, which she has played throughout the world, ends with an encore. The piece meets with such acclaim from the audience, and is one of the most striking – and most joyful – compositions in the composer’s output. “A spectacular plaything”, as Teresa Malecka has described the piece.
ダグエイケン
道格·艾特肯
Station to Station
Doug Aitken gilt als einer der wichtigsten Künstler unserer Generation. Seine Projekte sind immer over the top und noch nie dagewesen. Er erweitert Horizonte und sucht nach neuen Grenzen. Jetzt hat er das Projekt Station to Station organisiert. Im September gehts los und gefahren wird in einem Zug von Station zu Station quer durch die USA. An Bord sind Künstler, Musiker, Köche, Autoren, Filmemacher und Philosophen. Inspiration ist wohl das gleichnamige Album von David Bowie. Mit von der Partie im Zug und an den einzelnen Stops auf dem Weg sind Künstler wie Urs Fischer, Christian Jankowski, Aaron Koblin, Ernesto Neto, Jack Pierson, Alice Waters, Rick Moody, Rirkrit Tiravanija, Kenneth Anger und Musiker wie Savages, Cold Cave, Cat Power, Ariel Pink, Charlotte Gainsbourg, Beck und und und. Entweder reist ihr dem Zug hinterher oder, wenn Euch das zu anstrengend ist, dann reist ihr virtuell auf der Website mit.
The Unseen Collection
Experimental fashion studio The Unseen has produced a range of accessories that alter in response to environmental changes using inks developed from its colour-shifting wearable sculptures. Bowker has previously embedded her specially developed ink into feathered, leather and gemstone-encrusted headdresses. The Unseen also presented a sculptural jacket that changes colour depending on the wearer’s mood.
Light Cloud
The Light Cloud at the Merck Innovation Center detects visitors’ movements in the room and translates them into many different moods. The generative sculpture stimulates and facilitates intense encounters between people and technology. The room-filling installation consists of four curved strands that are concentrically superimposed and slightly shifted in relation to each other. OLED elements that are attached to the strands and controlled by sensors react to the visitors’ movements and to sound compositions. In combination, this generates a complex mosaic in which sound and light interact playfully and the viewers leave traces.
Oresteia Opera
Scored for soloists, mixed chorus, children’s chorus and chamber ensemble, Iannis Xenakis’ music for Oresteia has been cited as “ruggedly dissonant” since its 1987 première in Sicily. A wooden-planked stage is empty save three platforms, one each for the chamber players and percussion, another for a drummer on a separate perch. On a high screen to start, a loop video shows an almost-naked woman stretched out face down in a bathtub who is being hosed down uninterruptedly with water. No forewarning, and the clip changes to a thick forest, a small girl being physically abused by an adult man. While the same video images reappear at the end of the opera, but it’s nebulous soft-edged shapes –mood landscapes as it were – that are the usual backdrop for the 90-minute piece.
Deltu
Deltu is a delta robot with a personality that interacts with humans via two iPads. Depending on its mood, it plays with the user who is faced with an artificial intelligence simulation, who appreciates the small pleasures of life, sometimes too much. The relationship we have with robots/AI that have been created to enhance our performance, but have become a source of learning, is unique and exciting. The android’s place in society has not yet been defined and remains to be determined; for me it is the best source of inspiration.
ДЖЕННИС МАРКОПУЛОС
Cartoon Skull Mask
“The mask is an object worn over or in front of the face of a skull to hide the identity of it and by its own features to establish a part of a cartoon being. This essential characteristic of hiding and revealing personalities or moods is common to all masks. As cultural objects they have been used throughout the world in all periods and have been as varied in appearance as in their use and symbolism.
The wearer of the cartoon mask is considered to be in direct association with the spirit force of the mask and is consequently exposed to personal danger of being affected by it.The wearer of the cartoon mask is a skull and the person behind to the skull is not under the living persons.The ironic combination of two inappropriate items is to the stoic thinking to owe.”
every time the stars align
FILE LED SAO PAULO 2018
“Every Time the Stars Align” fuses different natural elements of crystals, plasma and flowers in a lava lamp environment. Red crystals freeze with rigid edges and thaws into a relaxing mood. Plasma liquid rises and falls reflecting a lava-like quality. Flowers fluctuate between a spectrum of color symbolizing intense human affections. Contradicting and uniting flat and deep spaces, the three elements compose and decompose.
Interactive Telecommunications Program
Designs by Adi Marom and Hans Hemmert explore how daily functions and especially face-to-face communication can change simply by tweaking and tinkering with people’s height. Marom’s robotic footwear extends and contracts via an iPhone application, so that the wearer becomes taller or shorter to fit various needs and moods— from reaching a higher supermarket shelf to smelling a flower on a tree branch; height thus becomes what the designer calls an “interactive variable.”
Pixel geante
Well Well Designers are a couple that set up a business creating lights out of paper. I like the idea of having a pop up lamp, I think it is really creative and is perfect for modern apartments. I would like to look at ways of creating my own pop up lamps that give off an array of shadows, different ones for different moods.
Commune
David Rosetzky works predominantly in video and photographic formats, creating scenarios in which human behaviour, identity, subjectivity, contemporary culture and community come under intimate observation. He has been making portraits since the early 1990s, using the format to explore relationships between interiority and exteriority, reality and fantasy, authenticity and artificiality. Technically and aesthetically precise, Rosetzky’s work is stylised, moody and strikingly beautiful, and resembles the idealised images found in high-end advertising and screen culture.
روب مولهولاند
罗布穆赫兰
롭 멀홀랜드
ロブマルホランド
Роб Малхолланд
Tide Flow – Time Flow
The themes of ‘sense of place’ and ‘ancestry ‘ persist in many of the works[…] This new development in his work reflects his interest in the passing of time as the images projected are in slow motion. A single drop of water takes minutes to fall and disperse. The mood is poignant and atmospheric and allows us just a brief reprieve from the frenetic world.
It Only Happens All of the Time
Constructed by Jacqueline Kiyomi Gordon within San Francisco’s Yerba Buena Center for the Arts (YBCA) new exhibition series Control: Technology in Culture, It Only Happens All of the Time is an installation that shapes sound, movement, and perception. Architectural in ambition, the installation tasks visitors with exploring a room lined with a droning 11.1.4 surround sound system and custom sound-dampening acoustic panels in order to foreground what the artist describes as the “the exchange between moving within the sound, moving within the sculpture, moving with someone else” and yielding an “intimacy” in the process. Borrowing the materials and geometries of the acoustic panels used in anechoic chambers and acoustic testing labs, Gordon’s immersive sonic environment deploys clinical sound design to engender exploration and interaction.Positioned in the centre of Gordon’s space is “Love Seat”, a pair of adjoined enclosures where visitors can sit and listen. While sharing a common sightline—but physically separated—listeners can enjoy a moment together, each within (relative) acoustic isolation. In the essay accompanying the exhibition, Control: Technology in Culture curator Ceci Moss succinctly describes Gordon’s approach as “sound modulating mood” to “both commune and command” those entering the space.As would be expected, Gordon went to great lengths to sculpt the acoustics within It Only Happens All of the Time and the exhibition saw her working closely with specialists at Meyer Sound Laboratories. She touches on her process briefly in the video below and the Creator’s Project post on the project is worth delving into, as it provides some worthwhile ‘making of’ details as well as comments from collaborators Jon Leidecker (aka Wobbly) and Zackery Belanger.
Брайан Ино
브라이언 이노
ブライアン·イーノ
בריאן אינו
براين إينو
Брайан Ино
Music for Airports
Initially, he referred to these quiet soundscapes as “discreet” music, and on Discreet Music (a wry deconstruction of “Pachelbel’s Canon in D”) demonstrates his basic tools: minimal melodies, subtle textures, and variable repetition. Around this time, he had also been collaborating with the German synth duo Cluster on a pair of moody, coloristic electronic albums, selections from which may be found on the Begegnungen and Begegnungen II compilations. But it was Music for Airports that finally codified these experiments into an aesthetic, and even provided a label for the sound: ambient music.