Machine Hallucinations — Sphere

The artwork presents a series of AI Data Sculptures that incorporates vivid pigments, shapes, and patterns, aiming to create a collective, meditative, and multisensory experience. This immersive experience simulates the rhythms of various environments and invites the visitors to imagine alternative realities constructed by invisible data movements around them.
Machine Hallucination: The Sphere features dynamic visualizations of data that are based on vast archives containing visual imageries of space and nature while celebrating the unique architecture of The Sphere. For this project, Anadol and his team used these themed datasets as the building blocks for the three distinct chapters of the artwork and trained a unique AI model with subsets of the collected image archives. After the training, when idle and unsupervised, the “machine mind” generates new aesthetic visuals and color combinations through unique lines drawn by algorithmic connections.

Embodied Simulation

‘Embodied Simulation’ is a multiscreen video and sound installation that aims to provoke and nurture strong connections to the global ecosystems of which we are a part. The work combines artificial intelligence with dance and research from neuroscience to create an immersive, embodied experience, extending the viewer’s bodily perception beyond the skin, and into the environment.
The cognitive phenomenon of embodied simulation (an evolved and refined version of ‘mirror neurons’ theory) refers to the way we feel and embody the movement of others, as if they are happening in our own bodies. The brain of an observer unconsciously mirrors the movements of others, all the way through to the planning and simulating execution of the movements in their own body. This can even be seen in situations such as embodying and ‘feeling’ the movement of fabric blowing in the wind. As Vittorio Gallese writes, “By means of a shared neural state realized in two different bodies that nevertheless obey to the same functional rules, the ‘objectual other’ becomes ‘another self’.”

EGO

FILE 2024 | Installations
International Electronic Language Festival

The mirror stage in psychology explains how the Ego forms through objectification, where one’s visual appearance comes into conflict with emotional experience, a concept called ‘alienation‘ by psychoanalyst Jacques Lacan. The interactive installation EGO reenacts and reverses this process by distorting the mirror image based on the user’s movements, highlighting the tension between the real and the symbolic, the Ego and the It, subject and object.

Bio

Klaus Obermaier is an interdisciplinary artist, director and composer who creates innovative works in the performing arts, music and installations using new media. Stefano D’Alessio researches social issues induced by the internet and explores how the web and its derivatives influence human behavior and the body. Martina Menegon creates intricate assemblages of physical and virtual elements, exploring the contemporary self and its hybrid corporeality.

FILE SAO PAULO 2017
THE BREATHING CLOUD
“The Breathing Cloud” is a monumental floating organism. The work transforms a space by its motion, light, and rhythmic breathing. With this light art the phrase “let a room come to life” gets a new meaning. The clouds skin looks fragile and soft, and the movements are rhythmic, yet random, so the whole room feels like a living being. The technology is designed so that the strong LED modules and the mechanism support the pervasive breathing. It gets physically bigger and smaller and embraces with its bright light space.

アンヌ·テレサ·ドゥ·ケースマイケル
АННЫ ТЕРЕЗЫ ДЕ КЕЕРСМАКЕР
Quatuor N°4
The movement vocabulary of “Quartet No. 4” (originally part of a longer evening, “Bartok/Annotations”) is simple, with elaborations on walking and turning movements that incorporate everyday motion (smoothing hair, opening out the hands, a quick unpolished handstand) and folk dance-like skipping, hopping and heel-clicking jumps.

Sun and Moon Room
Sun and Moon Room in the Art Museum of Nature and Human Non-Homogeneity, located in Bungotakada City, Oita, houses one of the interactive art installations designed to extend one’s physicality in contact with the nature. The concept of this work is a room where visitors can play with sunlight. As visitors walk through the room, small apertures on the ceiling automatically open and close, following their movements. The aperture system is designed to envelop the visitors’ bodies in light and to change the shape of the light cast at their feet, mimicking the waxing and waning of the moon. Visitors’ movements are detected by sensors, which trigger to open only the apertures located in the direction of the sun. The room is controlled to create an interior condition that represents the weather of the moment using a program for analyzing live data released by the Japan Meteorological Agency.

The work fulfills Huang’s childhood dream of having a robot dance partner and required development from scratch.  After learning the mechanics of the industrial KUKA robot, he conceptualized the movements and programmed the machine to create the partner he wanted.   He says of the experience, “Dancing face to face with a robot is like looking at my own face in a mirror… I think I have found the key to spin human emotions into robots.” It was developed into a full-length piece with two additional dancers as part of 3-Legged Dog Art & Technology Center‘s Artist Residency program and their 3LD/3D+ program.

Pan, Tilt and Zoom
Three motorized CCTV dome cameras are installed on the gallery floor. The built-in auto-tracking function makes the cameras follow any motion in the room. While moving its lens the center of the weight of the device shifts and the whole camera starts to roll on the floor. As a result the software is confronted with even more motion which needs to be tracked. From time to time the cameras bump into each other or start to follow and trigger each other movements.

infinite posture dataset

She moves by endlessly morphing to the rhythm of the device – strapped in the frame of the screen – following or giving instructions; part human, part machine. The design of the device is inspired by a gadget to cheat the step-counter on your smartphone. Technology tricked by technology. Her movements, caught within a motion capture like tight suit deconstructing her body parts, talk of complex and conflicting emotions, but her face, from which we usually read how someone is feeling, is hidden. But is the machine that is observing her deconstructed and re-sequenced postures actually capable of recognizing what the body is communicating? Are we?

Biomimicry
For the ‘Biomimicry’ film, Iris van Herpen and Dutch National Ballet explore the symbiotic relationship between the metamorphic force in which fashion and dance interlace. The film, directed by Ryan McDaniels, sees the mesmeric dancer JingJing Mao undulating into liquescent shapes and transcending into graceful figures that reflect her myriad of movements. The concept of the creation stems from the notion of biomimicry — the design and production of materials and systems that are modelled on biological processes. In line with Iris van Herpen’s continuous pursuit to materialise the invisible forces that structure the world, the film focusses on the bond between humanity and nature.

Future Dance of Nostalgia
Future Dance of Nostalgia is a dancing game which invites audience to perform the choreography that extracts and abstracts the movements found in the pre-industrial, heavy physical labour, and work songs. Motion tracking technology allows the body movements to be quantified, measured, and evaluated. Historical archives of work songs provide the inspiration for the music that renders the old tales and melodies into clubbing beats that lead the dance.

19Returning the Gaze
‘Returning the Gaze’ is an cyber-physical robotic installation by Behnaz Farahi supported by Universal Robots for ANNAKIKI’s Milan Fashion Week. ‘Returning the Gaze’ is an exploration of this scenario. In the center, a female model wears a spacesuit-like outfit and a headpiece fitted with two tiny cameras. The cameras track and capture the movements of the model’s eyes, and enlarging and displaying them on four monitors mounted moving around on robotic arms glaring back at the observers. The gaze of the model is thereby directed back at the viewer, extended and enhanced through cyborgian technologies.

أوسكار شليمر
奥斯卡·施莱默
אוסקר שלמר
オスカー·シュレンマー
오스카 슐 렘머
Оскар Шлеммер
Triadic Ballet
1-Margarete Hastings, Franz Schömbs, Georg Verden
1970
2-Super 16mm colour film, directed by Helmut Ammann.
Oskar Schlemmer saw the human body as a new artistic medium. He saw ballet and pantomimes as being free from the historical baggage of theater and opera and, therefore, capable of presenting his ideas of choreographed geometry, the man as a dancer, transformed by his costumes, moving in space. He saw the puppet and puppet movement as superior to that of the human, as this emphasized that the average of all art is artificial. This device could be expressed through stylized movements and the abstraction of the human body. Schlemmer saw the modern world being guided by two main currents, the mechanized (man as a machine and body as a mechanism) and the primordial impulse (the depths of creative urgency). He claimed that choreographed geometry offered a synthesis; the Dionysian and emotional origins of dance become rigid and Apollonian in its final form.
3-Bayerisches Junior Ballet München

高谷史郎
史郎の高谷
La chambre claire
La Chambre Claire (or Camera Lucida) is a show built up from precise, symmetrical movements, inviting spectators to embark on a thought-provoking journey into their most intimate and personal territory. In this, his first solo work as creative artist and director, Shiro Takatani pays homage to the French writer Roland Barthes and his essay on photography, La chambre claire (1980). The result is a performance that blends theatre, the art of movement and installation to compose a great fresco full of subtle, elegant minimalist images that advance towards an aesthetic climax. Reflecting on photography and memory, the production invites us to embark upon an intimate, solitary journey to look inside ourselves and formulate a personal interpretation of what we see.
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La Chambre Claire (oder Camera Lucida) ist eine Show, die aus präzisen, symmetrischen Bewegungen aufgebaut ist und die Zuschauer zu einer zum Nachdenken anregenden Reise in ihr intimstes und persönlichstes Gebiet einlädt. In seiner ersten Soloarbeit als kreativer Künstler und Regisseur huldigt Shiro Takatani dem französischen Schriftsteller Roland Barthes und seinem Aufsatz über Fotografie, La chambre claire (1980). Das Ergebnis ist eine Performance, die Theater, Bewegungskunst und Installation miteinander verbindet, um ein großartiges Fresko voller subtiler, eleganter minimalistischer Bilder zu komponieren, die sich einem ästhetischen Höhepunkt nähern. Die Produktion reflektiert Fotografie und Erinnerung und lädt uns ein, eine intime, einsame Reise zu unternehmen, um in uns selbst zu schauen und eine persönliche Interpretation dessen zu formulieren, was wir sehen.
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La Chambre Claire（またはCamera Lucida）は、正確で対称的な動きから構築されたショーであり、観客を招待して、最も親密で個人的な領域への示唆に富む旅に出ます。この中で、クリエイティブアーティスト兼ディレクターとしての彼の最初のソロ作品である高谷史郎は、フランスの作家ロラン・バルトと彼の写真に関するエッセイ、ラ・シャンブル・クレア（1980）に敬意を表しています。その結果、劇場、動きの芸術、インスタレーションを融合させて、美的クライマックスに向けて前進する繊細でエレガントなミニマリストのイメージに満ちた素晴らしいフレスコ画を構成するパフォーマンスが生まれました。写真と記憶を反映して、この作品は私たちを親密で孤独な旅に乗り出し、自分自身の内部を見て、私たちが見ているものの個人的な解釈を定式化するように誘います。

StickMan
StickMan is a minimal but full-body exoskeleton that algorithmically actuates the artist with 6 degrees-of-freedom. It is a gesture generating system capable of 64 possible combinations. Sensors on StickMan generate sounds that augment the pneumatic noise and register the limb movements. A ring of 6 speakers directs and circulates the sounds.

Squint
file festival
I was inspired by how the sunlight bounces around in our artificial forest.
“Squint” is a kinetic light installation consisting of 49 mirrors that reflect lights in a bright space. The mirrors track and reflect lights on audiences’ face with composed patterns of movements. It extends the generated perception by focusing on how lights pass across our visual senses physically, and combines with our perception of images through flickering. “Squint”, which extracts various daily experiences to an abstraction brings the audience to expand their interpretation of lights and perceived imagination into a non-linear experience.
“Squint” simulates light source and intentionally shines lights on audience’s faces. Bright light is projected in the gallery, a clean bright space.
Everyday people are dynamically moving around in the city. Sunlight reflects and flickers even when it is indirect and hidden behind the artifacts. While we are traveling, we are experiencing motion. We are also experiencing the shift of light intensity, visual patterns and textures. The varieties of light forms inspire the artist to explore the potential of light textures, select and sort out the combined complexity in urban space. The artist turns them into a minimal form of light experience, while maximizing its diversity of perception.

カロリナ・ソアベッカ
Каролина Собечка
Wildlife
FILE FESTIVAL

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.

“Entropy Wrangler,” Ian Cheng’s 2013 exhibition at Off Vendome in Dusseldorf, was an excellent introduction to the logic behind this artist’s practice. The centerpiece was a large projection in the gallery’s basement described as “a live computer simulation that changes and evolves, forever.” Like all of Cheng’s simulations, it was programmed with motion capture techniques that register the physical movements of performers that are then translated onto digital bodies. These bodies coexist as individual entities subject to the laws and dynamics of a causal, virtual world: avatars of people and common objects, like hammers and basketball players, rendered in basic three-dimensional form and caught in the zero gravity of the digital screen

Glitch Robot
The Installation consists of several robotic actors. When the actors make contact with their instruments, they produce a sonic impression of an omnipresent texture of modern life: electronic music. The music robots used in this performance consists of recycled and 3D-printed parts such as harddisks, relays, tongues, motors and solenoids. Glitch Robot connects mechanical, visible movements to audible sound by using small sound-producing robots. Thus, the installation highlights the origin of the sound in a way no conventional medium of electronic music production is able to. Typically, electronic music eliminates the haptic aspect of sound-generation, creating a void in understanding of how sound, and thus music, is mechanically created.

Linie II
One second of white rope is traveling through time and space. The white rope is moving at a constant pace along the contours of an imaginary shape, traversing the whole space in several directions and angles. For following that second in the vast space, it requires the viewer to look up while moving his whole head. While passing through long distances as a straight line, it appears to be slow and content. Other passages require quick shifts of direction and the perception changes to fast and sudden movements.

La trahison des tapis
The title is a reference to the famous work by René Magritte “The Treachery of Images”. Even though the video installation alludes to it, the viewer is immediately aware that this is not a real carpet. What you see is an animation, a digital carpet, its contemporary variant. However, the patterns of the replica show that it could have been made in the west of Iran. The movements, which appear surreal, are reminiscent of a state of intoxication. Whether this was triggered by drugs, or only arose from the lively imagination of a tired child, is left to the speculation of the viewer. The work reflects the importance of traditional arts and crafts in the modern digital world. It is the first of a series of digital carpets.
The animation has a realistic resolution of 4k, is 03:55 minutes, and runs in an infinite loop on a 65-inch display.

Machine Tree
Machine with Tree is a kinetic sculpture combining dead trees with metal machinery. It is designed to use the object’s center of gravity to achieve a movement where the tree appears to float in midair. In Machine with Tree, a dead tree is placed at the end of a long, sharp rod on the machine. The tree slowly moves back and forth with the machine’s movements, as though floating in midair. Through its creation of artificial, bizarre movements controlled by machinery, it illustrates a melancholy contemplation of the strange and contradictory things woven together by our reality.

IN MEMORIAM
Joachim Sauter

1959-2021

R.I.P

ART+COM Studios

MOBILITY
THE INSTALLATION SPANS A CORRIDOR OF 7-METRES WIDTH. ON THE LEFT WALL ONE HUNDRED PROSTHETIC HANDS ARRANGED IN A MATRIX REVOLVE AROUND THEIR OWN VERTICAL AXIS, THE MOVEMENTS BEING CONTROLLED BY MOTORS. THE MIRRORS THEY HOLD REFLECT THE BEAM OF A STRONG LIGHT ACROSS THE SPACE AND ONTO THE OPPOSITE WALL. WHAT INITIALLY SEEMS LIKE AN ASYNCHRONOUS, CHAOTIC PATTERN OF MOVEMENT SOON REVEALS ITSELF AS A COMPLEX, COMPUTATIONAL
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流动性
该安装跨越了7米宽的走廊。在左墙上，排列成矩阵的一百个假肢手绕其自身的垂直轴旋转，其运动由电动机控制。他们持有的镜子将强光光束反射穿过整个空间并射向对面的墙壁。最初看起来像是一个异步的，混乱的运动模式，很快就显示出一种复杂的计算编排：首先，一百个光点围绕一个中心点移动，类似于行星的天体动力学或昆虫群的飞行模式。并创造出三维空间的印象。然后突然之间，这种有机振动会聚成一个表示运动和动作的汉字。

The willful marionette
the willful marionette (2014) was created by artists Lilla LoCurto and Bill Outcault during a residency with the University of North Carolina Charlotte, working with the College of Computing and Informatics as well as the College of Art and Architecture. The marionette is 3d printed from the scanned image of a human figure and responds engagingly in real time to spontaneous human gestures by reading a viewer’s movements and expressions. Its strings are manipulated by motors and software and there are two depth sensors that read and analyze the behaviors and gestures of participants. The puppet’s subsequent actions are designed to elicit further responses, creating an exchange focusing on the frailty and insecurities of the human participant and raising issues of contemporary relevance. The intention of the project was not to create so much a perfectly functioning robot but rather to imbue an obviously mechanically actuated marionette with the ability to solicit a physical and emotional dialog with a viewer.

光
光正在使用高精度激光在屏幕上绘制连续的抽象形状，并与声音完美同步。强烈的光线与完全的黑暗形成对比，缓慢的动作和微小细节的演化与强而有力的手势一样重要。结果既是古朴的又是未来主义的。新兴的模式为许多可能的解释留出了空间。象形文字，一种未知语言的符号，建筑图纸，数据点之间的连接或类似Tron的早期视频游戏放大了1000倍。

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Light

Light is using high-precision lasers to draw continuous abstract shapes on the screen, perfectly synchronized with the sound. Intense light contrasts with total darkness, and slow movements and the evolution of small details are as important as strong gestures. The result is both quaint and futuristic. Emerging models leave room for many possible explanations. Hieroglyphs, symbols in an unknown language, architectural drawings, connections between data points, or early video games like Tron are magnified 1,000 times.

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Lumière

La lumière utilise des lasers de haute précision pour dessiner des formes abstraites continues sur l’écran, parfaitement synchronisées avec le son. La lumière forte contraste avec l’obscurité totale, le ralenti et l’évolution des petits détails sont aussi importants que les gestes forts. Le résultat est à la fois pittoresque et futuriste. Les modèles émergents laissent place à de nombreuses explications possibles. Les hiéroglyphes, les symboles dans une langue inconnue, les dessins d’architecture, les connexions entre les points de données ou les premiers jeux vidéo comme Tron sont agrandis 1 000 fois.

Akemi Takeya
Granular Synthesis
“From a few expressions on the face of the performer Akemi Takeya to a frenzied exploration of the alter ego, any known context of meaning ends in the dissolved movements, is stalled in denaturalized redundancy, in machine pain. The semantic void is too loud to be amenable to meditative reception. The frontal images, the rhythmic structures generate contradictory emotions and great strain.”

LED Eyelash
The LED Eyelash project is brought into the world from a simple question: Why do women want larger and bigger eyes? Asian women tend to have stronger needs for bigger eyes as a standard of beauty, but relatively few of them are born with naturally big eyes. Those without big eyes can only look for alternative ways to make their eyes look prettier, i.e., larger, by using a repertoire of skills such as putting on makeup and wearing jewelry. Sometimes, the desires for bigger eyes can become almost obsessive, and many women opt for plastic surgery in order to make their dream come true. Soomi calls this, the fetish of Big Eyes. LED Eyelash is a clever product that speaks to many women’s desire for bigger eyes. It features a sensor to turn on and/or off. The sensor can perceive the movements of the pupil in the eyes and eyelids. If you wear it and move your head, LED Eyelash will flicker following your movements. It is as simple to use as wearing false eyelashes and as easy to remove as taking off a piece of jewelry.

Intuit
The movements of one individual effect the balance of the piece so greatly that the other person must move to balance the sculpture. ‘Our bodies are constantly adapting and bending to the configurations of buildings and the designs of transportation. In recent drawings, urban blueprints fuse with human anatomical representation… I emphasize on the ideas of flexibility and lightness. The machines I build serve to express the elegance of a gesture, a finite moment of equilibrium.’ Eve Bailey

Fanscreen
Fanscreen is comprised of several panels made up of computer fans which are linked together to form a larger ‘screen’. These screens are arranged side-by-side in a large circle that the viewer can enter. Each fan is programmed independently, creating an effect that mimics individual “pixels” on a larger screen. Moving in synchronicity, the programmed fans produce a kind of “film” of various abstract movements.

Orbiting
Orbiting features floating, machine-generated sculptures. The 3-D-printed objects — made from an ultra-light material — are injected with helium and released into the air as they become buoyant. As the ascending sculptures rise toward the ceiling, they enter the flow of a thermal stream and begin their gentle orbit. While floating, these ethereal objects participate in a continuously changing series of celestial movements.

The Last Supper Alive
File Festival
A six minute video installation that brings to life the famous late 16th century work by Leonardo Da Vinci. The slight movements of the figures enhance the choral nature of the Last Supper, with a very measured and meticulous direction that overcomes the fixity of the painting adorning the wall of the refectory of the Convent of Santa Maria delle Grazie in Milan, bringing it back to life and providing it with a new spatial context.

WIDE/SIDE
WIDE/SIDE is an interactive installation in which shapes, images, and sounds are joined and interdependent. A visually engaging block, captivating in its monochromatic conception and minimalist lines, serves as a projection screen and teems with conglomerations of lines and shapes. As a result the installation is always changing and acquiring countless different forms.
The individual forms of the projections in reality are based on the surrounding environment, responding to the movements and gestures of the viewers. Visitors and passersby therefore themselves become part of the work and define its appearance.

Love Disorder
​Love Disorder is a one-room interactive environment, in which a video character talks to visitors and responds emotionally to their movements in the space. When you enter, you see a twelve-foot-high face on a video screen at the far end of the room. The face says: “I’ve been waiting for you” – or one of several other greetings. He’ll continue talking to you if you don’t move, but the emotional tone of what he says will change as you step closer to the screen – or turn away. This manipulative character uses a gamut of emotional ploys to stimulate your movement within the space. He knows if you’re coming or going, and the range of his response is varied and complex enough that most people find themselves interacting, as if directly addressed.
video

Spectra-3
The piece is the latest instalment of their ongoing Spectra series, a merging of physical and virtual sculptures that take inspiration from space, technology, and our relationships to them, to provide elegant and sensory experiences using sound, light, and reflection. Spectra-3’s design and movement is inspired by the radio telescopes of the Very Large Array (VLA) located on the Plains of San Agustin in New Mexico. The piece combines computer-aided design with real-time input from the public’s movements, to inform its physical actions as it rotates on motors, augmenting the space with the enchanting hues and patterns of reflected light and spatialized sound.

Face IT
The interactive installation FACE IT displays and exposes local people in a communicative setting where they are able to interact with faces of themselves or of other participants and at the same time become creative players and the stars of the artwork. This interactive situation not only creates a strong interplay between facial expressions and body movements, it also enhances these expressions and in the very best moments it creates a unique nonverbal language.

Stasis in Flux
“Stasis in Flux is an experimentation of animation’s potential to mimic the real. I began by building a functional zoetrope within 3D space to test if persistence of vision is replicated accurately. From this experiment I realized 3D animations potential to go beyond the physical limits of the real, allowing me to coordinate movements between both the camera and the zoetrope to replicate much more advanced cinematic techniques. The result is a carefully choreographed animation that represents the ebb and flow of the creative process.” Joe Hambleton

Animistic Imagery
The exhibit introduces visitors to Duffy, the AI Artist, with an invitation to collaborate inside her Symbiotic Studio. This immersive space, made possible through projection mapping and interactive technology, invites guests to become the AI’s muse. As Duffy captures movements generated by visitors through real-time tracking, she draws links and connections, consulting a vast collection of colors and archetypal images of life on Earth. The result is an infinite series of surprising works of art—an artificial interpretation of humanity and the natural world.

One Two Three Swing!
One Two Three Swing! challenges society’s apathy towards the political, environmental and economic crises of our age. The installation is experienced in three states: apathy, production and movement. The state of apathy compromises a large pendulum suspended by a 20 metre cable from ceiling and swinging above a 770 square metre carpet in a colour scheme inspired by British currency. Occupying the far end of the hall is the state of production, a factory station where swing seats are assembled, stamped and stored prior to distribution and use. Emerging from the state of production, an orange line formed of sets of interconnected, three-seated swings invite and frame the movements of users.

Nadi Generative Art
Nadi is a Digital display of Kinetics and Energetics of Body Movements involved in Yoga. The visuals are created by investigating the flow of data, using the human body as a vehicle. With the support of computer vision technologies, a visual trail is formed by tracking the body movements during yogic postures. Inspired from Indian Yogic Science, we have visually depicted aspects of light, matter and energy in our forms. The generative nature of the visual comes from the digital juxtaposition of the poses that the body generates with each pose.

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.

EXO-BIOTE
The Exo-biote project aims to invent a typology of possible forms and movements by diverting “soft robotics” technologies. The installation features moving sculpture-objects. These hybrid objects swell with air and seem to be alive, to breathe. These components are part of a whole, they belong to the same body, one whose humours and pulsing organs we can observe. A spasmodic choreography leads the viewer on an inner journey, into the meanders of one of those absurd reasoning processes that logicians calls “apagogies” by proposing hypothetical prostheses for the consumer market. It is as if the objects presented here were commodities, objects ready to use, mass-produced surrogate organs.

digital sculptures

Motion sculptures for CCTV Documentary Channel is a digital metaphor of phenomenal blinks and moments that life consists of. A visual performance of organic and vital substance, animated using data of actors movements. Dents visualize four different themes. Motion sculpture of steel reflects old Chinese adage that true power is mastering yourself. Youthful energy of dancers evolve into beautiful organic sculpture.

Synchrometrics

Can we design future memories for the body?
Is the body itself the apparatus for remembering cultural processes?Prospectus For a Future Body proposes new perspectives on how the body remembers and invents technological narratives. Central to the project is the study of body movement in dance: How it can evolve, adapt or re-condition to possible futures?Eternal Summer Storm explores the concept of muscle memory transfer as an alternative form of interactive cultural continuities. This concept prototype speculates on a future digital library of body movements or dance techniques that can be experienced beyond the audio-visual conventions. Eternal Summer Storm attempts to recreate legendary Japanese dancer Tatsumi Hijikata’s Butoh dance choreography and experience in ‘A Summer Storm’ (1973) from archival footages.Bionic Movement Research is a collection of experiments on the process of designing digital muscle memory for the body. Inspired by Luigi Galvani discovery (1780) of animal electricity in the human body, these experiments appropriate the techniques of electrical nerve stimulation to choreograph artificial muscle contraction and body movement.

Kissing Data Symphony
Intimacy Data Symphony is a poetic ritual for intimate experience of Kissing and Caressing each other faces, multi-sensory and socially shared in public space of merging realities. In live experiments with Multi-Brain BCI E.E.G. head-sets, visitors are invited as Kissers (or Caressers) and Spectators. Brain activity of people kissing and caressing is measured and visualized in streaming E.E.G. data, real-time circling around them in a floor projection. Simultaneously, the Spectators brain waves are measured, their neurons mirroring activity of intimate kissing and caressing movements, resonating in their imagination. The Spectators brain activity data are interwoven in the data-visualization. Brain activity of all participants, mirroring each others emotional expressions and movements, in interpersonal and aesthetic ways, co-create an immersive visual, Reflexive Datascape.

Марк Хансен и Бен Рубин
마르크 한센과 벤 루빈
Listening Post

Listening Post is an art installation by Mark Hansen and Ben Rubin that culls text fragments in real time from thousands of unrestricted Internet chat rooms, bulletin boards and other public forums. The texts are read (or sung) by a voice synthesizer, and simultaneously displayed across a suspended grid of more than two hundred small electronic screens.Listening Post cycles through a series of six movements, each a different arrangement of visual, aural, and musical elements, each with it’s own data processing logic.Dissociating the communication from its conventional on-screen presence, Listening Post is a visual and sonic response to the content, magnitude, and immediacy of virtual communication.

Self-contained II
A neural network, trained to see the world as variations of the artist’s body, enacts a process of algorithmic interpretation that contends with a body as a subject of multiplicity. After training on over 30,000 images of the artist, this neural network synthesizes surreal humanoid figures unconstrained by physics, biology and time; figures that are simultaneously one and many. The choice of costumes and the movements performed by the artist to generate the training images were specifically formulated to optimize the legibility of the artist within this computational system. self-contained explores the algorithmic shaping of our bodies, attempting to answer the question: how does one represent themselves in a data set? Building on the first iteration of the series, the synthetic figures in self-contained II proliferate to the point of literally exploding. Through the arc of self-contained II, this body that grows, multiples, and dissolves never ceases to be more than a single body.

山海塾

butoh

TOBARI

“Over the 90 minute performance, I feel no less than transported. There are eight male performers, including Ushio Amagatsu himself. The dancers often move slowly, with incredible muscular control, fluidity and elegance. And suddenly the spell will be broken and they’ll run across the stage, their painted bodies leaving clouds of white powder hanging in the air like a shadow or ghost. Slow sustained movements are countered with tiny, minute gestures of the fingers. Hands are often gnarled, the joints contorted with incredible tension. It is mysterious, hypnotic and strange. The countenance of the performers is most arresting – behind the white paint, their faces reveal the fragility, humility, vulnerability and truth of their humanity.”Day Helesic

I / II / III / IIII

In I/II/III/IIII, choreographer and visual artist Kris Verdonck transforms the stage into a life-size dollhouse. Four female ICK-dancers – not unlike marionettes – are floating in mid-air, suspended from a huge machine. A solo, a duet, a trio and a quartet follow one another in this choreography of identical movements. A game of surrendering to the machine and at the same time, searching for control. The images evoked by I/II/III/IIII are confusing and ambiguous: the dancers almost look like graceful, fragile swans … but they also remind us of animal carcasses being dragged along, floating angels, falling human bodies and everything in between.

克劳斯奥伯迈尔
the concept of … (here and now)

In front of a giant screen, two dancers interact with a cohort of cameras… Their movements are captured by infra-red sensors and projected onto the screen, whereby their bodies become the canvas on which new images take shape. The result is a shifting kaleidoscope of strange, living, quasi-mathematical visual worlds which sometimes seem to be emanating or even escaping from the dancers’ bodies. “Who decides which movement to make: the man or the machine?” Blurring the line between the real and the virtual, Klaus Obermaier loves to subsume his performers’ bodies and physicality in a disconcerting digital universe. With his latest creation, the choreographer/artist has taken a bold new step. He has constructed a system of projectors and infra-red sensor-cameras, trained upon the movements of two dancers. The performers thus find themselves thrown headlong into a living, moving graphical universe: their movements are projected onto the screen, but at the same time their bodies are illuminated by more projected images. This is a true artistic performance, pushing well beyond the frontiers of a standard dance recital, or even a contemporary dance show. A corporeal, temporal performance. A choreography which makes subtle use of its raw materials, deftly combining lights, video, perspectives and the real-time power of bodily movement.

Lexus Interconnection
There are forces in nature that are beyond the control of mankind. We have learned how fragile we are in the face of such forces. However, we have also learned the importance of accepting nature and learning to live in harmony with it. Interconnected and interdependent, there is a constant give-and-take in nature. Life does not rest. Our collective motion, nature’s response to our movements is essential to our planet’s delicate balance. When we are one with nature, we are at our most powerful. Our movement together gives us life. Our movement forward creates the next generation of ideas. Life is always more amazing in motion.