Entwurf
Blueprint umfasst die Beziehung und Parallelen zwischen Kunst und Wissenschaft und schafft Kompositionen durch die mathematischen Prinzipien der Logik, die das Leben stützen. UVA untersucht Analogien zwischen DNA und Computercode und hat die Blueprint-Serie entwickelt. Arbeiten, die Genetik und Code als Blaupausen künstlicher und natürlicher Systeme verbinden. Da sich die Arbeit im Laufe der Zeit langsam ändert, schwanken die Muster zwischen verschiedenen Komplexitätsgraden. Blueprint verwendet die Grundkonzepte der Evolution, um ein sich ständig veränderndes Bild zu erstellen. Während Zellen ihre Gene buchstäblich auf ihre angrenzenden anderen übertragen, fließt Farbe wie Farbe über die Leinwand. Blueprint erstellt jede Minute eine einzigartige farbenfrohe Komposition und präsentiert das unbegrenzte Ergebnis, das sich aus einem einzigen Algorithmus ergibt. ein einziges Regelwerk.

Tolles Tierorchester
Die Fondation Cartier lud United Visual Artists ein, an der Ausstellung The Great Animal Orchestra mitzuarbeiten, in der die Arbeit des Musikers, Bioakustikers und Wissenschaftlers Bernie Krause gefeiert wird. Krause zeichnet seit 45 Jahren Tiere auf und hat eine Sammlung von mehr als 5.000 Stunden Klängen von über 15.000 einzelnen Arten in ihren natürlichen Lebensräumen aus aller Welt zusammengetragen. Der kreative Ansatz von UVA verband die verschiedenen Elemente des Ausstellungsinhalts im gesamten Kellerraum – Klanglandschaften, Spektrogramme und Kunstwerke – zu einer zusammenhängenden, eindringlichen Erfahrung, die Krauses Aufnahmen dreidimensionalisiert und Szenen aus der Natur vorschlägt. Die Spektrogramme bilden eine abstrakte Landschaft, eine Interpretation der verschiedenen globalen Orte und Tageszeiten, zu denen Krause die Originalaufnahmen auf eine Weise gemacht hat, die das Publikum einhüllt und es ermutigt, im Raum zu verweilen.

Chronos XXI
Chronos the god of time, permanently destroys and recreates. He who symbolises evanescence and return, was the thematic point of departure for the creation of the kinetic media installation Chronos XXI. The piece is a ‘finger exercise on antiquity’ by our Creative Director Joachim Sauter and was created during his residency at Villa Massimo in Rome. A pendulum continuously swings in front of a monitor. This motion controls the slow synthesis and destruction of depictions of Chronos on the monitor. Chronos appears in various interpretations by painters of the late Renaissance, Baroque and Classicism – as a man who disrobes Veritas, as a performer of volatile music, or docking Cupid’s wings, or as children and crop eating, a scythe and an hour glass carrying, beardy and winged old man.
video

1.78 madrid
Per festeggiare i 400 anni di storia di Plaza Mayor nella capitale spagnola è comparsa, dal 9 al 19 febbraio 2018, un’opera dell’artista Janet Echelman (1966, Tampa, Florida). Il risultato è stato straordinario: un’opera d’arte, sospesa nel cielo, il cui titolo è 1.78. 1.78, è il tempo in microsecondi che, secondo gli scienziati della Nasa, rappresentano il tempo trascorso il giorno del terremoto del Giappone nel 2011, un evento sismico così potente da mutare gli equilibri terrestri accelerando la rotazione del pianeta.

FLORA
L’animation dans FLORA est générée par des ondes sinusoïdales superposées qui traversent une chaîne de lignes. Ce principe d’onde apparaît souvent dans la nature lorsque l’énergie est transmise à travers un milieu comme l’eau, l’air ou simplement une corde. Elle peut également être observée dans la locomotion des animaux et des êtres humains, dans laquelle l’énergie cinétique est transmise successivement par les articulations.
L’algorithme FLORA de est basé sur la découverte qu’un simple système de lignes rotatives peut créer des variations infinies de formes abstraites – allant des lignes courbes harmonieuses aux motifs énervés et chaotiques. L’esthétique qui en résulte associe une précision de calcul à un aspect ludique organique et a tendance à déclencher diverses associations dans l’esprit du spectateur.

FILE FESTIVAL

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“O impossivel”

They touch. They bite. They get warm. They penetrate. They are made. They get rid of. They stick their tongues in. They put the body in. They get body. They split up. They exist.
They want to be one. It is impossible (“O impossivel”). Which means that a single body, as you would like, is impossible. It can not. For a moment yes, for a moment they can. But no, they can’t. Impossible. They cannot be one. Despite the bites. Their bodies are different. They were born and will die self-absorbed, in themselves. Between them there is an abyss, a discontinuity. But they want to be continuous, they want their bodies to be one body. Since they cannot, they celebrate the sacrifice of the meat. “Essentially,” says Georges Bataille, “the field of eroticism is the field of violence, the field of rape.” Isn’t it violent, perhaps, to want to break the discontinuity of the other closed in on itself? Isn’t it violent to force the discontinuity of the other to be a continuous whole with him? O impossível by the Brazilian Maria Martins (1894/1973) shows the excesses of sex (take note: excess, sex). Or impossível is the moment in which the organs swell with blood and gush sexuality. The moment when animality makes us gloriously human.

Public Epidemic Nº 1 (Bacterial Orchestra)
Олле и Любке
FILE FESTIVAL

“Bacterial Orchestra” (2006), a self-organizing evolutionary musical organism where each cell lives on an Apple iPhone (it can be ported to any mobile phone, but the iPhone was chosen because it’s popular and the centralized App Store makes it easy for the epidemic to spread). That way, hundreds of people can gather with their mobiles and together create a musical organism. It will evolve organically in the same way as “Bacterial Orchestra”, but it will also be much more infectious. The installation and the ideas behind it can be traced from different areas such as chaos theory, self-organizing systems and neural networks. The goal? A world wide sound pandemic, of course.

videomaton
File Festival

The initial idea was to engage audiences with the classical paintings. The installation tries to transform the classical portraits into memorable and playful experiences. In short, by looking into a mirror a face of participant is captured by the system. Next, the captured face travels into one of the classical portraits. Hence, the viewer is invited into the gallery in order to recognize him or herself in one of the paintings. In other words, the art piece replaces the original painted faces by the faces of the audience. To be more specific, the authors have created an original face-morphing that integrates itself into the well-know portraits, like Meninas by Goya. To put in a nutshell, the common experience of modern art is replaced by a novel, playful and enjoyable encounter. The installation creates a framework of expression where audience spontaneously and freely interact in front of a mirror knowing that they are recorded. The results are experience by all audience in the gallery. The project was produced in 2011 as a commission of interactive art project for the new City Council of Madrid curated by Chema Conesa. “Videomaton” was presented in the opening of new City Council of Madrid located in the Cibeles square. The installation was exhibited for a year in the institution. The aim of the exhibit was displaying the famous art pieces of Madrid museums in a novel way.

Blob Alien Mouth

FILE 2024 | Interator – Sound Synthetics
International Electronic Language Festival
Luigi Novellino (aka PintoCreation) – Blob Alien Mouth – Italy

The journey begins with Deforum, using the Automatic1111 interface to create basic images with the StableDiffusion XL, EndjourneyXL, and Lora XLFullArt templates. The video undergoes a transformation using the Absolute Reality model and Lora Aurora style, guided by the IPAdapter node and refined by QrCode Controlnet.

Bio

Fascinated by the limitless domain of AI, Luigi Novellino adopts the title syntographer, a term that resonates deeply within the community. The artist often asks himself: “am I an artist?” Art, in his view, defies rigid definitions or limits; it represents a fluid expression of creativity that transcends labels. The artist’s ultimate goal is to awaken something in the viewer, provoking thoughts and evoking emotions.

Credits

Music: Oleh Boretskyi

Elements
Elements is an experimental art film by Maxim Zhestkov about nature, physics, art and love. More than 2 billion elements / particles governed by tensions and forces of nature were used to tell stories and show emotions through the motion of collective behavior.
The film is a trial to explore the idea that everything around us and inside us is made from simple elements / blocks which can be arranged in complex relationships and become compound structures. We could project this idea into emotions, behaviours, thought processes, relationships, life, planets and the 23.

O’Neill cylinder

O’Neill was inspired by the papers written by his students. He began to work out the details of a program to build self-supporting space habitats in free space.Among the details was how to provide the inhabitants of a space colony with an Earth-like environment. His students had designed giant pressurized structures, spun up to approximate Earth gravity by centrifugal force . With the population of the colony living on the inner surface of a sphere or cylinder, these structures resembled “inside-out planets”. He found that pairing counter-rotating cylinders would eliminate the need to spin them using rockets.This configuration has since been known as the O’Neill cylinder.

Mäander
Meander ist eine großflächige immersive Testumgebung, die in einem historischen Lagergebäude im Zentrum einer Wohnhochhaussiedlung in Cambridge, Ontario, errichtet wurde. Die Netzgerüste, aus denen das Testfeld besteht, sind als eine Reihe von Arten innerhalb eines künstlichen Ökosystems organisiert, die sich sanft biegen und auf die Bewegung der Betrachter reagieren. Ähnlich wie in natürlichen Umgebungen wie Flüssen und Wolken leiten große Gruppen von Teilen physikalische Impulse und Datensignale hin und her, sodass die gesamte Umgebung als zusammenhängendes Ganzes arbeiten kann. Die Innovationen in Meander schlagen Wege vor, um adaptive, sensible Gebäude der Zukunft zu schaffen.

50Myconnect

Myconnect “offers the experience of a symbiosis of connection between humans, nature and technology. The spectator becomes an actor by lying in a capsule, equipped with a helmet and body sensors measuring the variations in his rhythm This data is modulated and transmitted to a closed universe of mycelium culture (white mushroom) to produce alterations using electrical resistance. These variations in turn generate signals, sent back to the person in the form of vibration, sound and light. Each cycle can be different depending on whether the experience is stimulating or calming. This type of perceptual exchange enabled by technology reveals how much the human being is an integral part of the complex network that links him to his environment.

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
Боб Уилсон
SHAKESPEAR`S SONETTES
Staging Shakespeare, not dramatic but lyrical: that was the intention of the American director Bob Wilson in Sonnets de Shakespeares (Sonnets de Shakespeare), a show on display at the Berliner Ensemble. To that end, Wilson is associated with American-Canadian composer and musician Rufus Wainwright. The result is a variety night, with reference to all genres of entertainment, from the commedia dell’arte to television sketches, passing through the cabaret. If in the Elizabethan era female roles were played by men, Bob Wilson did the same, creating this reverse practice: actresses play male roles. This inversion – Queen Elizabeth 1st, on her throne, declaiming a sonnet with a deep voice and Shakespeare himself, as a young man and an elder, in female voices – further intensifies the farcical tone of the show. So much so that even the sporadic number of transvestite actor Georgette Dee, microphone in hand, does not disagree much of the Shakespearean surroundings.

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.

In Search of Petra Genetrix

Petra Genetrix, the protagonist of the series Porosity Valley, is a migrant, mineral, and data cluster. In this lecture performance, the artist traces the origin of Petra Genetrix who constantly crosses borders, gender boundaries, and the concept of existence and nonexistence and creates her own hyperbolic mythology. While utilizing audio and video excerpts from her existing works, Ayoung Kim uses her own voice to create a verbal narrative exploring those agents who cross boundaries. By doing so, she continues to trace multifaceted crystal faces of Petra Genetrix, who is fundamentally porous and ambiguous.

The Heart Chamber Orchestra
File Festival – Hipersonica 

In the TERMINALBEACH Heart Chamber Orchestra (made up of artists Erich Berger and Peter Vatava), twelve musicians played pieces from the heartbeat, recorded by an electrocardiogram from data sent by sensors placed on their bodies. As the live score created in real time from the physical and emotional states of the musicians, their beats further influenced the resulting musical composition. In this way, the biological feedback loop becomes a self-generating, organic and evolving system, which creates a musical score and a show that adopts the form of open or network art, in which chance and interdependence, thus how emotional changes and computational reasoning create a biological and psychological dynamic at the same time.

Ai Beetles
THIS NEXT NATURE POST-CAMOUFLAGE AI BEETLE IS INVISIBLE FOR THE ELECTRONIC EYE. THE PATTERNS ARE GENERATED WITH NEURAL NETWORKS AND EVOLUTIONARY ALGORITHMS TO FOOL AND MISLEAD ARTIFICIAL INTELLIGENCE ENABLED SYSTEMS. MY AIM IS TO DEVELOP A CONTEMPORARY RAZZLE DAZZLE STYLE CAPABLE OF MESSING UP LABELLING AND METADATA SYSTEMS. IT LOOKS LIKE A BEETLE FOR US BUT IS SEEN AS E.G. A HONEYCOMB FOR AN AI.
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ZERO POINT TWO V2
NONOTAK est un projet de studio créatif fondé par l’ancienne artiste visuelle Noemi Schipfer et l’ancien architecte-musicien Takami Nakamoto qui a été conçu fin 2011. NONOTAK travaille avec des installations lumineuses et sonores et des pièces de performance pour créer des environnements éthérés, immersifs et oniriques qui sont construits pour envelopper , défie et stupéfie le spectateur en capitalisant sur l’approche de Nakamoto à l’espace, la lumière et le son et l’expérience de Schipfer avec des dessins visuels et géométriques cinétiques. Il en résulte un duo qui crée des pièces qui associent lumière, son et espace afin d’offrir au public une expérience visuelle et sensible unique.

The Gold Divide
“I visualized The Gold Divide as a transparent wall; a large surface representing emotion and energy. The piece was inspired by my experiences studying abroad in Amsterdam, time spent at Haystack Mountain School of Crafts and the community at Massachusetts College of Art and Design. It was a cumulation of observations and experiences—like riding my bike through the city of Boston and seeing vast construction netting wrapped around buildings. These large surfaces of material triggered my fascination for creating work at an enormous scale. I reflected on process, on how something is made, and was further intrigued by the challenge and symbolism of independently sewing four hundred yards of fabric on a single industrial sewing machine.” Leah Medin

SMSMS-SMS Mediated Sublime

CIMs-Collective Intelligence Machines

“In 2000, I began to connect some of these computers to the mobile phone network (SMSMS-SMS Mediated Sublime, and CIMs-Collective Intelligence Machines). This enabled me to make interactive and multiple installations, connecting various locations.
In this case the flow of images was made visible by large-scale video-projections and the members of the audience were able to modify their characteristics in real time, by sending new inputs to the system from their own phones. This was done in a similar way to certain applications used in electronic democracy. What I had in mind was art which was generative, interactive and public.”

Micro Macro
micro | macro trasforma il padiglione E del MuseumsQuartier in un enorme mondo di immagini e suoni in movimento. Nella sua installazione immersiva, l’artista multimediale Ryoji Ikeda crea un campo di immaginazione tra fisica quantistica, sperimentazione empirica e percezione umana. In collaborazione con scienziati nucleari del CERN, Ikeda ha tradotto complesse teorie fisiche in un’esperienza sensoriale. La scala di Planck viene utilizzata dagli scienziati per indicare lunghezze o intervalli di tempo estremamente ridotti. Concetti come spazio e tempo perdono il loro significato oltre questa scala e la fisica contemporanea deve fare affidamento su teorie speculative. E sull’arte. Visitatori di micro | macro entra in un mondo di dati, particelle, luce e suono che rende gli estremi dell’universo percettibili all’occhio e all’orecchio. Nel micro mondo penetriamo nelle più piccole dimensioni dell’irrappresentabile, mentre nel macro mondo decolliamo in distese cosmiche che ci permettono di sperimentare lo spazio infinito oltre l’universo osservabile. In questo vortice di dati, un fuoco d’artificio acustico e visivo colma il divario tra la comprensione teorica e la percezione sensuale.

Tout à chaque fois
La pièce présente un commentaire continu sur l’activité de la ville dans laquelle elle se situe. La «poésie», qui est créée par un algorithme qui sélectionne et réorganise au hasard les données collectées à partir d’un certain nombre de points spécifiques au site, et est publiée sur un site Web. Les Pis tirent la poésie du site Web sur 4G, puis transmettent les adresses de lettres via Ethernet aux arduinos, puis aux moteurs en utilisant le protocole réseau I2C. L’acte de ceci déclenche alors l’algorithme pour générer un nouveau poème.

Das isophon
Das Isophon ist im Wesentlichen ein Telekommunikationsgerät, das einen Dienst bereitstellt, der einfach als ein Treffen des Telefons und des Schwebetanks beschrieben werden kann.
Der Benutzer trägt einen Helm, der jegliche periphere sensorische Ablenkung ausschließt und gleichzeitig den Kopf über der Wasseroberfläche hält. Das Wasser wird auf Körpertemperatur erwärmt, wodurch die physischen Grenzen des Körpers des Benutzers verwischt werden. Das Schweben auf diese Weise befreit bis zu 90% der Arbeitsbelastung des Gehirns, die normalerweise mit der Berechnung der Schwerkraft verbunden ist. In Kombination wird ein Raum geschaffen, um eine reine, ablenkungsfreie Umgebung für das Telefonieren bereitzustellen. Noch vor ein paar Jahrzehnten war die Telefonzelle unser primäres Telekommunikationsmittel. Dies bietet im Wesentlichen einen kontextneutralen Raum für Ferngespräche. Das Betreten einer Telefonzelle bedeutet effektiv, dass alle anderen Aktivitäten eingestellt werden, sodass sich der Einzelne ausschließlich auf das Gespräch konzentrieren kann. Hier berücksichtigt der Designer nicht nur die Kommunikationstechnologie, sondern auch den Raum, in dem sie genutzt wird. Die zunehmende Nutzung von Mobiltelefonen hat jedoch dazu geführt, dass die Telekommunikation eher effizient als qualitativ praktiziert wird. Das Mobiltelefon dekontextualisiert die Konversation. Es extrahiert Gespräche aus einem bestimmten sozialen Kontext und bietet dem Benutzer die Freiheit, unabhängig von der Eignung aus praktisch jeder sozialen Situation zu kommunizieren. Es liegt in der Sensibilität und Diskretion des Benutzers, zu entscheiden, ob seine Umstände für die Kommunikation geeignet sind. Das Isophone versucht, dieses Ungleichgewicht zu beseitigen, indem es einen Raum bereitstellt, der ausschließlich der Telekommunikation gewidmet ist. Das Iso-Phone widerspricht dem Mainstream-Design und tauscht zeitgemäße Beschäftigung mit effizienten, allgegenwärtigen und multifunktionalen Produkten gegen Qualität und Tiefe eines einzigartigen Erlebnisses aus, das ein vollständiges Eintauchen in die Telekommunikationsmedien erfordert.

Acousmonium

Das Acousmonium ist das Schalldiffusionssystem, das 1974 von Francois Bayle entworfen und ursprünglich von der Groupe de Recherches Musicales im Maison de Radio France verwendet wurde. Es besteht aus 80 Lautsprechern unterschiedlicher Größe und Form und wurde für die Bandwiedergabe entwickelt. Wie Bayle 1993 in einer CD-Hülle schrieb, war es so Eine weitere Utopie, die dem reinen “Zuhören” gewidmet ist … als durchdringbarer “Projektionsbereich”, arrangiert im Hinblick auf das Eintauchen in den Klang, auf die räumliche Polyphonie, die artikuliert und gerichtet ist. Das Verteilen von Kompositionen aus elektroakustischer Musik oder Musique concrète über ein Acousmonium wird als Diffusion bezeichnet. Dies geschieht durch den Komponisten oder einen Interpreten, indem er die räumliche Verteilung und Lautstärke der Musik während der Wiedergabe steuert und anpasst.

CYBERDANCE

This net art by Ricardo Barreto and Paula Perissinotto offers us a split, fragmented, impossible dance, in a divided, multiplied space. Cyberdance consists of the combination and recombination of elements that represent the different parts of the human body. A mannequin was photographed as a model in different positions. These images were later converted to the animated form, allowing users to combine them in different ways, as well as link them to different dance terms, to the names of postures and positions of classical ballet. On a page divided into frames containing fragments of the mannequin, we can see his head, legs, torso and arms rotating, while allowing us to subdivide each frame by clicking on it, each frame composing an aberrant doll whose fragments dance, silently, independent one from the other. There is no music, no rhythm, no space. It is a digital dance, a dance in which time and space have become a platform.

Credo

A radio telescope scans the skys in search of signs of extraterrestrial life.
The received raw signals serve as input data for a neural network, which was trained on human theories and ideas of aliens. Now it tries desperately to apply this knowledge and to discover possible messages of other civilizations in the noise of the universe. Mysterious noises resound as the artificial intelligence penetrates deeper and deeper into the alien data, where it finally finds the ultimate proof.The sound installation revolves around one of the oldest questions of mankind – one that can never be disproved: Are we alone in the universe?

Threshold Release Ornament
MSHR is the art collective of Birch Cooper and Brenna Murphy. The duo collaboratively builds and explores systems composed of sound, light, sculpture, software and circuitry. Their practice is a self-transforming cybernetic entity with its outputs patched into its inputs, the resulting emergent form serving as its navigational system. These outputs primarily take the form of installations and performances that integrate interface design with generative systems and a distinctive formalist approach. MSHR’s name is a modular acronym, designed to hold varied ideas over time. MSHR emerged from the art collective Oregon Painting Society in 2011 in Portland, Oregon, USA.

N-01

The artist creates an unprecedented visuospatial system that transforms the historical museum and its viewers alike.Visitors are kindly invited to touch and move the black metal and glass elements of the artwork.The built environment is inhabited through an array of inputs and outputs. Our bodies set in motion invisible chains of cause and effect. Enter a room: lights turn on. Turn a handle:a door opens. This relay is modulated through system controllers, devices programmed to respond to moving bodies and aural commands. Buried within walls, floors and ceilings, building networks are a black box.

Дэвид Линч
ديفيد لينش
大卫·林奇
デビッドリンチ
데이비드 린치
Dune: The Alternative Edition Redux (Alternate Ending)
En l’année 10191, l’empereur qui règne sur l’univers, connu sous le nom de Shaddam IV, établit une alliance avec les Harkonnen de la planète Geidi Prime pour éliminer de la galaxie la dynastie des Atréides, et plus particulièrement leur chef, le duc Leto, de la planète Caladan. Pour réussir ce projet funeste, l’empereur envoie les Atréides sur la planète Arrakis, appelée également “Dune”, où ils sont attendus par les terribles Harkonnens. Deux survivants échapperont au massacre : Paul Muad’Dib, l’héritier du trône Atréides et sa mère Lady Jessica. Après avoir été attaqués par les vers géants et sauvés des griffes du baron volant Vladimir, ils sont secourus par les mystérieux Fremen. Ces habitants de Dune consomment l’Epice qui assure pouvoir et longévité. Ils vivent dans l’attente de la venue du messie qui doit leur rendre leur liberté, et ils voient en Paul l’homme attendu de la prophétie…

cinema full

Erratic Weather
Despite some world leaders skepticism, climate change is a reality and the world isn’t just warming, in some parts of the planet the weather is becoming more erratic. During the last years, our generation has started to observe the effects and consequences of this shift, witnessing violent and unexpected climate phenomenons. Erratic Weather is a digital art project aiming to represent changing atmospheric conditions into an immersive multimedia experience. During the performance, the system uses various source of weather information retrieved from an online database and processed on real time to generate a visual and a surround sound composition. During 30 minutes the audience will experience the life cycle of swirling phenomenons such typhoon, hurricane and tropical cyclone , demonstrating the devastating power of the nature and the emergency to preserve it.

Metadata
These videos are networked across multiple screens that have ben sculpturally shaped into a tall arch, asserting its physical presence like boding force. Embedded within one of the video sections is a poem the artist wrote about the ties the police have to slave catchers who then became police officers after abolition. The video also separately speaks to the artist’s own personal loss, affecting the video with an additional elegiac quality of the search for a missing friend.

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.

DARK ECOLOGY

IsoScope

IsoScope is a kinetic audiovisual outdoor installation, a sensorial experience in which the audience wanders through rotating lights and an ever-changing sonic cloud. This new work by Dutch artist Joris Strijbos consists of multiple robotic wind objects interacting with each other and with their surroundings. Strijbos aimed at creating a human-constructed phenomenon, an abstract entity which, like most natural phenomena, can only be experienced in certain weather conditions. IsoScope can be seen as a proposition for a new kind of machinic and artificial lifeform. IsoScope was commissioned by Sonic Acts for the second Dark Ecology Journey (2015) and realised in collaboration with Jeroen Molenaar, Daan Johan and Erfan Abdi.

Viridarium / Bioréacteur de spiruline
Gaspard and Sandra Bebie-Valérian will present Viridis. Viridis is a global project that relies on different modules, the main being an online video game, immersive, plus an installation made of spirulina bioreactors and a set of videos and sounds. While Viridis is mainly available on the internet, the two artists, at this occasion, will present it out of the screen, they will deploy and spread it in several modules.
Viridis is a unique game experience combining adventure, survival, and an actual operating spirulina community management. Through the video game, the community can directly affect and interact with a real operating spirulina farm, managed by the artists.

ELECTRIC SKIN

The Electric Skin explores the possibility of creating a wearable that extends the functionality of the skin to sense electromagnetic fields (mostly within the radio spectrum) and translate that information into touch sensation. The wearable consists of two main functional parts: 1) A matrix of omnidirectional antennas that act as sensors and probes and 2) corresponding electrodes that stimulate the skin of the wearer. Through this artificial “skin” or “exoskeleton”, the wearable changes our experience, perception, and understanding of space and movement, and in doing so, our interactions. The project speculates on the possible co-evolution of man and technology and draws attention to the role of environmental influence on our own bodily development and behavior.

Contra-Internet
Currently, Blas is producing a body of artwork that responds to technological control and refusals of political visibility through tactics of escape, disappearance, illegibility, and opacity.

SVNSCRNS
SVNSCRNS is a commissioning project that is initiated by Klankvorm after a concept by Joris Strijbos. The project consists of the realization of a kinetic audiovisual installation for which artists are invited to realize content. The installation can be used for live performances as well as for playing prearranged compositions. The installation consists of seven rotating projection screens and speakers that can be controlled from a central point. Custom build software and hardware are accessible for artists from different backgrounds to experiment with this new dynamic field for audiovisual composition. Light, sound and movement come together with different forms of digital media to create a multi sensorial experience for the audience. In this way the project functions as a platform in which makers and creators of all kinds can collaboratively explore this kinetic audiovisual medium. The result is a slow moving robotic structure which can display different sorts of media but in it’s presence will have a strong influence on the experience of the spectator.

SONNTAG aus LICHT

Sonntag aus Licht takes as its subject our solar system and the relationships of all the planets that orbit the sun. In this opera, the earth and life on it is represented as the result of the union of light and water. These two elements are presented in the first scene, and the rest of the opera celebrates the evolution of life, of plants, animals, humans, and above all this the planets, moons, and heavenly constellations. The opera has a pronounced ritualistic and meditative character, with very little that can be described as dramatic action.

skalar

SKALAR is a large-scale art installation that explores the complex impact of light and sound on human perception. Light artist Christopher Bauder and musician Kangding Ray give an audio-visual narration of radiant light vector drawings and multi-dimensional sound inside the pitch-dark industrial space of Kraftwerk Berlin. By combining a vast array of kinetic mirrors, perfectly synchronized moving lights and a sophisticated multi-channel sound system, SKALAR reflects on the fundamental nature and essence of basic human emotions.

АЙРИС ВАН ЭРПЕН
イリス ヴァン ヘルペン
Autumn/Winter 2019
This season van Herpen collaborated with American kinetic sculptor Anthony Howe, whose pieces are powered by the wind. His spherical Omniverse sculpture had pride of place in the Élysée Montmartre venue. The designer said she was compelled by the way its arching vertebrae, spinning on a curving axis, simultaneously expand and contract. Her finale dress was made in the image of Omniverse, with rotating wings constructed of aluminum, stainless steel, and feathers.

Avatar of the artist
Taiwan in Venice 2019
“For those who don’t know her, Shu Lea Cheang is a figure of Net art and the cyberfeminist movement that emerged in the 1990s. Living in New York at the time, she was also an active member of the activist video collective Paper Tiger Television (as was French filmmaker Nathalie Magnan). Since then, Cheang’s work has dealt with “concerns including sex, futures, gender, ecology, money, media, and food [to] encompass film, installation, online work, social processes, and direct intervention in the sociopolitical, technical and aesthetic systems, and the imaginaries which co-compose them,” writes Matthew Fuller

جوزيف سفوبودا
ЙОЗЕФА СВОБОДЫ
la traviata de verdi (Scenografia)
La technologie et la scénographie
Svoboda utilise les techniques de pointe en éclairage, en projection d’image et en mécanique de scène (scène cinétique) afin de s’affranchir des contraintes du lieu théâtral. La scène est pour Svoboda un instrument et un espace magique, lieu d’action de forces dramatiques, réelles, et non pas un espace illusionniste. La scénographie est une des disciplines de l’art théâtral, une composante de la mise en scène et un élément essentiel de la représentation. Elle doit donc d’être dynamique et se transformer dans le temps pour épouser l’action dramatique. La scénographie a un langage propre en tant que discipline à part entière. Svoboda apporte une contribution importante à ce langage par son travail sur la lumière et l’espace.
Lumière, matière et espace
Svoboda dit percevoir la lumière physiquement, et non pas simplement visuellement ; il trouve en elle l’inspiration pour son travail. Tout en reconnaissant son statut ” immatériel “, il la considère comme l’élément fondamental de la scénographie et la traite comme un matériau. D’abord formé en menuiserie, Svoboda affectionne particulièrement les matières brutes, notamment le bois. L’architecture représente pour lui, et ce dès son jeune âge, la somme des connaissances humaines. Formé en architecture d’intérieur, il s’intéresse à l’organisation de l’espace, à la rencontre scénique de l’architecture et du décor. Il privilégie les formes simples : la sphère, le cube et l’escalier. Svoboda croit que ” la mise en scène à l’italienne, bien qu’elle ne corresponde plus aux exigences des méthodes scénographiques actuelles, reste toujours la meilleure “.

B R A I N L I G H T
“The catalyst for this research project was my flourishing intrigue and desire to harnesses my own Brain as the creator of an interactive art experience where no physical touch was required except the power of my own thoughts. To experience a unique visualisation of brain activity and to share it with others I have created a large freestanding brain sculpture that is made of laser cut Perspex hand etched with neural networks that glow when light is passed through them.” Laura Jade

Sophia the robot
Sofia, le robot humanoïde (android) ultra-réaliste fabriqué par Hanson Robotics, devient le premier robot a obtenir une citoyenneté officielle ! C’est l’Arabie Saoudite qui a officialisé il y a quelques jours l’existence de Sofia, devenant le premier pays à reconnaitre le statut de citoyen d’un robot et d’une intelligence artificielle. Sofia, dont nous avions déjà parlé l’année dernière, est un robot ultra-réaliste capable de tenir une conversation, de reconnaitre les gens et d’interagir avec son environnement, mais surtout possède sa propre personnalité et des expressions faciales réalistes.

exosphere

The Exosphere has a diameter of 12 m (39’4″), weighs 4.5 tons, and relates to the Earth at a scale of 1:1,000,000. Its blue LED display indicates the geographic location of Wolfsburg, local temperature and time (supplied by the Atomic clock). It is positioned where Wolfsburg would be on this globe, assuming that the bottom of the globe is North and the vertical red display represents the position of the international dateline.

Field of Globes is a permanent installation of ninety World Processor globes. These spheres are readymade acrylic globes altered by the artist to visualize data on a variety of topics. This data comes from myriad sources, including the United Nations, the Organization for Economic Cooperation and Development, and other organizations.

video

L’Orfeo.
Dutch National Touring Opera’s production of L’Orfeo.
Artist Lonneke Gordijn, together with director Monique Wagenmakers and choreographer Nanine Linning, created a new interpretation of L’Orfeo.
The kinetic sculpture EGO, specially developed for L’Orfeo, is a handwoven block controlled by algorithms and motors. The block has the ability to shift its shape and state, embodying Orfeo’s perspectives and thoughts. The oldest opera combined with modern cutting edge technology.

The Admiral’s Garden
Christine Ödlund’s work explores the borders of our knowledge of the world around us, connecting such themes as the chemical communication of plants, synaesthesia and theosophy. She works in a variety of media, including drawing, sculpture, video, watercolour and sound works.
Stress Call of the Stinging Nettle: When a plant reacts to a butterfly larvae feeding on its leaves, it releases chemical substances, or compounds. The characteristics of these compounds have been analyzed in collaboration with the Ecological Chemistry Research Group at the Royal Institute of Technology in Stockholm, and then transposed into amplitude and intensity of sinus tones, recorded at EMS (Electroacoustic Music in Sweden), Stockholm. Thus these beautiful graphic score and soundtrack by Swedish artist Christine Ödlund are direct transpositions of “the plant’s life, struggle and death”.

ciclotrama
the artworks have gone through 17 different iterations since 2010, each involving some form of ropes that seem to branch through the air and splay onto surfaces like fractals or a network of neurons.

THERE IS A GHOST
BOB WILSON
Os retratos em vídeo tomaram forma em 2007, após mais de dois anos de trabalho de Wilson com a VOOM HD Networks […] Eles são repetidos em rotação contínua para não ter um começo e um fim, criando uma obra de arte em quadros. O resultado final no monitor é semelhante ao de uma fotografia. Os “retratos”, que duram de 30 segundos a 20 minutos, parecem imóveis, mas os personagens realmente realizam pequenas ações – um movimento simples, um piscar de olhos, um toque no pé – que ampliam o potencial narrativo do retrato tradicional, aproximando-o da história cinematográfica, sem perder a aura de fixidez icônica que caracteriza o retrato pictórico de todos os tempos.