Teamlab

Moss Garden of Resonating Microcosms
TeamLab essaie de mettre à jour le concept de couleur. Ovoid change avec 61 couleurs, un nouveau concept de couleur nommé “couleur de lumière solidifiée”. On dit que les bryophytes sont les premières créatures terrestres à apparaître dans un monde de roches et de sable, où il n’y a pas encore de créatures sur terre. Avec l’émergence des mousses et des ptérophytes et la formation des forêts, divers animaux sont devenus capables de vivre sur terre. Les organismes meurent lorsque leur corps manque d’eau car l’eau à l’intérieur des cellules est essentielle. D’autre part, les plantes de mousse ont une résistance à la déshydratation en raison de la propriété particulière du changement d’eau, dans laquelle la teneur en eau dans les cellules fluctue en raison des changements d’humidité ambiante, ne meurent pas longtemps à l’état sec, et si l’eau est étant donné, ils peuvent exercer les activités de la vie. Étant donné que la mousse modifie l’eau, sa couleur et sa forme changent considérablement selon que l’air est sec ou humide, par exemple lorsqu’il pleut ou qu’il s’agit de brume. Les tardigrades qui vivent entre les mousses deviennent également dormants, un état de dormance non métabolique, et arrêtent leur activité lorsque l’environnement devient sec, mais lorsque de l’eau est donnée, ils récupèrent et commencent leur activité.

Iris van Herpen

Earthrise
With our planet positioned at the forefront of the global agenda more than ever before, ‘Earthrise’ explores the splendour of this blue body we call home by circling towards the amalgamated awareness to maintain the grandeur of the turning sphere we traverse along. In parallel to Van Herpen’s drive towards an interconnected approach to fashion, the 19 look collection narrates the circular processes that usher change in our sentient world by weaving a symbiotic thread between artisanal tailoring and organic craftsmanship, derived from the perception of our world as one living and breathing organism.

Mark Ramos & Ziyang Wu

Networked Ecosystem
In Networked Ecosystem, natural phenomena have been replaced by digital and artificial systems as forces that drive development: Electricity/battery = sustenance, WIFI signals = nutrition, Lidar data = fire/heat. Data Organisms populate this digital ecosystem as native life forms in the form of bots, AI’s, and avatars. Visitors to this networked landscape develop new kinds of digital senses to experience data as environmental changes, and interact with the simulated world and each other in an ever-changing online environment.

Pei Ying Lin

Fractal Microorganisms

The skeletons also has the feature of fractals, which often being mentioned when discussing the forms of nature. Both of symmetry and fractals can be generated from one simple structure. Therefore, I decided to write a script that let people draw a random structure, and using the structure to generate a symmetry fractal shape. The fractals have their diameter through the time according to a sinusoid, making them almost like breathing.

Robert Henke

Destructive observation field
The installation behaves like a living organism, it creates expanding and contracting forms that have a semi-organic appearance. During the course of the exhibition the deformations of the plate add up resulting in a more and more complex surface structure. The visible shapes will get more detailed and fragmented. The density of the stored information on the black plate increases. The characteristic visual appearance of the installation is the result of interference patterns, waves amplifying and canceling each other out in space, leaving complex traces of light and darkness.

Yonakani: Young ah Seong, Takuji Narumi & Tomohiro Akagawa

Thermotaxis
file festival
The term “Thermotaxis” signifies a movement of a living organism in response to heat stimulation. A thermal spot has power to encourage people to gather together like open fires in winter or water places in summer. The work “Thermotaxis” characterizes the open space as invisible thermal spots by providing people with thermal information. Our work aims to create a new spatial structure for communication not by architectural approach but by using information technology.

MATTHIJS MUNNIK

Microscopic Opera

Les micro-organismes peuvent-ils aussi être des artistes? Comment notre relation à ces créatures change-t-elle, après qu’elles sont vues dans un contexte artistique et théâtral? À la recherche d’un micro-organisme qui aurait les qualités d’un interprète, j’ai été présenté à C. elegans; un petit ver, de moins d’un millimètre de longueur, qui se déplaçait aussi élégant que son nom l’indique et la première créature à avoir séquencé tout son génome. J’ai été intrigué lorsqu’un chercheur m’a dit que, pour distinguer les vers au microscope, il utilisait différentes mutations qui modifiaient la façon dont ils se déplaçaient. Certains se déplacent en spirale, d’autres ont roulé ou ont des contractions et certains sont devenus morbides obèses à cause de leurs mutations. Dans mon installation, j’ai cinq boîtes de Pétri remplies de cinq vers mutés différents, chacun se déplaçant légèrement différemment. Ces cinq groupes d’interprètes sont filmés avec un microscope USB diffusé en direct sur les cinq écrans. J’ai écrit un logiciel spécial qui suit les vers et traduit leurs mouvements en sons, faisant d’eux les interprètes non avertis de la musique dans le monde macroscopique au-dessus de leurs têtes. Alors que les chercheurs sont presque comme des dieux pour ces vers impuissants, les contrôlant de leur première à leur dernière division cellulaire , j’espérais donner aux vers le pouvoir de nous affecter également dans notre monde.

DORETTE STURM

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.

DNA REAL-TIME SPEED

DNA (genes)

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

Leonhard Lass and Gregor Ladenhauf

DEPART
The Entropy Gardens
.
The Entropy Gardens is an artistic VR experience that explores one of humanity’s most archetypical artforms – garden making. It challenges its myths, aesthetics and modes of perception. Like a garden, The Entropy Gardens attempts to become a spatiotemporal poem — a poetic organism. In the form of a sprawling journey it constructs a hermetic, virtual garden as a poetic ecosystem — a psychic landscape that is foremost a complex audiovisual experience. It admits the visitor into a place that is equally challenging and contemplative (and of course profoundly weird).

Gilberto Esparza

BIOSONOT
BioSoNot consiste en el desarrollo de una serie de configuraciones de artefactos sensibles que recojen datos que interpreta en frecuencias audibles, que se activan con aguas contaminadas y que traduce la actividad biológica de microorganismos y los niveles de contaminación de distintos rios en sonido.

ANDY LOMAS

Morphogenetic Creations
Created by a mathematician, digital artist and Emmy award winning supervisor of computer generated effects – Andy Lomas, Morphogenetic Creations is a collection of works that explore the nature of complex forms that can be produced by digital simulation of growth systems. These pieces start with a simple initial form which is incrementally developed over time by adding iterative layers of complexity to the structure.The aim is to create structures emergently: exploring generic similarities between many different forms in nature rather than recreating any particular organism. In the process he is exploring universal archetypal forms that can come from growth processes rather than top-down externally engineered design.Programmed using C++ with CUDA, the series use a system of growth by deposition: small particles of matter are repeatedly deposited onto a growing structure to build incrementally over time. Rules are used to determine how new particles are created, and how they move before being deposited. Small changes to these rules can have dramatic effects on the final structure, in effect changing the environment in which the form is grown. To create these works, Andy uses the GPU as a compute device rather than as a display device. All the data is held in memory on the GPU and various kernel functions are called to do things like apply forces to the cells, make cells split, and to render the cells using ray-tracing. The simulations and rendering for each of the different animated structures within this piece take about 12 hours to run, Andy explains. By the end of the simulations there are over 50,000,000 cells in each structure.The Cellular Forms use a more biological model, representing a simplified system of cellular growth. Structures are created out of interconnected cells, with rules for the forces between cells, as well as rules for how cells accumulate internal nutrients. When the nutrient level in a cell exceeds a given threshold the cell splits into two, with both the parent and daughter cells reconnecting to their immediate neighbours. Many different complex organic structures are seen to arise from subtle variations on these rules, creating forms with strong reminiscences of plants, corals, internal organs and micro-organisms.

DORETTE STURM

La nuvola che respira
“La nuvola che respira” è un monumentale organismo galleggiante. L’opera trasforma uno spazio con il suo movimento, la luce e la respirazione ritmica. Con questa arte leggera la frase “lascia che una stanza prenda vita” assume un nuovo significato. La pelle delle nuvole sembra fragile e morbida, ei movimenti sono ritmici, ma casuali, quindi l’intera stanza sembra un essere vivente. La tecnologia è progettata in modo che i potenti moduli LED e il meccanismo supportino la respirazione pervasiva. Diventa fisicamente più grande e più piccolo e abbraccia con il suo spazio di luce brillante.

ERNESTO KLAR

Lumières relationnelles
FILE FESTIVAL
Lumières relationnelles» est une installation audiovisuelle interactive qui explore la relation des personnes avec le caractère organique-expressif de «l’espace». L’installation utilise la lumière, le son, le brouillard et un système logiciel personnalisé pour créer un espace-lumière en trois dimensions morphing (métamorphose), dans lequel les spectateurs participent activement, le manipulant avec leur présence et leurs mouvements […] un organisme vivant, avec ou sans la présence et l’interaction des spectateurs. Lorsque les spectateurs quittent la zone de suivi active, le système commence son propre dialogue avec l’espace en extrudant et en transformant des séquences de formes géométriques lumineuses. Lorsque les spectateurs pénètrent et interagissent avec l’espace-lumière projeté, une expression collective et participative de l’espace se déploie. «Relational Lights» élargit le tissu tridimensionnel de l’espace, le rendant visible, audible et tangible pour les participants.

Can Büyükberber

Morphogenesis
Morphogenesis (from the Greek morphê ‘’shape” and genesis “creation”; literally, “beginning of the shape”) is the biological process that causes an organism to develop its shape. As a fulldome and virtual reality piece inspired by the phenomenon of emergence in self-organized systems, Morphogenesis consists of continuous transformation of fundamental geometrical patterns and uses them as the building blocks of immersive spaces.

Anicka Yi

Biologizing the Machine
In Biologizing the Machine (tentacular trouble), the artist uses a stretched leather-like kelp to create hanging incandescent sculptures that conjure up images of organisms such as human organs and insect eggs through chrysalis-like pods within which animatronic insects flutter about. The use of this material calls attention to the ecological history and exciting potential uses of algae, a powerful and shapeshifting entity comprising the largest biomass on the planet. The ground beneath evokes a swamp (not too dissimilar from the watery underbelly of Venice) from which these organisms and other primordial beings may have come.

REVITAL COHEN & TUUR VAN BALEN

The Immortal
A number of life-support machines are connected to each other, circulating liquids and air in attempt to mimic a biological structure.
The Immortal investigates human dependence on electronics, the desire to make machines replicate organisms and our perception of anatomy as reflected by biomedical engineering.
A web of tubes and electric cords are interwoven in closed circuits through a Heart-Lung Machine, Dialysis Machine, an Infant Incubator, a Mechanical Ventilator and an Intraoperative Cell Salvage Machine. The organ replacement machines operate in orchestrated loops, keeping each other alive through circulation of electrical impulses, oxygen and artificial blood.
Salted water acts as blood replacement: throughout the artificial circulatory system minerals are added and filtered out again, the blood gets oxygenated via contact with the oxygen cycle, and an ECG device monitors the system’s heartbeat. As the fluid pumps around the room in a meditative pulse, the sound of mechanical breath and slow humming of motors resonates in the body through a comforting yet disquieting soundscape.Life support machines are extraordinary devices; computers designed to activate our bodies when anatomy fails, hidden away in hospital wards. Although they are designed as the ultimate utilitarian appliances, they are extremely meaningful and carry a complex social, cultural and ethical subtext. While life prolonging technologies are invented as emergency measures to combat or delay death, my interest lies in considering these devices as a human enhancement strategy.This work is a continuation of my investigation of the patient as a cyborg, questioning the relationship between medicine and techno- fantasies about mechanical bodies, hyper abilities and posthumanism.

Christa Sommerer and Laurent Mignonneau

The Interactive Plant Growing
Interactive Plant Growing is an installation that deals with the principle of the growth of virtual plant organisms and their change and modification in real time in 3D virtual space. These modifications of pre-defined “artificially living plant organisms” are mainly based on the principle of development and evolution in time. The artificial growing of program-based plants expresses the desire to discover the principle of life as defined by the transformations and morphogenesis of certain organisms. Interactive Plant Growing connects the real-time growing of virtual plants in the 3D space of the computer to real living plants, which can be touched or approached by human viewers.

Verena Friedrich

Vanitas Machine

The installation VANITAS MACHINE addresses the desire for eternal life and the potential of life-prolonging measures. Based on a candle which – by means of technical intervention – burns down very slowly, vanitas machine creates a contemporary analogy to the endeavour of prolonging the human lifespan with the help of science and technology.Being one of the classical vanitas symbols, a burning candle recalls the futility of the moment, the transience of human life and the certainty of the end of all existence. But is this end really still inevitable?In the course of the last two centuries, average human life expectancy has increased significantly in the industrialised countries. Moreover, in the context of scientific research the biological causes of ageing are being explored. Numerous theories of aging have already been developed pointing both towards physiological as well as environmental factors.One of the first theories of ageing was the so-called »metabolism theory«, which claims that the lifespan of organisms is reciprocally related to energy turnover and therefore connected to calorie intake, oxygen consumption and heart rate: The higher the metabolic rate, the shorter the lifespan of the organism.

Helene Steiner

Project Florence
Plants synthesize a very large amount of information via electrical and chemical signals and deliberately make changes to themselves, their neighbors and the land nearby for their benefit. This signals caused by cell depolarization through ions fluxes such as K + , Ca2 + , H + , Na + , and Cl alert the whole plant for localized stimuli, such as biotic and abiotic stress and are one of the most universal properties of living organisms. In project Florence we take advantage of the sensibility of plants to different light frequencies and use it to trigger a plant response through manipulation and compare the similarities between plants and natural language processes.

MARIN SAWA

Марин Савва
مارين سوا

Algaerium
Algaerium is an in-vitro aesthetic photosynthesis system of microalgae for spatial installation of algal biotechnology in the urban environment. As a collective family, each member of Algaerium represents an urban bio-repository, floating biota, in which to preserve the microorganisms for their future biotechnological use such as bio-energy. Through displacement into the urban environment, Algaerium re-contextualises the sterile environment of the algae culture laboratory. I have incorporated and manipulated the endogenous yet ‘re-programmable’ biological processes of photosynthesis and bioluminescence.

Zeitguised

geist.xyz
A synthetic ghost shifts simulated textiles from passive matter to live organisms. They behave like apparitions in an artificial choreography, with movements that are imaginary yet familiar. Like a constant metamorphosis, the same sequence gets transformed over and over again. At each step, all aspects of the designs are modified, from algorithmic pattern to color scheme to fabric behaviour. The results are meandering layers of style changes. A linear montage shows the intricate details. Shuffled layers of metronomic sounds emphasize the transformation fluctuating in and out of sync.

FEDERICO DIAZ

geometric death frequency 141

The title of the piece is a pun that, with irony, alludes to the exceeding of tradition, irreconcilable dichotomy between life and death in a sculpture made, provocatively, by lifeless forms“, adds Diaz. “The line between life and none-life is more fleeing than we usually think: think about a virus that attacks a complex organism and reproduces in the same way as a micro-organism, even though it’s only an agglomerated of lifeless molecules: a natural crystal that, even though is a stone, can be born and undergo a fascinated process of growth that mimes perfectly the ways of an organic life“.

Teresa van Dongen

Electric Life
Teresa van Dongen explores the specific bacteria as a means to generate electricity for domestic use. Electric Life is the latest translation in Dongen’s ongoing exploration for alternative and natural sources of energy and light. The light installation is entirely powered by micro-organisms that have electrons as a waste product.

Jennifer Steinkamp

EON
“I considered the first life forms on Earth and how we came to be as a way to refer to the Natural Sciences. I looked at fossil records of the first multi cellular organisms of the Ediacaran Period, 555 million years ago for inspiration. I was struck by the theory of symbiosis in evolution; our DNA ancestors are the resultant fusion of single cellular organisms and bacteria. The millions of bacteria in our bodies are our foremothers. EON is a speculative fiction, a depiction of early life forms underwater. The Universe was formed 13.7 billion years ago. The Earth is 4.543 billion years old. Cyanobacteria or blue-green algae were the first microbes to create oxygen on Earth via photosynthesis 3.5 billion years ago. First humans 200,000-300,000 years ago.” Jennifer Steinkamp

Lara Campos

beGrounded
beGrounded is a project that explores the relationship between humans and other living organisms, as an emotional and artistic act through textiles. It proposes an exploration of a new habitable space in the form of a woven garment with growing sprouts, as a sensorial and interactive experience.

iris van herpen

sensory seas
runway LOOK 08

“The first threads of inspiration came from the Spanish neuroanatomist Ramón y Cajal. He wanted to uncover something that no one had yet understood.
Sensory seas’ holds a microscope over the indelible nuances between the anthropology of a marine organism, to the role of dendrites and synapses delivering infinite signals throughout our bodies. It enchants the attention of how two processes of torrential messaging exist in an uninterrupted state of flux. The collection consists 21 silhouettes that illustrate a portrait of liquid labyrinths, where dresses spill onto the floor in elegant train and pigments gather in cloudedpools of blues and lilac, leaking into one another like marble.” Joanna Klein

Haru Ji and Graham Wakefield

Infranet
Infranet is a generative artwork realized through a population of artificial lifeforms with evolutionary neural networks, thriving upon open geospatial data of the infrastructure of the city as their sustenance and canvas. Born curious, these agents form spatial networks through which associations spread in complex contagions. In this city as organism, the data grounds an unbounded, decentralized, open-ended, and unsupervised system. Non-human beings flourish in this environment by learning, discovering, communicating, self-governing, and evolving. The invitation is to witness, through immersive visualization and sonficiation of this complex adaptive system, how a new morphologic landscape emerges as a possible but speculative city.

GUTO NÓBREGA

Breathing
File Festival
Breathing is a work of art based on a hybrid creature made of a living organism and an artificial system. The creature responds to its environment through movement, light and the noise of its mechanical parts. Breathing is the best way to interact with the creature.
This work is the result of an investigation of plants as sensitive agents for the creation of art. The intention was to explore new forms of artistic experience through the dialogue of natural and artificial processes. Breathing is a pre-requisite for life, and is the path that links the observer to the creature.Breathing is a small step towards new art forms in which subtle processes of organic and non-organic life may reveal invisible patterns that interconnect us.Breathing is a work of art driven by biological impulse. Its beauty is neither found isolated on the plant nor in the robotic system itself. It emerges at the very moment in which the observer approaches the creature and their energies are exchanged through the whole system. It is in that moment of joy and fascination, in which we find ourselves in a very strange dialogue, that a life metaphor is created.Breathing is the celebration of that moment.

Sui Park

Her Contour
My work involves creating a 3-dimensional flexible organic form of a comfortable ambiance that is yet dynamic and possibly mystical or illusionary. It is an abstract representation of objects or concepts that recreates our surroundings. It can be interpreted in various ways including landscapes, living organisms, social ideas or values, anything that we accept as given that they exist. Through my work, I try to create an opportunity for audiences to see, think and most of all feel our surroundings from various perspectives.

MIT Media Lab

Hybrid living materials (HLMs)
A method for printing 3D objects that can control living organisms in predictable ways has been developed by an interdisciplinary team of researchers at MIT and elsewhere. The technique may lead to 3D printing of biomedical tools, such as customized braces, that incorporate living cells to produce therapeutic compunds such as painkillers or topical treatments, the researchers say.

NOPER & SAINT MACHINE

FEED ME
FEED ME is a ludic experiment that explores the relation between the artwork and its public. With a self-ironical approach, the project is calling the subjects of monstrous and perpetually insatiable Tra to her feeding ritual: the entire exhibition is a live organism that feeds on the energy produced by the movements of the public. It is an interactive multimedia capsule that carries a dynamic platform where everything moves, pulses and reacts to motion on a common rhythm. The exhibition space is structured in narrowing concentric circles, creating several worlds that include each other and cocoon around a magical protection space, thus the public is activated on several levels.

will kendrick

Still Searching for Gods
From the ridiculous to the incredible; these works ask questions of the weight and hierarchical values we impose on these pursuits and whether they are all equally as futile or pragmatic as each other, in terms of the collective organism that we call human life.

xenobots

Xenobots – the First “Living Robots”
Researchers used the Deep Green supercomputer cluster and an evolutionary algorithm to design new life-forms that could achieve an assigned task. Then they built them by combining together different biological tissues from Xenopus laevis embryos, hence the name Xenobots.
Credit:A scalable pipeline for designing reconfigurable organisms
Sam Kriegman, Douglas Blackiston, Michael Levin, and Josh Bongard
PNAS, DOI: 10.1073/pnas.1910837117

Rudolfo Quintas

SWAP
SWAP é uma performance audiovisual interativa para palco criada no cruzamento entre a dança e a visualização de movimento. A performance explora o conceito do corpo como sistema autopoiético intimamente ligado ao seu contexto, onde a mente, as emoções, o sistema nervoso e meio ambiente são um só – o corpo. Um organismo em permanente recursividade, regeneração e transformação, principio enunciado pelos biólogos Maturana e Varela. Em SWAP a visualização artística do movimento expõe os fluxos invisíveis que percorrem o interior e exterior do corpo, de acordo com a nossa percepção micro ou macro alteram a nossa leitura e compreensão da realidade. São geradas animações interactivas compostas por milhares de partículas em constante movimento que reflectem a relação entre o corpo do performer.

CHOI XOO ANG

최수앙
S úctou, v šoku nebo minimálně znepokojeni nad figurami, jejichž až bizarně živá lidskost vyráží dech. Jihokorejský sochař ze Soulu zkoumá společností akceptováno zneužívání nejzákladnějších lidských hodnot. Ve své práci využívá moment šoku z detailně a velmi citlivě vypracovaných nahých lidských těl zničených životní deziluzi. Těžko uvěřit, že pod povrchem tohoto téměř pulsujícího organismu se ukrývá nerezová ocel, hlína, pryskyřice, akryl a olejové barvy.

CHIMERA

Adaptive Urban Ecologies
Adaptive ecologies explores the emergent logics of adaptation and evolution that are constitutive of ecosystems in nature. Chimera’s vision is to define an urban ecosystem which supports housing and cultural programs and has the ability to adapt, transform, mutate, and adjust according to the specific urban and social character of the site and of Manhattan. This urban ecological system is taking as a model an organism in nature, specifically the mangrove plant.

Yunchul Kim

Effulge
La obra del compositor y artista coreano, Yunchul Kim, que actualmente reside en Berlín, gira en torno al potencial artístico de la dinámica de fluidos. Utilizando ferrofluidos, crea instalaciones que exploran las propiedades de la materia y evocan procesos naturales a nivel cósmico o en el interior de un organismo imaginario.

CHOI XOO ANG

최수앙
The Blind for the Blind

Ti, kteří obdivují hyperrealizmus, padnou při pohledu na práce Choi Xoo Anga (최수 앙) na zadek. S úctou, v šoku nebo minimálně znepokojeni nad figurami, jejichž až bizarně živá lidskost vyráží dech. Jihokorejský sochař ze Soulu zkoumá společností akceptováno zneužívání nejzákladnějších lidských hodnot. Ve své práci využívá moment šoku z detailně a velmi citlivě vypracovaných nahých lidských těl zničených životní deziluzi. Těžko uvěřit, že pod povrchem tohoto téměř pulsujícího organismu se ukrývá nerezová ocel, hlína, pryskyřice, akryl a olejové barvy.

MIGUEL PALMA

EGO (Electronic Growing Organism)

PAUL VANOUSE

Latent Figure Protocol

Latent Figure Protocol takes the form of a media installation that uses DNA samples to create emergent representational images. The installation includes a live science experiment, the result of which is videotaped and repeated for the duration of the gallery exhibit. Employing a reactive gel and electrical current, Latent Figure Protocol produces images that relate directly to the DNA samples used. The above images were re-produced live. Each performance lasts approximately one hour, during which time audience members see the image slowly emerge. In the first experiment, a copyright symbol is derived from the DNA of an industrially-produced organism (a plasmid called “pET-11a”), illuminating ethical questions around the changing status of organic life and the ownership of living organisms. Future instances of the LFP will use the DNA of other subjects and create other images.

ERNESTO KLAR

Эрнесто Клар
Luzes Relacionais
File Festival
“Luzes Relacionais” (Relational Lights) é uma instalação interativa audiovisual que explora a relação das pessoas com o caráter orgânico-expressivo do “espaço”. A instalação usa luz, som, neblina e um sistema de software customizado para criar um espaço-luz tridimensional de morphing (metamorfose), em que os espectadores participam ativamente, manipulando-o com sua presença e seus movimentos[…] A obra funciona como um organismo vivo, com ou sem a presença e a interação dos espectadores. Quando os espectadores saem da área de rastreamento ativo, o sistema começa seu próprio diálogo com o espaço através de extrusão e transformação de sequências de formas geométricas luminosas. Quando os espectadores penetram e interagem com o espaço-luz projetado, uma expressão coletiva e participativa do espaço se desdobra. “Luzes Relacionais” amplia o tecido tridimensional do espaço, tornando-o visível, audível e tangível aos participantes.

HEHE – HELEN EVANS AND HEIKI HANSEN

Green Cloud (Nuage Vert)
The third edition of Nuage Vert (Green cloud) highlighted the cloud of vapour emitted by the largest waste incinerator in France, on the edge of Paris at Ivry-sur-Seine, using a green laser beam which draws the clouds outline in real-time. Beyond the spectacle of the projection onto a power plant emission, Nuage Vert is also an open space, a canvas onto which each individual can project their questions concerning our consumer-waste culture, adding a second level reading to a site which is both highly visible and ignored.
The work acts like a semantic parasite, an organism that takes cover and feeds itself by establishing a sustainable interaction with another organism, in a relationship that is not necessarily damaging for the host, but necessary since the emission cloud provides Nuage vert with its visibility. During two years the project generated a social-cultural process which attracted support from citizens and the power plant owner, but however led to political obstruction from the local authorities. Escaping from a political stalemate, the work was realised without institutional consent, from a secret location on a private rooftop with the cooperation of local residents.
The project was previously realised in Helsinki, Finland and in Saint-Ouen, France.

Robertina Sebjanic

Aurelia 1+Hz / proto viva sonification
via highlike submit
Project ‘Aurelia 1+Hz / proto viva generator’ addresses the possibilities of coexistence of animals and machines. In contrast to robots, which are driven by digital artificial intelligence, the project uses a live organism to process the “aliveness” of a simple machine.

Olle Cornéer and Martin Lübcke

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.

SS12 Studio Rashid

HyperveloCity

HyperveloCITY is a fast forward connected cultural organism that grows on top of the subway stations in downtown Los Angeles. The movement time line of the users (pedestrians, students, cars and train) is used as the operational strategies of the buildings framework. Velocities and rhythms are used to generate a new perception of space. The distance of the institutions would generate a wider field of influence in a dense cityscape. The main three volumes are an urban art museum, educational institution and a new convention centre, all separated one kilometer from each other. The various components of HyperveloCITY are connected by way of a the underground train system. The project is structured to emphasize the use and efficiencies of the public transport system and create not-so-often-seen public spaces and realms in densest part of downtown Los Angeles.

Peter Weibel

Петер Вайбель
Mechanik der Organismen

Peter Weibel followed his artistic thoughts using a wide variety of materials, shapes and techniques. In the mid-1980s, he explored the possibilities of the computer assisting in video processing. In the early 1990s he created an interactive installation based on reality, again showing the relationship between the media and the construction of reality.
In his opinions and articles, Weibel comments on contemporary art, media history and theory, film, video art and philosophy. As a theorist and tutor, he defends an art form that includes in its history, the history of technology and the history of science.

1024 architecture

VORTEX

Architectural fragment made from scaffolding, VORTEX has a raw wood skin highlighted by 12 lines of LED light as many generative and constructive project’s lines. Merging organic materials with new technologies, this hybrid architectural artwork wraps around and embraces the footbridge between the complex’s two buildings, revealing and enhancing the venue’s dynamic energy while working as a live visualizer of energy consumption.VORTEX evolves like a living organism; it breathes, trembles and emits pulses of light created using 1024’s MadMapper software. Manually controlled via a joystick, the structure can be synchronized to music and also displays its location’s energy consumption through a series of illuminated tubes. It ultimately answers to the ambient environment around it, capturing the Darwin Ecosystem Project’s unique energy consumption footprint, and converting it into data that is processed to spawn realtime visuals.
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ASHER LEVINE

In Übereinstimmung mit seinen früheren Kollektionen zerstört seine Arbeit das Thema Organismus in der Mode. Die Arbeit, die oft stark von der Natur beeinflusst wird, flirtet nicht nur mit den Ideen des Viszerals, sondern nimmt auch eine explorative Haltung zur menschlichen Figur und ihrem Zustand ein. Seine verführerischen Entwürfe sind in ständigem Wandel zwischen: Fluidität und Starrheit; Schönheit und Entstellung; Abstraktion und Form; Dunkelheit und Leichtigkeit. Ein Weg nach Asher! Wir können es kaum erwarten, mehr von Ihnen zu sehen.

BAUMGARTNER+URIU

Animated Apertures

instead of windows, mouths with green “hair” that sway in the wind. This is the Animated Apertures Housing Tower, a project of the American architecture firm B + U. The fun building appears to have been attacked by carnivorous plants. The residential building will be built in Lima, Peru. Architects Herwig Baumgartner and Scott Uriu, known for the use of new materials, explain that they wanted to “show that architecture can exist between nature and technology”. Therefore, the designs and colors that imitate plants, in a building that looks more like a living organism. The “hairs” of the windows will be made of a special silicone and will move with the wind, giving the impression of being tentacles. The project is also innovative in its structure, because instead of several small windows, it proposes few and large openings. Thus, professionals avoided a regular facade. The building will have 20 floors and 90 car spaces in an underground car park. The coverage will also have a garden and swimming pool for residents.

BOHYUN YOON

Бохьюн Юн
윤보현
Glassorganism

Local Androids

Like living organisms

“Like living organisms” Is an interactive skin-dress that expresses excitement like between two people when they first meet. Our work breathes; it shows a pulse through its veins on the hips and inflates/deflates the shoulder balloons. When approached it responds by increasing its pulse rate through the veins as if it’s excited. It’s now up to the visitor to respond to this excitement. Upon contact the suit will show it’s vulnerable side by deflating the shoulder balloons.

LORENZO OGGIANO

Quasi-Objects

ll works are printed using pigment-based inks on Hahnemühle archival paper, variable dimensions, edition of 3+1 ap.
“Quasi-Objects” is an art project consisting of 3d generated videos and prints, a practice of “organic re-design” – started in 2003 and still in progress – that aims to stimulate thought and dialogue on the progressive relativisation of natural forms of life as a result of techno-biological evolution.“Quasi-Objects” regards data actualization, the production of biologically non-functional organisms and ecosystems as transient output of an operative practice: aesthetics of process.
“Life is a real and autonomous process independent from any specific material manifestation.”

KURT HENTSCHLÄGER

Cluster

CLUSTER, la dernière génération d’œuvre audiovisuelle 3D en temps réel de Kurt Hentschläger, se focalise sur le comportement collectif (psychologie, interactions) et plus particulièrement sur le phénomène de foule. La configuration est simple, voire absurde : des personnages humains en 3D apparaissent, comme un banc de poissons. Dans la chorégraphie en apesanteur de CLUSTER, les êtres humains semblent être des particules anonymes, une masse amorphe sous impulsion, un nuage de matière trouble faite de morceaux de corps et de lumière. Visuellement, l’œuvre alterne entre des formes abstraites et réalistes.Par sa nature générative jamais complètement prévisible, CLUSTER, décrit un méta-organisme à caractère irrévocablement anti-individualiste. Alors que les personnages ont une forme humaine, leur comportement ne l’est pas, ce qui empêche la naturelle identification du public à ses alter-egos présumés. Le dispositif informatique permet de définir la nature et le champ de l’action tandis que l’artiste canalise et orchestre les forces en présence.L’œuvre tire son ambiguïté à la fois de ses éléments répétitifs et rythmiques, ainsi que de ses structures « naturelles » improvisées. La majorité des sons de CLUSTER, est produit par les événements qui animent l’œuvre : mouvements et comportements des masses, changements de lumière. Une grille rythmique lie chaque parties entre elles, ce qui donne une impression de pulsion. Les basses fréquences sous les spectateurs et les hautes fréquences les surplombant, encadrent les sons générés par les événements.

GILBERTO ESPARZA

Nomadic Plants
Vegetation and microorganisms live in symbiosis inside the body of the Nomadic Plants robot. Whenever its bacteria require nourishment, the self-sufficient robot will move towards a contaminated river and ‘drink’ water from it. Through a process of microbial fuel cell, the elements contained in the water are decomposed and turned into energy that can feed the brain circuits of the robot. The surplus is then used to create life, enabling plants to complete their own life cycle. As Gilberto wrote in our email conversation, “The nomadic plant is a portray of our own species. It also deals with the alienated transformation of this new hybrid species that fights for its survival in a deteriorated environment.”

EDUARD HAIMAN AND VADIM SMAKHTIN

Struct- Generative Realtime Audio-Visual Environment
The target of “Struct” was to create installation which could make immersive environment inside the space of public event dedicated to the opening of the office of an architectural company UNK Projects. It was planned to make this installation fully autonomic during the several hours as well as there was an idea to hold the public interested and immersed into the space of environment during the all period of time.

The main conception of the installation is to create the second alternative scale inside the internal space of the office. It was realized screen projection for this with the size of 18×4 meters and taken almost whole the length of the interior. The Animated surface was projected as the extension of the super-graphic situated on the facade of office`s building. The external graphic was created by Vladimir Garanin. The first one layer is the super-graphic onto the facade and another one layer is the real-time generative graphic inside the interior. The visual image and algorithmic sound of the whole structure are connected each other and are forming the whole organism.

EBBETO

ANALOG

What if… a mechanical “God” created Adam and Eve?

ANALOG tells the tale of a machine traveling in deep-space which has as a primary function the preservation of a living organism: a man. Strange events with biblical analogies begin to occur, disturbing the machine and making it rethink it’s priorities.The film was made under an extreme low-budget condition and was only made possible due to the dedication of a hand full of people that believed in the project and gave their hearts and souls to make it come to life.
To them, all my respect and gratitude.