Performed Sep. 27-28th 2019 @Platform-L, Seoul, Korea
Performed Sep. 27-28th 2019 @Platform-L, Seoul, Korea
EEUWIG ZIJN VRIENDELIJK
LaTurbo Avedon brengt de muziek van Myriam Bleau in een audiovisuele performance op meerdere platforms. Eternity Be Kind legt de gecodificeerde ruimtes van de uitvoering bloot en hints naar een andere toekomst voor persoonlijke en muzikale representatie. Varend tussen hyperpop, mythische symboliek en barokke hints, stellen de kunstenaars een gelaagde ervaring voor van collectieve mise en abyme.
Water Made Active
Onze op maat gemaakte “regeninstallatie” druppelde water in volledige volgorde en harmonie. Het reconstrueerde de figuur van een echte atleet in een vloeibare animatie. Elke unit bevatte 64 liter water, met 8 units tegelijk. Dit betekende dat we een halve ton water gebruikten om het hele systeem bij elkaar te brengen. Om het waterkarakter levensecht te maken, hebben we een menselijke atleet in beweging vastgelegd die rent, springt en kickboksen. Vervolgens vertelden gegevens van de bewegingsregistratie het waterplatform wanneer de sproeiers aan en uit moesten worden gezet. De waterdruppels gingen aan en uit met een reeks van 2048 schakelaars. Het team gebruikte flitslicht om de waterdruppels in de lucht te verlichten en “op te hangen”. Dit betekende dat elk frame een nauwkeurigheid van millimeters en microseconden had. Als resultaat hebben we in slechts een microseconde een hele laag door het hele systeem gestuurd.
olaris 2020 is een led-gordijn ter grootte van een muurschildering die een spectaculair, lichtgevend ecosysteem afschermt dat bevolkt is met bloemen van kwallen. Gemaakt met een computerprogramma dat vaak wordt gebruikt in videogameplatforms, presenteert de screening een digitale simulatie van een unieke mariene omgeving – een geheel door land omgeven lichaam van zout en regenwater dat meer dan 11.000 jaar geleden is gevormd, gelegen voor de kust van Kalimantan, Indonesië. Deze kwallensoorten zijn vrij van roofdieren en kunnen gedijen in warme wateren. Ze hebben zich anders ontwikkeld, waardoor wetenschappelijke gemeenschappen een levend laboratorium hebben voor het bestuderen van de mogelijke effecten die klimaatverandering kan hebben op mariene systemen.
Eternity Be Kind
LaTurbo Avedon performs Myriam Bleau’s music in a multiplatform audiovisual performance. Eternity Be Kind exposes the codified spaces of performance and hints at a different future for personal and musical representation. Navigating between hyper-pop, mythical symbolism and baroque hints, the artists propose a multilayered experience of collective mise en abyme.
Xu Zhen is one of the most interesting and promising artists working in China today. An irreverent artist with a voracious appetite for global information and a unique ability to produce work across multiple platforms and media.Xu Zhen is a conceptual artist whose work often takes the form of provocative sculptures, installations and interventions that confront sociopolitical taboos in contemporary China and freely manipulate western expectations of Chinese art and commerce.
No Longer Write – Mochiji
Powered by artificial intelligence’s Generative Adversarial Networks (GANs), the collected works from ancient Chinese Calligraphers, including Wang Xizhi, Dong Qichang, Rao Jie, Su Shi, Huang Tingjian, Wang Yangming, as input data for deep learning. Strokes, scripts and style of the masters are blended and visualized in “Mochiji”, a Chinese literature work paying tribute to Wang Xizhi. Wang is famous for his hard work in the pursuit of Chinese calligraphy. He kept practicing calligraphy near the pond and eventually turned the pond for brush washing into an ink pond (Mochi). The artwork provides a platform for participants to write and record their handwriting. After a participant finished writing the randomly assigned script from “Mochiji”, the input process is completed and the deep learning process will begin. The newly collected scripts will be displayed on the screen like floating ink on the pond, and slowly merge with other collected data to present a newly learnt script. The ink pond imitates process of machine learning, which observes, compares and filters inputs through layers of image and text, to form a modern edition of “Mochiji”.
不再写 – Mochiji
O projeto “Paradoxal Sleep” integra uma série de obras na qual grandes cubos robotizados, medindo 2,25 m3, funcionam como estruturas flutuantes usadas como plataformas para vários projetos multimídia e performances. No FILE 2012, a equipe da NXI GESTATIO apresentará um único cubo que irá se mover nos espaços expositivos. O cubo reajustará constantemente sua posição medindo a distância entre as paredes ao redor.
The “Paradoxal Sleep” project integrates a series of works in which large robotic cubes, measuring 2.25 m3, function as floating structures used as platforms for various multimedia projects and performances. At FILE 2012, the NXI GESTATIO team will present a single cube that will move in the exhibition spaces. The cube will constantly readjust its position by measuring the distance between the surrounding walls.
Xu Zhen is one of the most interesting and promising artists in China today. Xu Zhen is a conceptual painter and a conceptual painter. His works often take the form of provocative sculptures, installations and interventions. Faced with contemporary China and China’s social and political taboos, this is a tenacious artist. There is a strong demand for global information and the unique ability to produce works across multiple platforms and media.
Xu Zhen è uno degli artisti più interessanti e promettenti in Cina oggi. Xu Zhen è un pittore concettuale e un pittore concettuale. Le sue opere assumono spesso la forma di sculture, installazioni e interventi provocatori. Di fronte alla Cina contemporanea e ai tabù sociali e politici della Cina, questo è un artista tenace. C’è una forte richiesta di informazioni globali e la capacità unica di produrre opere su più piattaforme e media.
WORLD EXPO 2017 ASTANA
This surface is ultra-thin: just 6 mm of aluminum. If an egg were scaled up to the same height Minima | Maxima, it would be much thicker. Towards the base of the structure, the rolling surface begins to softly corrugate, its zig-zag angles gently rising into a full pleat as they meet the ground platform. The visual threshold of this transition — from pleated base to smooth and doubly-curved, continuous surface — is subtle, yet its structural effect is significant in achieving the height of 43′.
SPEKTRUM is an interplay of light, music and the performers. The use of projections in a theatrical context was a very pleasant experience for us, for when projections are used indoors, they can be controlled so precisely that amazing changes of perspective are possible. Once the stage is perceived as a platform, once as a white cube, once the spatial perception itself is completely challenged. As the three different elements of the performance merge into one unified language, SPEKTRUM is able to be many things at once: playful and yet fierce, touching and yet disturbing. Less a narrative than an emotional and sensory experience SPEKTRUM challenges the mind of the spectator in a quite a poetic way.
Work in progress
The motionless figure of an androgynous giantess occupies almost the entire gallery space in her entangled posture. On its body and around it, small scaffolding grows upwards. But the construction site is deserted. Only the figure, which resembles an avatar, remains in a calm state. A state of “being in between”. Between day and night. Between dream and reality or even between life and death? It almost seems as if the figure is still being brought back to life. One is inclined to think of Mary Shelley, whose novel character Victor Frankenstein created an artificial human being 200 years ago – in a time of great upheaval and discovery. Today we find ourselves once again at a turning point in society and technology, which makes us question ourselves as well as platforms on which we construct our selfs… Is that what Evelyn Bencicova and Enes Güç are alluding to here?
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.
Skogen/The forest is an interactive sound art exhibition created by Swedish composer Anders Lind in collaboration with Swedish scenographer Ulla Karlsson. THE FOREST is created as a multiplayer orchestra platform for novices (or experts). Within THE FOREST the visitors becomes orchestra performers ready to explore preprocessed sounds from the Swedish forest in combination with sounds from a traditional symphony orchestra. THE FOREST was first exhibited at Norrlandsoperan, Umeå, Sweden in 2019.
“Alexander Sokurov’s desire to film The Russian Arch in one continuous take required extraordinary technical solutions. Since it is physically impossible to shoot more than twelve minutes of conventional film, we had to shoot on video. However, it was only the relatively recent arrival of 24p high definition compact cameras that offered the visual quality and the ability to make this film for theaters, including transferring the digital image to a 35mm negative.With the help of German specialists a complex portable platform was designed to meet the demands of the scenario which included precise architectural plans, highlighting the distance of 1300 meters covered by the course of the action. It was decided that the only way to move the camera would be to use a steadycam, although we could not be sure until after the final image that such a long steadycam shot would be possible, given the physical performance. extreme demanded from the German cinematographer, Tilman Büttner. After months of rehearsals, the 867 actors and extras, the three “live” orchestras all had to know their position and precise roles “. It’s just amazing.
On the site we envision a antagonistic dialogue between the seemingly biologic units and its abiotic architectural foundation. The units find a home intertwined amongst the predictable regularity of the steel configuration remeniscent of a deteriorating and outdated technological era whose remnants can be found scattered across downtown Los Angeles. These old industrial artifacts, derived from sheer function, act as an all too familiar platform by which the occupant interacts with this new synthetic ecological system. Throughout the site, we see the units stretched and twisted in an extraodinary demonstration of elasticity. In this way, the building lingers in a constant state of mediation between the past and the future; succombing to the complex configuration of the aggressive industrial creeper.
An interactive/media artwork for one person at a time. Each participant enters a large, dark space containing two circles of projected film imagery presented within an immersive sound environment. One image floats upon a disc of white sand and the other on a circle of white dust. Participants’ movements direct and affect the filmic image and spatialised audio experience. Throughout the work a layer of dust (an artificial life form) slowly eats away and infuses itself deep into the imagery and sound. Each person has 10 minutes alone with the work. Their movement through the space continually affects speed, quality, balance and flow within the work. At the end of the experience they are invited to climb a lit platform and cast dust back onto the images below.
A Monumental Offering of Potential Energy
Hill’s installation and performance, A Monumental Offering of Potential Energy (2016), places him atop a plywood platform embedded in the sculpture, which resembles a classic wooden roller coaster. Embodying the abstracted vehicle for which the track is laid, Hill’s physical presence in the work is undeniable and a central part of a 512-hour long performance that runs the course of the exhibition.
The Flat Arc
Intent: Experimenting artistic freedom on data, a road to explore possibilities of telling abstract yet emotional stories not with literature but visuals corresponding to datasets. Method: Generative visual parameters based on World Urbanization Prospects data are governed by real time image/video synthesis, with the help of graphic manipulative software platforms and creative coding.
“Arart” is an application that breathes life into objects. It links reality with the expressions delivered through mobile devices adding new stories and values to the real environment.
How will the impressions of the environment that surround us and the various objects that envelop our bodies change through “Arart”?
We propose “Arart” as a new platform of expression that can maintain a strong link with reality.
Cable Robot Simulator
Max-Planck-Institut für biologische Kybernetik
Eight steel cables, each with 1.4 tons of tensions, hold aloft a caged platform with a seat for one person. Using a wireless VR headset, that person can simulate experiences like flight while being zoomed in dozens of different ways. Eight retracting cables connected to a winch pull on the cage. It’s like a giant, flying VR jungle gym.
Pendulum Choir is an original choral piece for 9 A Cappella voices and 18 hydraulic jacks. The choir stands on tilting platforms, constituting a living, sonorous body. That body expresses itself through various physical states. Its plasticity varies at the mercy of its sonority. It varies between abstract sounds, repetitive sounds, and lyrical or narrative sounds. The bodies of the singers and their voices play with and against gravity. They brush and avoid each other creating subtle vocal polyphonies. Or, supported by electronic sounds, they break their cohesion and burst into lyrical flight or fold up into an obsessional and dark ritual. The organ travels from life to death in a robotic allegory where the technological complexity and the lyricism of the moving bodies combine into a work with Promethean accents.
Olga is part of a new generation of young women reshaping the art world from Barcelona. Using social media platforms to gain creative traction, and either blurring the lines between creative genres, she describes herself as an “imager”. Fashion with a documentary edge, strange still-lifes against brightly colored backgrounds, and monochromatic arrangements of ordinary objects. Teo Sandigliano
Pushing further his exploration of a more intense and intimate relationship of the body to the force of gravity, Damien Jalet created “Skid” (2017) for the Gothenburg Dance Company. The dancers performed for 40 minutes on a 34 degree inclined platform of 40 square meters. Together with dancer Aimilios Arapoglou and other members of the company, they developed an alphabet of new physical possibilities, alternating control and surrendering, of accelerations and slow motions, to be performed alone or with partners.
Balance From Within
Jacob Tonski is a pragmatic optimist whose work explores dynamic balance through kinetic metaphors.
A self-adjusting platform makes everyone the same height, probing ideas of equality and the origins of power. A larger-than-life top spins about the room, wobbling through themes of pleasure, danger, youth and decay. A sofa teeters, standing on one leg, musing on the stability of the social structures we build.
These and other human-scale objects, both amusing and threatening, find an uncanny identity between toys and tools. The forces of time and gravity serve in these works as foils for those things we are powerless to direct in our lives, and with which we must instead dance and negotiate.
The bridge is made of five circular platforms, and it contributes to a larger circle that will form a pedestrian route around Copenhagen Harbour, where people – cycling, running, walking – can see the city from a very different perspective. As many as 5,000 people will cross this bridge each day. I hope that these people will use Cirkelbroen as a meeting place, and that the zigzag design of the bridge will make them reduce their speed and take a break. To hesitate on our way is to engage in bodily thought. I see such introspection as an essential part of a vibrant city
rue to her artistic values, the piece emphasizes balance, movement and gravity. ‘intuit’ is a 25 foot long collapsible teeter totter with a beam rotating on an axis 5 feet off the ground. two dancers balance on either side of the platform, responding to the movements of one another; any shift made by either individual has a great effect upon the equilibrium of the structure. bailey developed ‘intuit’ through performance, drawing, maquettes, sculpture, photographs and video.
The Blur Building (an architecture of atmosphere)
The Blur Building is a media pavilion for Swiss EXPO 2002 at the base of Lake Neuchatel in Yverdon-les-Bains, Switzerland.From piles in the water, a tensegrity system of rectilinear struts and diagonal rods cantilevers out over the lake. Ramps and walkways weave through the tensegrity system, some of them providing a counterweight for the structure. The form is based on the work of Buckminster Fuller.The pavilion is made of filtered lake water shot as a fine mist through 13,000 fog nozzles creating an artificial cloud that measures 300 feet wide by 200 feet deep by 65 feet high. A built-in weather station controls fog output in response to shifting climatic conditions such as temperature, humidity, wind direction, and wind speed.The public can approach Blur via a ramped bridge. The 400 foot long ramp deposits visitors at the center of the fog mass onto a large open-air platform where movement is unregulated. Visual and acoustical references are erased along the journey toward the fog leaving only an optical “white-out” and the “white-noise” of pulsing water nozzles. Prior to entering the cloud, each visitor responds to a questionnaire/character profile and receives a “braincoat” (smart raincoat). The coat is used as protection from the wet environment and storage of the personality data for communication with the cloud’s computer network. Using tracking and location technologies, each visitor’s position can be identified and their character profiles compared to any other visitor.In the Glass Box, a space surrounded by glass on six sides, visitors experience a “sense of physical suspension only heightened by an occasional opening in the fog.” As visitors pass one another, their coats compare profiles and change color indicating the degree of attraction or repulsion, much like an involuntary blush – red for affinity, green for antipathy. The system allows interaction among 400 visitors at any time.Visitors can climb another level to the Angel Bar at the summit. The final ascent resembles the sensation of flight as one pierces through the cloud layer to the open sky. Here, visitors relax, take in the view, and choose from a large selection of commercial waters, municipal waters from world capitals, and glacial waters. At night, the fog will function as a dynamic and thick video screen.
The Crazyflie quadcopter was started late 2009 as a competence development project in the Swedish consulting company Epsilon AB in which all three of us where employed. This project was done on our free-time with component cost handled by Epsilon. In 2010 we finally decided to send to a video of the Crazyflie to Hackaday.com and that’s when things really took off. More development was done and we decided to make a Crazyflie kit that could be manufactured and sold as an open source development platform. To finance the development and manufacturing of the kit we created Bitcraze AB. At this point we felt that the project had outgrown the Daedalus Projects and decided to launch Bitcraze.se. The Daedalus projects website still exists to show off and advertise other Epsilon competence development project but the Crazyflie now lives in Bitcraze.Crazyflie is a small quadcopter that stated with a simple idea: get an electronic board to fly. We are three electronic engineer from Sweden and we wanted to make a small flying machine that could fly indoor (Sweden is often cold outside ) and with as few mechanical parts as possible. The result of this idea was a small quadcopter that uses its electronic board as main mechanical frame and with motors glued to the PCB:This fist prototype was as simple as possible while following our initial target to be small with the minimum of mechanical thought. After a couple of month of programming and debugging it actually flew and had some success when Hackaday featured it. This prototype was however a lot more frustrating to fly then it appears: each crash was potentially fatal for one or many motors. That made it quite stressful to fly as it would not allow mistake and we eventually broke all 3 prototypes (the red board is the 2.4GHz radio and was also a weak point).
Arcelor Mittal Orbit
Award winning London-based artist Anish Kapoor has been given the commission of a lifetime to design the spectacular new public attraction in the Olympic Park. The stunning artwork, to be entitled ‘The ArcelorMittal Orbit’, will ensure the Park remains an unrivalled visitor destination following the 2012 Games, providing the key Olympic legacy Mayor of London Boris Johnson envisaged for the East End.The breathtaking sculpture – thought to be the tallest in the UK – will consist of a continuous looping lattice of tubular steel. Standing at a gigantic 115m, it will be 22m taller than the Statue of Liberty in New York and offer unparalleled views of the entire 250 acres of the Olympic Park and London’s skyline from a special viewing platform. Visitors will be able to take a trip up the statuesque structure in a huge lift and will have the option of walking down the spiralling staircase.One of the world’s most distinguished contemporary artists, Turner Prize winning Anish Kapoor studied in London, where he is now based. He is well known for his use of rich pigment and imposing, yet popular works, such as the vast, fleshy and trumpet-like Marsyas, which filled the Tate’s Turbine Hall as part of the Unilever Series, the giant reflecting, pod like sculpture Cloud Gate in Chicago’s Millennium Park and his recent record breaking show at the Royal Academy, the most successful exhibition ever presented by a contemporary artist in London.