Ei Wada

Toki Ori Ori Nasu – Falling Records

FILE FESTIVAL


In this work, open reel tape recorders are placed on top of high pedestals and, as they play back, the magnetic tape unspools down into plastic receptacle below. The tape that accumulates in the container piles up as time passes, weaving an unusual pattern in the space. When the tape stops accumulating it is wound back up at high speed to a symphonic soundtrack. The pattern that had existed until then is extinguished and a new pattern is then woven.

William Bondin

Morphs
MORPHs, short for Mobile Reconfigurable Polyhedra, are motive architectural structures which can crawl and self-assemble in order to encourage social interaction through play. These playful robotic creatures encourage the public to choreograph them into dance routines, assemble them into complex sculptural geometries or else play music at them, which they will play back over time. Groups of people can interact at any one time and eventually develop a dialogue amongst participants, through the use of contemporary digital technology.

Behnaz Farahi

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

TERMINALBEACH

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.

DILLER SCOFIDIO + RENFRO

SLOW HOUSE

To either side of the “picture window” are two antenna-like stacks: the chimney is to the right, the video apparatus to the left. At the summit of the left stack sits a live video camera directed at the water view and feeding the monitor in front of the picture window. The electronic view is operable; the camera can pan or zoom by remote control. When recorded, the view may be deferred— day played back at night, fair weather played back in foul. The composite view formed by the screen in front of the picture window is always out of register, collapsing the opposition between the authentic and mediated.

Anish Kapoor

Destierro
Destierro – which translates from Spanish into ‘exile’[…] features three installations that see Kapoor veering back towards his signature style of work with pigmented powder. However, unlike his previous work, the three pieces on display in Argentina shine a spotlight on the global migration crisis marking a change in direction for Kapoor who has, up until recently, shied away from making political work.

OLAFUR ELIASSON

Algenfenster
Algenfenster ist eine Anordnung von Glaskugeln, die in einer Wand montiert sind. Direkt hinter der Wand und den Kugeln befindet sich ein Fenster; So erscheinen in jeder Sphäre lebendige, invertierte Miniaturansichten der Szene außerhalb der Galerie und bewohnen sie. Die Zusammensetzung der Arbeit ähnelt stark der Struktur eines Typs einzelliger Algen, die als Kieselalgen bekannt sind und große Mengen Kohlenstoff aus der Atmosphäre entfernen.

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Janela de algas
A janela de algas é um arranjo de esferas de vidro que são montadas em uma parede. Há uma janela logo atrás da parede e das bolas; Assim, em cada esfera, miniaturas vivas e invertidas da cena aparecem fora da galeria e a habitam. A composição da obra se assemelha muito à estrutura de um tipo de alga unicelular conhecida como diatomácea, que remove grandes quantidades de carbono da atmosfera.

 

Jim Chen-Hsiang Hu

Hu atualmente aplica suas técnicas ao reino da moda, mas não necessariamente vê a tecelagem em 3D como algo restrito a esse campo. Ele diz: “Poderia ter um futuro possivelmente menos associado à moda … seria este o ponto de partida da arquitetura superleve?” Apropriadamente, o mais novo empreendimento de Hu é chamado de One More Dimension, como ele disse à 1 Granary Magazine em uma entrevista: “Eu queria introduzir mais um ângulo ou dimensão no design.” Ele explicou: “Visualmente, isso aparece como uma terceira dimensão nas roupas”. As peças de Hu refletem essa diversidade de material, textura e densidade. Certos artigos são mais parecidos com vestidos tradicionais, exceto por uma ou duas esculturas de tecido saliente, enquanto outros usam a técnica 3D para criar grandes faixas de tecido em malha, simulando golas de capuz exageradas ou delicadas, máscaras faciais e véus de renda. Essas peças de tecido vermelho são um jogo delicado e deliberado, alternando entre semissólido e vazio, tecido e rede, ao mesmo tempo que confunde os limites entre a superfície, a frente e o verso.

Shiro Takatani

ST/LL
ST/LL opens on a stage with a long set table, perpendicularly to the orchestra, under the eyes of the audience; on the sides of the table there are some chairs. On the background, coinciding with the inner extremity of the table, there is a projection screen developing vertically, like a painting that evokes the Japanese pictorial tradition. The perimeter of the stage is covered with a veil of water, in which everything reverberates. The whole visual structure of the work develops all around this diaphanous dimension. A man enters the scene and carries out actions on the table: he moves the cutlery, changes the position of the chairs, makes tiny gestures, which let the audience foretell that an action played on the visible will develop. To the sound of a metronome, two women and then a third one enter the scene and sit at the table making gestures that imitate a meal without food.

Yuge Zhou

Midtown Flutter
Midtown becomes a flattened, uniform construct for this play of texture, rhythm and interruptions.My installation is inspired by the concept of architectural relief (a technique where the sculpted elements remain attached but raised above the background plane). Audiences experience a gradual shift in the appearance and depth of the installation from a flat image to a three-dimensional view with protruding geometric shapes.

Ben Katz & Jared Di Carlo

The Rubik’s Contraption
“That was a Rubik’s cube being solved in 0.38 seconds. The time is from the moment the keypress is registered on the computer, to when the last face is flipped. It includes image capture and computation time, as well as actually moving the cube. The motion time is ~335 ms, and the remaining time image acquisition and computation. For reference, the current world record is/was 0.637 seconds. The machine can definitely go faster, but the tuning process is really time consuming since debugging needs to be done with the high speed camera, and mistakes often break the cube or blow up FETs. Looking at the high-speed video, each 90 degree move takes ~10 ms, but the machine is actually only doing a move every ~15 ms. For the time being, Jared and I have both lost interest in playing the tuning game, but we might come back to it eventually and shave off another 100 ms or so.” Ben Katz

Iannis Xenakis

Oresteia Opera

Scored for soloists, mixed chorus, children’s chorus and chamber ensemble, Iannis Xenakis’ music for Oresteia has been cited as “ruggedly dissonant” since its 1987 première in Sicily. A wooden-planked stage is empty save three platforms, one each for the chamber players and percussion, another for a drummer on a separate perch. On a high screen to start, a loop video shows an almost-naked woman stretched out face down in a bathtub who is being hosed down uninterruptedly with water. No forewarning, and the clip changes to a thick forest, a small girl being physically abused by an adult man. While the same video images reappear at the end of the opera, but it’s nebulous soft-edged shapes –mood landscapes as it were – that are the usual backdrop for the 90-minute piece.

 

JULIAN OLIVER

朱利安·奥利弗
줄리안 올리버
ג’וליאן אוליבר
ジュリアン・オリバー
Джулиан Оливер
Levelhead
FILE FESTIVAL
LevelHead is a spatial memory game. The game takes its inspiration from the “Philosphical Toys” of 18th/19th century Europe and the memory systems (“memory loci”) of the ancient Greeks. levelHead uses a hand-held solid-plastic cube as its only interface. On-screen it appears that each face of the cube contains a little room, each of which are logically connected by doors. In one of these rooms is a character. By tilting the cube, the player directs this character from room to room in an effort to find the exit. Some doors lead nowhere and will send the character back to the room they started in, a trick designed to challenge the player’s spatial memory. Which doors belong to which rooms? There are three cubes (levels) in all, each of them connected by a single door. Players have as a goal to move the character from room to room, cube to cube, in an attempt to find the final exit door of all three cubes. If this door is found, the character will appear to leave the cube, walk across the table surface and vanish. Then the game starts over.

Índice

Jonattas Poltronieri, Luis Mello, Pedro Venetucci & Rofli Sanches
Phantom Limb

Just like the original box, the installation is a rectangular unit where the user inserts his arm and is urged to move it in different ways. The similarity with the original object disappears as, instead of having a mirror to provide the image that motivates the interaction, there is a screen that mediates the user’s view and the place where his arm actually is. The displayed image of the user’s arm can be reversed, distorted and coloured, among several modifications to simulate in a rich way the strangeness of not having control over a member, and to question whether what is seen is an accurate portrayal of the real body. Although deep and subjective, the topic addressed in this experience is easy and accessible in its interaction, offering various sensory feedbacks to the user. Through it, it is proposed that we experience and reflect upon the disconnection between thought and body, intention and action, sensation and reality.

 

FILE SAO PAULO 2015

Kouichi Okamoto

Re Rain
“Re-rain” is a sound installation expressing non-visible elements such as gravity, magnetic force, and sound as physical elements. This installation is created with the sound of rain sampled in Japan early spring of 2016.The sound of raindrops hitting an umbrella are recorded, and is then played back from a speaker. The umbrella is set on top of a speaker, and the vibration of the speaker is transmitted through the umbrella to make a sound. For example, an umbrella cannot vibrate if the magnetic force of the speaker is small or if the rain hitting the umbrella is either too high or too low in pitch extent. For this reason, this is a device picking out a state in which the magnetic force of the speaker, weight of the umbrella, and pitch extent of sound are all in a balanced state. Natural phenomena such as rain travels through an object and is emitted as sound to the air..

Anne-Sarah Le Meur & Jean-Jacques Birgé

Omni-Vermille
Omni-Vermille is based on computer-generated real-time 3D images. The programmed code allows light spots to oscillate against a dark background. The colors sometimes move dynamically, sometimes calmly across the projection surface; sometimes they evoke plasticity, sometimes depth. This continuous metamorphosis endows the contents of the images with a sensual, even lively quality. The metamorphosis designed by algorithms opens up a new time-based morphology of colors and forms for painting. The play of colors is accompanied by a stereophonic sound composition by Jean-Jacques Birgé (*1952, France). The sounds follow the shapes of the colors, only to stand out again the next moment: the combination of sound and image results entirely from the laws of random simultaneity.

László Moholy-Nagy

Light Space Modulator

“This piece of lighting equipment is a device used for demonstrating both plays of light and manifestations of movement. The model consists of a cube-like body or box, 120 x 120 cm in size, with a circular opening (stage opening) at its front side. On the back of the panel, mounted around the opening are a number of yellow, green, blue, rot, and white-toned electric bulbs (approximately 70 illuminating bulbs of 15 watts each, and 5 headlamps of 100 watts). Located inside the body, parallel to its front side, is a second panel; this panel too, bears a circular opening about which are mounted electric lightbulbs of different colors. In accordance with a predetermined plan, individual bulbs glow at different points. They illuminate a continually moving mechanism built of partly translucent, partly transparent, and partly fretted materials, in order to cause the best possible play of shadow formations on the back wall of the closed box”. László Moholy-Nagy

ELECTRONICOS FANTASTICOS!

Electro-Magnetic Band
Barcodress/Barcodance
ELECTRONICOS FANTASTICOS! project has been reincarnating various retired consumer electronics as musical instruments such as Electric Fan Harp, CRT-TV Drums, Air Conditioner Harp etc. The band plays them by catching electromagnetic waves. The Barcodress project aims to create the new kind of dance performance. The clothes which recorded sounds as striped patterns, and dancers, and the performers who scan the clothes, together make electric sound waves in real time. By expanding the principles of sound recording and playback to the body, we explore new possibilities for music and dance expression.

Signe Lidén and Espen Sommer Eide

Vertical Studies
Vertical Studies: Acoustic Shadows and Boundary Reflections; Water Tower Sint Jansklooster In their new collaborative work, Vertical Studies: Acoustic Shadows and Boundary Reflections, Signe Lidén and Espen Sommer invite participants on a journey to a 46-metre-high abandoned water tower in Sint Jansklooster. The tower has been re-imagined as a vertical field-lab where Lidén and Sommer discuss their ongoing research into connections between sound, history, wind and weather. To this end they have constructed a range of special instruments to record and playback sounds in the vertical dimension. The participants on this journey will experience live outdoor vertical studies and a vertical soundscape shaped by Eide and Lidén that ascends the tower’s spiral staircase.

JORIS STRIJBOS

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.

Nicholas Stedman

After Deep Blue

ADB is a modular robot designed for tactile interactions with people. It is composed of a chain of prism-shaped robotic modules. Through the modules’ coordinated behavior, the robot writhes, wriggles and twists in response to the presence of skin and force. The robot is animated only when actively engaged by a person, otherwise it is at rest. Stroking, rubbing or grasping ADB results in it pushing back, retreating or occasionally grasping onto a body part, depending on the combination of stimulus. Participants may experience the object at their leisure. They can play with the device, exploring how it feels, and how it responds to their touch.

Jorinder Voigt

Jorinde Voigt is a contemporary German artist. Known for her coded drawing installations which resemble algorithms or sound waves, Voigt’s background in music and philosophical studies established her ongoing interest in probing scientific mapping processes. Throughout an inventive and playful drawing practice, her work visualizes thoughts and infinite spaces while examining the way in which information is represented visually.

Robin Baumgarten

line-wobbler
file 2019
‘Line Wobbler’ is a one-dimensional dungeon crawler with a custom controller made out of a steel spring and a five-metre long LED strip display. The entire game runs on an Arduino, with sound, particle effects and 120+fps. ‘Line Wobbler’ is an award-winning experiment in minimalism in game design, making use of novel input mechanics, retro sound, and the incorporation of physical architectural space into the game. In the game, players navigate obstacles and fight enemies to reach the exit, in a series of increasingly difficult levels. Movement is controlled by bending the Wobble controller forward and back, while enemies are attacked by flicking the spring at them. Obstacles such as lava fields, conveyor belts and slopes challenge the navigation skills of the player.

TANIA CANDIANI

CINCO VARIACIONES DE CIRCUNSTANCIAS FONICAS Y UNA PAUSA
Órgano [Organ] is a large-scale and site-specific interactive installation of a talking machine resembling a musical church organ. Originally installed at the Laboratorio Arte Alameda (LAA)–a former 17th-century church in downtown Mexico City–the device features two inputs: a musical keyboard and a typewriter. Each time users move to another line by striking the carriage-return lever on the typewriter, the words that have been typed are played back by means of a voice synthesizer. The musical keyboard, on the other hand, features a more complex system in which each key, music interval, and chord has been programmed to sound a specific syllable, comprising more than 2,000 syllables that make up the Spanish language. The latter programming has been translated into English, and more recently into Russian, for international exhibitions.

IANNIS XENAKIS

PITHOPRAKTA
During the 1950s and early 1960s‚ Iannis Xenakis represented an alternative avant­garde‚ with a radical approach to form and texture that rejected the serial mechanics of Boulez and Stockhausen‚ and involved a uniquely intense interpretation of ideas about probability and randomness. A world away from John Cage’s laid­back experiments[…] The two short orchestral works‚ Metastasis and Pithoprakta‚ are undoubtedly far more austere‚ more primitive in their overall effect‚ than the exuberant‚ hyperactive Eonta‚ whose ferociously demanding writing for piano and five brass players pulsates with the kind of creative energy that the orchestral pieces seek to suppress.

Fellini

Satyricon
Fellini Satyricon, or simply Satyricon, is a 1969 Italian fantasy drama film written and directed by Federico Fellini and loosely based on Petronius’s work Satyricon, written during the reign of Emperor Nero and set in imperial Rome. The film is divided into nine episodes, following Encolpius and his friend Ascyltus as they try to win the heart of a young boy named Gitón within a surreal and dream-like Roman landscape.
The film opens on a graffiticovered wall with Encolpius lamenting the loss of his lover Gitón to Ascyltus. Vowing to win him back, he learns at the Thermae that Ascyltus sold Gitón to the actor Vernacchio. At the theatre, he discovers Vernacchio and Gitón performing in a lewd play based on the “emperor’s miracle”: a slave’s hand is axed off and replaced with a gold one. Encolpius storms the stage and reclaims Gitón. On their return to Encolpius’s home in the Insula Felicles, a Roman tenement building, they walk through the vast Roman brothel known as the Lupanare, observing numerous sensual scenes. They fall asleep after making love at Encolpius’s place. Ascyltus sneaks into the room, waking Encolpius with a whiplash. Since both share the tenement room, Encolpius proposes they divide up their property and separate. Ascyltus mockingly suggests they split Gitón in half. Encolpius is driven to suicidal despair, however, when Gitón decides to leave with Ascyltus. At that moment, an earthquake destroys the tenement.

Jon Noorlander

Knitted
After his organic digital sculptures, Swedish graphic designer and director Jon Noorlander comes back with a similar series titled Knitted. Still digitally, thanks to 3D modelisation softwares like Houdini et Nuke, he imagined abstract, free and organic shapes that make us think of wool threads, playing with different colors gradations.

SANTIAGO SIERRA

VETERANS OF THE WARS OF YOUGOSLAVIA, BOSNIA, KOSOVO, SERBIA & SOMALIA FACING THE CORNER
Santiago Sierra’s third solo exhibition at Team Gallery, Veterans, displays nine photographs of war veterans standing in corners. All that is visible are the backs of their bodies; their hands are clasped either behind or in front of them. Some are in uniform, and some are not. Some are accessorized, wearing for example, a watch or cowboy hat. One veteran in particular stands in plain clothes holding a cane, signifying a possible combat wound.

ROBERT WILSON, WILLIAM BURROUGHS AND TOM WAITS

The Black Rider
The Black Rider is in twelve parts and a prologue. I had the idea that there would be indoor and outdoor scenes, man-made and natural environments, and that the scenes would alternate. I made a prologue to introduce the company. It begins with a black box standing up. The devil and the entire company come out of the box until they all stand in a line in front of the stage, as in a circus where all artists are introduced at the beginning. Then the devil sings a song: “Come on along with the Black Rider, we’ll have a gay old time. Take off your skin and dance around in your bones. I’ll drink your blood like wine. Come on along with the Black Rider, we’ll have a gay old time…” Anyways, the audience gets a certain idea what the piece is going to be like. Then the characters disappear and the black box gets bigger and bigger, until the whole stage is engulfed in this black spot. The first scene takes place in the interior of a room, with an old family portrait on the back wall – played by an actor.

Patty Carroll

ПАТТИ КЭРРОЛЛ
帕蒂·卡罗尔
Anonymous Women: Draped
Empress

“Photographers observe, comment, criticize, and make fun of the worlds we live in by interacting with reality, and visibly displaying those perceptions in images. My training was as a straight, documentary photographer, but I stray back into the studio to make up fictional worlds.”

Ralf Baecker

Putting The Pieces Back Together Again

The kinetic installation “Putting the Pieces Back Together Again” is a complex system with self-organizing and emergent behaviour, at the same time it is an artistic inquiry and meditation on contemporary scientific methodology. The installation investigates non-hierarchical communication and collective behaviour by implementing such a system physically through many electro-mechanical actors.
The Installation consists of 1250 stepper motors arranged in a two dimensional grid of two by two meters. Each motor is equipped with a pointer made from white acrylic glass. The radii of the pointers are chosen to intersect with the pointers of its neighbours. All motors are excited with the same alternating current that let them move initially in a random direction. Each actor is at the same time sensing its environment. In the event of a collision the pointers reverse their turning direction. This is achieved through a custom motor control circuit. Through the interplay of many entities a complex behaviour emerges on the surface of the installation. By manipulating the signals during runtime the system will form spontaneous pattern on its surface. It seems like they are negotiating it’s position with nearby actors. By this the system is showing behaviour of self-organization. The installation drifts through various activation levels during its run time by this it constantly evolves new formations and constellations (crystallization).

Oculus Story Studio

Dear Angelica
FILE BELO HORIZONTE 2018

Eine Reise durch die magischen und traumhaften Wege, auf denen wir uns an unsere Lieben erinnern. “Dear Angelica” wird vollständig von Hand in VR gemalt und spielt in einer Reihe von Erinnerungen, die sich um dich herum entfalten.

Burning Man

2017
حرق رجل
燃烧的人
バーニングマン
ГОРЯЩИЙ ЧЕЛОВЕК
Hyperlapse

Burning Man is much more than just a temporary community. It’s a city in the desert, dedicated to radical self reliance, radical self-expression and art. Innovative sculpture, installations, performance, theme camps, art cars and costumes all flower from the playa and spread to our communities and back again. In this section you will learn what you need to know about creating art for the playa, find out all about this year’s art installations, read essays about Burning Man and art from both staff and participants, and revisit some past off-playa art events and exhibitions.

Carla Gannis

Garden of Emoji Delights
FILE SAO PAULO 2015 

The Garden of Earthly Delights Triptych is one of the most famous works by the Dutch painter Hyeronimus Bosch. It dates back to the end of the fifteenth century and is kept in the Prado Museum in Madrid. The Triptych of the Garden of Emoji Delights is the version created by the contemporary artist Carla Gannis, in which space is invaded by small icons that today – thanks to the WhatsApp effect – are becoming an increasingly significant component of our language. It is not the first time that artists have played with emojis, perhaps inserting them in the real world or using them as neo-hieroglyphic fragments for cinematic riddles.

Stephen Cornford

Binatone Galaxy

An installation for used cassette players which looks on their obsolescence not as an ending, but as an opportunity to reconsider their functional potential. Superseded as playback devices, they become instruments in their own right. Replacing the prerecorded content of each tape with a microphone gives us the chance to listen instead to the rhythmic and resonant properties of these once ubiquitous plastic shells. Binatone Galaxy brings the framework within which a generation purchased their favourite records to the centre of attention, revealing the acoustics of the cassette and the voices of the machines themselves.“On the walls of a white room, brightly illuminated with natural light, Stephen Cornford, and artist who describes his work as existing “at the intersection of sculpture and music”, has mounted some 30 old cassette recorders. Models from Boots, Sanyo, Robotic, one lone and gorgeously named Binatone Galaxy: they all hang on the walls, wired up, tapes loaded and ready for action. Smitten by an attack of technological melancholia, the visitor can wonder who owned these things, what pop charts did these machines once record? Were they ever placed next to pillows, late at night for surreptitious listening pleasures? What happened to the voices that once rubbed the magnetic heads of these little machines? For some artists, the speed (and resulting impact) of obsolescence on the technology we once took for granted has spawned a form of fetishism, in which the voices – the human agency – they once recorded exist in an alternate, ghostly dimension, a reminder of what once was. This is not Cornford’s theme. The fact that each audio cassette in his machines is fitted with a motion sensor and a contact mic, so that, on entry the machines whirr into action, indicates that Binatone Galaxy is very much of the here and now. Yes, Cornford has chosen old, cheap and accessible technology with which to realise this, but I suspect that he is aiming for a furrruuuzzy audio intimacy.

KRZYSZTOF WODICZKO

Dis-Armor Project

Dis-Armor is the newest in a series of psychocultural prosthetic equipment designed to meet the communicative need of the alienated, traumatized, and silenced residents of today’s cities. It connects contemporary research in two fields: wearable communi- cation technology and prosthetics. In doing so, it counters the dichotomy of the present explosion in communication technology and rampant cultural miscommunication. Dis-Armor offers an opportunity for indirect, mediated communication by allowing its users to speak through their backs. LCD screens, worn on the back, display live images of the wearer’s eyes transmitted from cameras installed in the helmet covering the face. A speaker positioned below the LCD screens amplifies the user’s voice. Attached to the helmet is a rearview mirror, alternatively, a rearview video camera, monitor, microphone, and headphone. These permit the user to see the face and hear the words of the spectator/interlocutor standing behind. Wireless video equipment installed in the helmet further allows two users to work in tandem, showing each other the other’s eyes and broadcasting to each the other’s voice.

JONAS BOHATSCH

vinyl+ • Expanded Timecode Vinyl
FILE FESTIVAL

A processing sketch is used to generate virtual objects being projected on white timecode-vinyl. These objects can either be placed randomly or by the user via the computer keyboard or an external midi controller. If the record starts to turn, the virtual objects will move with the speed of the record. If a virtual object touches the turntables needle, it will trigger an animation and the playback of a sound. This is possible because the vinyl’s timecode provides information about the record’s playback speed and the position of the needle, thus enabling to synchronize the movement of the turntable with the movement of the projection and to calculate collisions of virtual objects with the turntable’s needle. In vinyl+, an analog medium at the same time acts as a carrier and an interface for virtual audio- and video-objects.

JIRO TAKAMATSU

高松次郎

Inspirée par des images d’ombres dans la peinture et les gravures sur bois japonaises du XIXe siècle, ainsi que par des ombres réelles projetées sur des portes coulissantes en papier dans des environnements domestiques, la série Shadow Painting de Takamatsu (1964–98) a étudié les fondements formels de la peinture à travers des représentations délicates de ombres (de clés ou de figures humaines) en émail et acrylique. La série rappelle également les empreintes figuratives laissées sur les murs laissés après la destruction nucléaire d’Hiroshima. Takamatsu s’est bridé à l’essentialisation du matériau et du médium au milieu du siècle, préférant plutôt un excès de l’ancien et, semblable à des artistes comme Eva Hesse, a créé des sculptures telles que Slack of Net (1968-1969) qui s’affaissaient et s’inclinaient sous l’effet de la gravité. Son Unicité du béton (1971) a pris la forme d’un gros bloc brisé en centaines de fragments, une ruine faite de monument qui contestait la suprématie du cube minimaliste.

GILES ASKHAM

Aquaplayne
file festival

Aquaplayne lays out a new field of expression by extending the framework for immediate experience. The horizontal plane bypasses recognition and “sets up” an interactive surface, making a play of art by providing the viewer with instant access to the creative flow. In the movement from observation to participation we interface with an intelligent canvas through the automatic rendering of action into effect. The “body in motion” plays across a field of sensation, making the ripples of possibility appear as an ever-changing artwork. Unlike the action painter, whose technique is to offload creative energy in the painterly gesture, the activator retrieves what has already been deposited as data and brings it to the surface, aquaplaning on a stream of information. The virtual is restored to the actuality of expression, brought back to life in the flux between cause and effect, between code and composition. The calibrated experience of Aquaplayne is the art of permutation, the programmed initiative played and replayed as the artwork in formation.

KEITH LAM

Moving Mario
file festival
“Moving Mario” definitely doesn’t reproduce Super Mario Bros in another way. By partially grabbing the concept and some of the key elements behind the TV game development, Moving Mario tries to challenge some of the traditional game elements. Throughout the gaming process, players can rethink the relationship between the player and the game. This work consists of basic set-up only: there isn’t any side-scroller or background scrolling. Moving Mario is actually demonstrating the mentioned concept and setting up a platform for players to visualize this concept while participating in it. Let’s move Mario!

TAKAHIRO MATSUO

تاكاهيرو ماتسو
松尾高弘
타카히로 마츠오
Такахиро Мацуо
Phantasm
file festival

To explore a fantasy world experienced sometime and somewhere in our memory. Phantasm is an interactive installation in which participants light up in a small dreamlike world in space. As you take hold of a glowing sphere that releases a pale light, the area lights up in pale blue light, and white butterflies appear from nowhere as a soft piano melody flows. Butterflies fly slowly and gloriously, gathering toward the sphere, and chase you as you move the sphere. The sphere is the key to the real world and fantasy. Participants can experience the nostalgia of playing with butterflies by moving around or holding the sphere in the air. Beautiful white butterflies draw wing strokes in the air as if they are symbols of a fantasy world; they delicately lead you into their world. If you cover the sphere with your hands to shut out the light, the butterflies gradually disappear, leaving silence and lingering light, bringing you back to reality. You will find yourself perplexed as if it were a fleeting dream. Technical statement of “Phantasm” LEDs are used as the light source for the sphere which is the interface, so that the sphere glows in uniformity and allows the interaction of participants hiding the light or releasing the light with their hands. Light, color tone, and the position of the sphere are monitored with a sensor camera placed on the ceiling, and by connecting with real time CG, the butterfly movements (appearance, disappearance, gathering, and chasing) become possible.

MUHARREM YILDIRIM AND DAVID TINAPPLE

Rotary Tumble
FILE FESTIVAL

“Rotary Tumble” ist ein Experiment zur Projektionsabbildung auf ein sich bewegendes materielles Objekt. Wir beginnen mit einer frei drehenden Scheibe, die der Betrachter von Hand berühren und drehen kann. Mit einem optischen Drehgeber erkennt das System die genaue Geschwindigkeit, Richtung und Position der sich drehenden Scheibe in Echtzeit. Diese Rückkopplungsdaten werden verwendet, um eine physikalische Simulation von taumelnden Formen anzutreiben, die dann auf die sich drehende Scheibe selbst projiziert wird.