Unreal

Lawrence’s accompanying soundtrack is a delicate lattice; complex, opaque and entirely synthetic. Diva’s yearning vocals, sung in English and Mandarin, cast classical melodies over billowing, intricately arranged songs. Her voice is created with a Vocaloid voice synthesiser, giving it an uncanny feeling. Her confessional lyrics draw empathy from the listener, as she reveals her fears of becoming an irrelevant influencer, obsolete in a machine-driven age.

The lead single ‘ unreal’ is launched with a harrowing video adapted from the film.

Chess Auto-Creative (Self-Replicating)
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‘Chess Auto-Creative (CHEAC)’, takes the form of a cube where each face corresponds to an 8 x 8 chessboard. The six chessboards can also be arranged in a line to make them easier to see. There are 16 white pieces and 16 black pieces on each of the chessboards, made up of elements such as: kings, queens, bishops, knights, castles and pawns, each of which moves according to the rules of the game. However, instead of the pieces being arranged as normal, they are first set out in patterns where each element is repeated […]Each time a piece is moved to a new position, symmetrically or asymmetrically, a new variation of proto-chess is produced – in other words, a new game emerges. All games generated in this way are, in principle, variations of proto-chess – including the official chess game itself. This means that ‘Chess Auto-Creative’ is not a variant of the official chess game, but its origin.

FILE SAO PAULO 2019

Chess Auto-Creative (Self-Replicating )
‘Chess Auto-Creative (CHEAC)’, takes the form of a cube where each face corresponds to an 8 x 8 chessboard. The six chessboards can also be arranged in a line to make them easier to see. There are 16 white pieces and 16 black pieces on each of the chessboards, made up of elements such as: kings, queens, bishops, knights, castles and pawns, each of which moves according to the rules of the game. However, instead of the pieces being arranged as normal, they are first set out in patterns where each element is repeated […]Each time a piece is moved to a new position, symmetrically or asymmetrically, a new variation of proto-chess is produced – in other words, a new game emerges. All games generated in this way are, in principle, variations of proto-chess – including the official chess game itself. This means that ‘Chess Auto-Creative’ is not a variant of the official chess game, but its origin.

FILE SAO PAULO 2019

The Source
The Source, an eight storey high kinetic sculpture, is the new symbol for the London Stock Exchange. Every morning, millions of viewers around the world will watch the installation come to life, signifying the opening of the London Markets.
“The Source is formed from a grid of cables arranged in a square, 162 cables in all, reaching eight stories to the glass roof. Nine spheres are mounted on each cable and are free to move independently up and down its length. In essence the spheres act like animated pixels, able to model any shape in three dimensions a fluid, dynamic, three dimensional television.Visitors to the atrium are greeted by this motion: its particles rising and falling, generating an infinite range of figurative and abstract shapes that rise, dissolve and reform at different heights in the atrium. The shape of the sun rising on a new day of trade, the names and positions of currently traded stocks, the DNA helix at the center of life formed by the work, and floating in the 32m void of the atrium.”

Inter – Lock
These units were then arranged on the site and divided into housing spaces as well as circulation and public spaces on the ground floors. The way that the original spatial units interlocked creates outdoor spaces that wrap into the mass of the building, allowing for the circulation of light and air deep into interior spaces.

The Wizard of Oz experiment

The Videoinstallation “The Wizard of Oz experiment” by Dennis Neuschaefer-Rube shows the movie „The Wizard of Oz“ 5829 times side by side. The movies are arranged in rows from left to right and time shifted by exactly one second each. The video starts at the top left, with the first second of the film and finishes bottom right with the last second of the film. The projection is in a that repeats every 98 minutes.
A computer voice speaks the whole subtitles of the film „The Wizard of Oz.“ in a 68-minute loop.

Your uncertain shadow
Five coloured spotlights, directed at a white wall, are arranged in a line on the floor: a green light positioned next to another green light, followed by a magenta light, an orange light, and, finally, a blue light. These colours combine to illuminate the wall with a bright white light. When the visitor enters the space, her projected shadow, by blocking each coloured light from a slightly different angle, appears on the wall as an array of five differently coloured silhouettes.

Beyond-human resonator
A large ring of bevelled glass, a pane of colour-effect filter glass, and an LED lamp are arranged before the wall, supported by a steel rod. The glass ring refracts, reflects, and disperses the light from the LED to create a painting on the wall with vivid bands of coloured light.

随机国际
future self

‘future self’ is a study in human movement. the installation captures movement in light to create a three dimensional ‘living sculpture’ based on the composite gestures surrounding it, mirroring the actions of those who pass around it. entirely hand-made, 30,000 LED lights line the brass rods which are arranged to create a structure reminiscent of a rectangular prism, 3D cameras record people’s motions which are expressed through a ghostly, illuminated image, constantly changing.

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

Particle Waves
“Particle Waves” is a kinetic sound sculpture comprising of a 4×3 grid of 12 individual kinetic bowls. Within each bowl contains tiny metal beads of various sizes, creating “noises“ as the bowl rotates in various angles. The noise from a single bowl forms collectively to become a soundscape, reminding us of waves and oceans. The bowls are arranged in a 4×3 grid and controlled as a whole by a microcontroller running a wave algorithm. This creates a continuous wave-like kinetic motion over the grid, at the same time creating a spatialized soundscape. This installation is a continuous attempt of exploring the correlation between sound and nature.

Fragments

Almost two hundred identical, small mirrors are arranged in a grid to form a flat, homogenous surface. Hung against the wall, the mirrors are closely spaced and apparently static; but they possess the ability to move in harmony with one another. Approaching the artwork, the individual mirrors turn together to face the onlooker, following as he or she moves. The plane of the surface distorts into varying, three-dimensional forms — perhaps a wave, or a curve, or a circle. The reflection becomes fragmented and the apparently inanimate object becomes akin to something organic and alive

ДЭНИЕЛ ФИРМАН
丹尼尔·菲尔曼
دانيال فيرمان
French-born artist Daniel Firman was born in 1966. He currently works and resides in Paris. His life-sized body cast plaster sculptures are particularly fascinating. In most cases, they are arranged in odd formations–balancing off of each other, crawling backwards or sideways–and on various suspensions–either up in the air or flopping over metal bars.

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

GK-0G – Floating Habitat

The GK-0G is the minimum size prototype of a scalable floating installation.
It is composed of five tetrahedral frameworks, its basic structural elements, arranged like sections of an orange. It is enveloped with a cover which acts as an interface between internal and external environments.Flotation is gained by tetra balloons inside the tetrahedral frameworks. As the only choice at this moment, helium is encapsulated inside the tetra balloons made of an impermeable film.This model is meant to verify that it can float and move in the air. It is considered that different degrees of flotation can be gained by combining tetra balloons in different ways.

IN MEMORIAM
Joachim Sauter

1959-2021

R.I.P

ART+COM Studios

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

Atmosphere
For Atmosphere, glass tubes filled with argon and neon simulated the color of the Arizona sky. Arranged as a column, these tubes altered the shadows of visitors, casting them in pillar-form. The space was designed to respond to the actions of its inhabitants, encouraging them to investigate, play with and probe the air.
video

The shimmering pulse
The installation consists of 451 independent modules arranged in a form of hexagon – each module reacts to light it receives by spinning iridescent disc that spreads out thanks to centrifugal force, creating a unique kinetic “physical pixel”. That field of shimmering pixels is combined with light projection mapped onto the installation surface to visualize real-time data of the traffic in the Shenzhen area – the hexagon is divided into sections corresponding the 9 city districts. As a result the public can observe and interact with the object that represents the pulse of life of the city in an artful and unexpected way.

Our Colour
Does colour change the way you feel? What does it feel like to be inside a rainbow? For the 2016 edition of the Bristol Biennial British artist Liz West invited visitors to drench themselves in the spectrum. West transformed architectural space and turned colour into an immersive and embodied experience by refracting light through carefully arranged coloured theatre gels. A vivid world was created, exploring human visual perception and how colour affects our emotions and our bodies.

Cellwise
Cellwise is a generative projection specifically designed for the city hall of The Hague. During the festival the city hall becomes the new habitat of a kind of ‘visual lifeform’. From the façade’s neatly arranged grid of white tiles, structures of a more entropic nature emerge. Shapes start growing, bursting, dripping, crawling and creeping. Cellwise is exploring the city hall’s sterile architecture, while at the same time challenging it to look for its visual counterpoints.

Two Hundred and Seventy
Through the combination of an everyday material with precise technology the mixed media installation fills the whole columned hall from the 19th century with its fluid movement and peculiar sound. Concavely arranged and floating above the spectators heads the form of the artwork seems to pass the skylight like the sun’s rays. Subdivided into nine columns, the nearly 70 square metres large piece of art follows a site-specific choreography determined by a program. Its moving surface is made from 270 white garbage bags, being inflated and deflated. In this way shapes and the boundaries of the installation itself start to dissolve. “Two Hundred and Seventy“ is the first installation with an undisguised view behind the scenes and onto the origin of the wavelike and organic movement: 1080 fans, lots of cables and 45 circuit boards

Avatars
For this installation, So Kanno + yang02 composed all kinds of differently sized objects, including a telephone, a traffic cone, a plaster figure, a car, and a plant. Cameras, microphones, monitors and microcomputers are embedded in everyday objects arranged in the exhibition space, and connected to the Internet. Visitors can experience the work by logging in to / “riding“ each object via a web browser. Those objects exist as substitutes of – yet together with – real human beings (the visitors) in the same real environment that is subject to physical laws, rather than operating in a virtual space. Against the backdrop of the age of IoT, where all kinds of things are connected through networks, and artificial intelligence is about to mature, this work observes the new relationships that emerge when inorganic, non-autonomous objects transform into persons that act and perceive the world according to their own intentions.

INTERFACE I
Interface I investigates the boundary between two interacting systems rendered into the physical. Each system is a compound of motors, strings and elastic bands arranged horizontally. The two units face each other vertically (one on the top, one on the bottom). Each motor of one level (top, bottom) is connected to its opponent with a string, meeting in the center. Both motors pull their string in the opposite direction (like in a tug of war). At the junction of the strings, a mesh of elastic bands connects the string to its neighbours. The mesh couples each element to its surrounding elements in order to achieve a local emergent behaviour.

light installation at St. Paul

The first image in this post is from a work – the most interesting – by Nuit Blanche. Robert Stadler’s installation in the Saint-Paul Saint-Louis Church. Upon entering the church, through a side door, the public sees only large luminous spheres, which appear to be randomly arranged. When going to the center of the church, however, the spheres form a big question mark on the altar.

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.

octopuss garden
Adeline Tan aka mightyellow is an illustrator and visual artist based in Singapore.Singapore is a modern city-state that people call the “garden city”. It is really like a garden, lots of arranged greenery and manmade stuff, not a lot of naturally occurring forests. Taking inspiration from personal experiences, the environment and popular culture, Adeline imagines alternate realities to current situations

Polytope
“Polytope” is a lightweight, tractable structure that engages the visitor in a space-bodily investigation. It is rigid and at the same time, tractable. A void which takes space. Its volume is juxtaposed and re-arranged through the action of the visitor.

FILE FESTIVAL

Карлом Кляйнером
Tulips Postures
Carl Kleiner creates sleek editorial content for fashion and lifestyle brands, and that sensibility shows in his photo and video series Postures which features artfully arranged tulips. Using minimal metal rods, bent at strategic ends and angles, Kleiner showcases the graceful curves of the flowers’ long necks and gently ruffled petals and leaves. A further sense of movement is instilled through the stop-motion video, which combines still photos of the blossoms’ subtle changes into a dramatic dance.

Untitled (to Barnett Newman) two
Dan Flavin was an American artist and pioneer of Minimalism, best known for his seminal installations of light fixtures. His illuminated sculptures offer a rigorous formal and conceptual investigation of space and light, wherein the artist arranged commercial fluorescent bulbs into differing geometric compositions. “I like art as thought better than art as work,” he once said. “I’ve always maintained this. It’s important to me that I don’t get my hands dirty. It’s not because I’m instinctively lazy. It’s a declaration: art is thought.”

吉冈德仁
吉岡徳仁
transparent mannequins
Considered ‘grid bodies’, or the ‘transparent body installation’ yoshioka has specially conceived these figures to highlight issey miyake’s garments. in room A, one finds the 1970s collections of miyake dressing figures composed out of 365 laser cut cardboard parts, arranged as a grid structure to create a futuristic human body. they are adorned by pieces that investigate miyake’s constant innovation in fabric-making, and his deep respect for tradition.

Luma Arles Tower
Atelier Vincent Hecht’s photos reveal the distinctive facade of the Luma Arles tower, which is finished with 11,000 aluminium panels irregularly arranged around its concrete and steel frame. Described by architecture critic Frank Miller as a “stainless-steel tornado”, the cladding was designed by Gehry to evoke the craggy limestone cliffs around the city for which it is known.

whispers
Blue lightening discs seem to hang freely in a darkened space. They’re the horns of five more than man-sized ceramic trumpets, arranged in various directions. The white inside is radiated with blacklight, as it turns out when your eyes have adapted to the darkness. The horns transmit words, fragments of sentences, laughter, alternated with noise and a strange crackles and sputters. Each trumpet has it’s own repertory of expressions, of which the meaning is hard to probe. And each has it’s own characteristic sound, due to their difference in length.

Black Box
‘Black Box’ presents a black wooden volume that is suspended in the exhibition space. The base of the object shows a hollow in the shape of a skull. When the visitor enters this cavity with his head, the status of the object switches into that of an interface. This device contains eight transducers which transfer spatialized audio onto the skull when in contact. The audio is invasive: the acoustic environment is rearranged across the limited space of one’s head in such a way that after a while nothing lasts but two milliseconds of the original realtime sample. What is left is a click that will hop across the inner side of your skull.

483 Lines
The artwork 483 lines magnifies this analogue video picture until it is 16 meters wide, and then folds this image several times so that it fits vertically into the gallery space, therein adding oscillations of depth into the image which can be activated by ‘tuning’ the projected video to match these waves. The strictly arranged lines can be illusionary, creating a confusing architecture of horizons, whilst the video played through it displays a parallel past, present and future.

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).

disc.o
File Festival

disc.o is a multiplayer music instrument with eight CD player and corresponding speakers
arranged in a circular spatial installation. Sequentially switched Light spots in combination with
graphical cutouts in the CDs are creating noise patterns based on the principle of optical sound.

Mobility
The installation spans a corridor of 7-metres width. On the left wall one hundred prosthetic hands arranged in a matrix revolve around their own vertical axis, the movements being controlled by motors. The mirrors they hold reflect the beam of a strong light across the space and onto the opposite wall. What initially seems like an asynchronous, chaotic pattern of movement soon reveals itself as a complex, computational choreography: at first the hundred light spots move around a central point, akin to the celestial dynamics of the planets or the flight pattern of a swarm of insects and creating the impression of a three-dimensional space. Then suddenly this organic oscillation converges to form a Chinese character denoting movement and action.

In 20 Steps
Amsterdam based Studio Drift has created In 20 Steps, an installation of moving glass bars, arranged in pairs and moving at different times to each other creating an impression of wings slowly flapping.In 20 Steps is a tribute to the human desire to be able to fly, despite the force of gravity and the poetry of persistence in the face of adversity. Studio Drift is intrigued by the continuous attempts of humankind to deal with its limitations, so miraculously opposed to nature as these ventures might be.

فيليب ستيرنز
Impact Study No. 1
Impact Study #1 is a light installation consisting of 24 white neon tubes of varying length. These tubes are installed along a wall, each oriented vertically and arranged according to a horizontal contour. Tubes vary in size from 3.5 ft to 8 ft and are spaced 1.5ft. The overall dimensions of the work as documented are 36 ft wide and 8 ft tall.The tubes are lit sequentially according to hybrid analog-digital control circuitry. The circuitry detects radioactivity and translates it into a pattern of signals that are visualized as light moving along the formation of neon tubes. The effect will be that of rippling waves of light moving back and forth through the formation. The ambient lighting cast by the installation resembles light reflecting off the surface of a body of water.

振り子の合唱団
CYCLOID-E

This piece, which comprises a series of tubular pieces arranged horizontally and activated by a motor, generates a particular sound through its movement, which is unexpectedly harmonic. The artists have taken their interest in the mechanisms that generate wave motions as a starting point to create this sculpture: five metal tubes joined together feature sound sources and sensors that allow them to emit different sounds based on their rotations.
The sculpture runs through a series of rhythmic movements, like a dance, creating, in the words of the artists themselves, “a unique kinetic and polyphonic work, in the likeness of the “Cosmic Ballet” to which the physicist Johannes Kepler refers to in his “Music of the Spheres” in 1619.” This work is part of the reflection on the possible interactions between sound and movement developed by the artists since 1999, using electronic devices and inspired by the aesthetics of industrial machinery.

卡斯滕·奥莱
Карстен Хеллер
Aquarium

Aquarium proposes the direct contemplation of the link between the human being and the animal kingdom far from any anthropocentric perspective. For this, the artist arranged a fish tank with three holes underneath, so that the spectators could notice – lying down – the behavior of aquatic life from another point of view, influenced by the hypnotic pattern created by the fish in the water. The public, being “submerged” and exposed only to what they can see inside the tank and the sounds that can seep in from the outside, are immersed in a separate reality.