Cutting Corners Creates More Sides
A spoken text …rummages through piles of surplus; boxed accouterments and that unaccounted for miscellanea… and the uneasiness of language itself as it grapples with the whereabouts of the necessary words. The narrative debris morphs through manifolds of optical glass with each utterance marking points along the way. On a long, black tableaux two cameras with little or no depth of field, sentence by sentence cut through a mysterious world of a seemingly inconsequential lineup of objects, tools, parts, bits and the unidentifiable forgotten –whatever might have been close at hand becomes enfolded in a richly colored crystalline doppelgänger image. For each sentence and “drilling” through the objects, the cameras’ parallaxes have been adjusted for a different cross section—the point where momentarily a continuous horizontal view is possible only to then quickly deconstruct as quickly as it formed. The object/installation itself is a self-contained self-reflexive mobile surface complete with positional projectors and screens and a narrow black “runway” of sorts reflecting the initial process of recording.
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.
Disrupted Domains features new animations created with molecular visualization software and SARS-CoV-2 structures displayed in Quorum at the Science Center. The animations were developed in remote collaboration with uCity Square biotech company Integral Molecular for Splan’s Science Center Bioart Residency while “sheltering in place” for COVID-19. The work in the exhibition is part of Precarious Structures, Splan’s project that explores the interconnectedness of cultural and biological systems during the coronavirus pandemic. Accompanying soundscape by Frank Masciocchi recorded in collaboration with Splan over Zoom.
GREG DUNN AND BRIAN EDWARD
El Dr. Greg Dunn (artista y neurocientífico) y el Dr. Brian Edwards (artista y físico aplicado) crearon Self Reflected para dilucidar la naturaleza de la conciencia humana, uniendo la conexión entre el misterioso cerebro macroscópico de tres libras y el comportamiento microscópico de las neuronas. Self Reflected ofrece una visión sin precedentes del cerebro en sí mismo, revelando a través de una técnica llamada micrograbados reflectantes el enorme alcance de coreografías neuronales hermosas y delicadamente equilibradas diseñadas para reflejar lo que está ocurriendo en nuestras propias mentes mientras observamos esta obra de arte. Self Reflected fue creado para recordarnos que la máquina más maravillosa del universo conocido está en el centro de nuestro ser y es la raíz de nuestra humanidad compartida.
Small World Wide
small world wide is gebaseerd op het small world fenomeen dat zegt dat iedereen in de wereld via een korte keten van directe kennissen met elkaar verbonden is. In 2013 wees geluidskunstenaar Denise Ritter 10 audiorecorders toe aan 10 startende personen, die de recorders via een aaneenschakeling van persoonlijke kennissen zouden moeten richten op het bereiken van 10 geplande bestemmingen. Die plaatsen en de tussenstappen moeten worden gedocumenteerd door middel van een geluidsopname. Dit kunnen bijvoorbeeld geluiden zijn of geluiden die kenmerkend zijn voor het dagelijks leven of de woonruimte. Maar er worden geen richtlijnen gegeven. Het is alleen toegestaan om de recorder door te geven aan directe bekenden. De directe weg naar de bestemming via een vreemde of niet-verwante is niet toegestaan. Zo ontstonden 10 routes over de hele wereld, en tot op de dag van vandaag ontving de artiest meer dan 30 uur aan geluidsopnames van over de hele wereld. De geluidsopnames vertonen onverwachte globale overeenkomsten wat betreft de opnameplaatsen en -situaties die de deelnemers hebben gekozen.
DILLER SCOFIDIO + RENFRO
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.
Lesson Nº 1 + The Ascension
Glenn Branca has always been a musician positioned halfway between the role of avant-garde composer and that of a rock musician. A pupil and disciple of the masters of American minimalism such as La Monte Young, Terry Riley, Philip Glass and Steve Reich, he has always had to fight against prejudice and fierce criticism. His position was certainly uncomfortable, too academic for rock fans and too “politically incorrect” for academics. In fact, Branca was trying to unhinge all the limits imposed by the rigid schemes of the avant-garde, aware of the fact that those who want to be truly avant-garde should have no limits. John Cage was also able to criticize him, even calling him a fascist ( Luciano Berio also did so for all minimalists) for the excessive rigidity of his compositions, even though he recognized his innovative power. After having created his best known album, The Ascension (1981), a true monument of maximalism played with a classical rock formation (guitars, bass and drums), he tries to approach a different format, the Symphony, as always halfway between rock and academia. Branca will like the experiment and will re-propose it several times in the following decades, to date there are sixteen symphonies (not all recordings are available). Here is how young Branca’s ensemble appeared to the American composer John Adams in one of his first live performances of the First Symphony: “Branca’s event that I listened to at the Japan Center Theater in San Francisco in 1981 was one of his symphonies for guitar . The group didn’t look very different from thousands of other independent or alternative rock bands of the time: guys in jeans and worn t-shirts busy with cables while maintaining that typical distracted expression of rock musicians.
UVA United Visual Artists
Great Animal Orchestra
The Fondation Cartier invited United Visual Artists to collaborate on The Great Animal Orchestra, exhibition that celebrates the work of musician, bio-acoustician and scientist Bernie Krause. Krause has been recording animals for 45 years and has amassed a collection of more than 5,000 hours of sounds recording of over 15,000 individual species in their natural habitats from all over the world. UVA’s creative approach linked together the various exhibition content elements throughout the basement space — soundscapes, spectrograms and art works — into a cohesive, immersive experience that three-dimensionalises Krause’s recordings and suggests scenes from the natural world. The spectrograms form an abstract landscape, an interpretation of the various global locations and times of day that Krause made the original recordings in a way that envelops the audience and encourages them to linger in the space.
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
‘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.
SOL is a minimalistic environment, leading visitors into the reaches of their perception. The installation builds on loss of control, shifts in awareness and a feeling of dislocation and timelessness. SOL is the third work in an ongoing series of phenomenological environments, after the live performance FEED, 2005 and the installation ZEE, 2008. The all encompassing darkness of SOL is lifted, in intervals and for parts of seconds only, by animated bursts of intensely bright light. Falling back into darkness, visitors experience abundant retinal after-images, that gradually drift away until eventually the next eruption of light is triggered. In the surround sound-scape of SOL, electronic drones mix with swarming field recordings, amidst a sea of infra-bass.
BRAZIL NOW is a composition that addresses increasing militarization and surveillance within urban areas. Its geographical and acoustic reference is São Paulo, the largest megacity in Latin America. The piece is based on field recordings that capture the symptoms of a Latin American variant of turbo-capitalism with its distinctive acoustic features. Eruptive public demonstrations on the streets are often accompanied by loud, carnivalesque elements. These are controlled by a militarized infrastructure, openly demonstrating a readiness to deploy violence. The sonic documents are analyzed by machine learning algorithms searching for acoustic memes, textures, and rhythms that could be symptomatic for predominant social forces. The algorithmic results are then used as a base for a score and its interpretation through a musical ensemble. The piece drafts a phantasmatic auditory landscape built on the algorithmic evaluation of urban conflict zones.
Dannazione della memoria
Dal latino, damnatio memoriae descrive un atto di cancellazione dal record storico riservato a quelli che hanno recato disonore allo Stato romano. Impiegato come la punizione più severa per tradimento, damnatio memoriae rade fisicamente tutte le tracce di un individuo dalla società, tipicamente attraverso la distruzione della fisionomia di una statua o l’abrasione dei monumenti inscritti. In tutto il passato due decenni, Sassolino ha sviluppato un corpo di lavoro che esamina il rapporto tra industriale macchine e impulsi umanistici in cui gli spettatori sono destinati a mettere in discussione la cinetica di una scultura la funzione, esteticamente e concettualmente, allegora le esperienze umane e le condizioni culturali.
Marshmallow Laser Feast
In the Eyes of the Animal
In the Eyes of the Animal, a journey through the food chain, is an artistic interpretation of the sensory perspectives of three British species. Created using Lidar scans, unmanned aerial vehicles (UAVs) or drones & bespoke 360° cameras, the piece is set to a binaural soundscape using audio recordings sourced from Grizedale Forest in the north of England.
Everything is Everything
The eight-channel video installation, Everything is Everything, was created for the first time to be shown at the 2006 Taipei Biennial, curated by Dan Cameron. For this work, the artist and two assistants spent a total of eight days recording their interactions and interventions with readily available items, including hangers, glasses, towels, air mattresses and toilet paper, all found in the city of Taipei. The physical properties of these objects have been tested (a metal hanger is stretched to the breaking point) or their uses have been expanded (a level placed on two table legs becomes an improvised obstacle). Tanaka and his assistants experimented with these objects several times indoors and in public, and their explorations were compiled into eight separate video loops lasting from 1:19 to 1:50 minutes. Tanaka’s narrowly cut frame of each scene often features performers from the neck down or removes them completely from the scene, thus focusing the viewer’s attention on the simple, repetitive objects and acts being performed.
With EOTONE, Kolgen and Letellier reflect on distance and weather, by staging something intangible yet powerful: the wind. Four sound and sculptural diffusers, containing elements of both the weather vane and the fog horn, make up this monumental installation that renders in movement and sound the direction and force of the wind blowing simultaneously on two continents: in Montreal and Quebec City on one side of the Atlantic, in Rennes and Nantes on the other. The wind data recorded in each city is transmitted live to the diffusers, controlling the orientation of each of the structures and orchestrating the combined chords that make up the harmonic whole perceived at the heart of the installation. By transforming weather data into sound, EOTONE offers a subtle artistic vision of the Internet of objects.
Bilateral Time Slicer
A biometric tracking system finds the axis of symmetry of members of the public and splits a live camera image into two slices. With each new participant time slices are recorded and pushed aside. When no one is viewing the work, the slices close and rejoin creating a procession of past recordings.
The normalizing machine
The Normalizing Machine is an interactive installation presented as an experimental research in machine-learning. It aims to identify and analyze the image of social normalcy. Each participant is asked to point out who looks most normal from a line up of previously recorded participants. The machine analyzes the participant decisions and adds them to its’ aggregated algorithmic image of normalcy.
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
A familiar childhood location on the Essex marshes is reframed by inserting images randomly generated by a neural network (GAN*) into this tidal landscape. Initially trained on a photographic dataset, the machine proceeds to learn the embedded qualities of different marsh birds, in the process revealing forms that fluctuate between species, with unanticipated variations emerging without reference to human systems of classification. Birds have been actively selected from among the images conceived by the neural network, and then combined into a single animation that migrates from bird to bird, accompanied by a soundscape of artificially generated bird song. The final work records these generated forms as they are projected, using a portable perspex screen, across the mudflats in Landermere Creek.
Immersed Garden is in its true sense a sunken world. Floating bodiless in an underwater garden, natural sounds guide you through an immersive surrounding, somewhere between calming and irritating, natural and artificial. It is a playful exploration of the individual conception of safety and confusion and a personal approach to aesthetic references to habits of introspection and retreat in digital environments. It was created by fusing different digital processes like photogrammetry of selected natural places around Karlsruhe and field recordings in a local natural reserve. Underwater videos hybridize with 3D scans of trees and plants while invisible frogs are croaking and humming birds are buzzing by synthetic flowers. The artistic aim was to explore the personal perception of calming and irritating, playing with the concept of immaterialness and attentiveness. The artwork creates aesthetic references to philosophical and scientific theories of introspection and identity.
Nature Morte focuses on Nauman’s long relationship to his own studio, a variation on his four unique multi-projection videos, Mapping the Studio (2001). Three viewing stations, each consisting of an iPad linked to a wall-sized projection, provide an interactive exploration of the 3D studio space. Only now the artist is absent, and the participant becomes performer as he/she manipulates the large scale video projections on an iPad using touch control. The participant is free to navigate anywhere throughout the space, selecting broad vistas or individual objects. Using a hand-held 3D scanner, Nauman recorded hundreds of images that allow participants to select an object and locate close-up anything found there, and further reorient the image to see an object from above and below, and at times inside-out. The resulting mobility intensifies the experience of the viewer/performer. Presenting a static, but immersive re-creation of his studio space, Nauman’s pieces once again play at the tenuous lines between the body and space, perception and physical material.
Installation touches on the themes of selfie-culture, and the fear of permanently losing the digital records of our lives due to technical failures, impermanence of data storage, or simply because of the obsolescence of the old digital file formats. Even with such compulsive overproduction of the images of ourselves we might end up with nothing but the blank memories of our past. Even the data on ourselves will eventually fade away… The installation consist of the display that prompts you to take a selfie on your phone, which it renders in digital particles on its large 1×1 meter screen. Then a moment later, your face scatters and falls apart and the real black gravel starts to fall at the bottom of the screen in perfect synchrony with the digital simulation. Gradually a dark mound builds up at the foot of the construction.
“MIRAGE” is the first performing art ever in the world to experience with immersive. This experience reminds us that we generate ourselves at each moment in our highly subjective ambiguous world. Unlike the general performing arts for the several audiences, “MIRAGE” is generated by the interaction of the two dancers and the one participant. As the participants, you are invited into an 8 minute immersive experience, using a head-mounted display fitted with headphones and a camera to capture live scenes. While unaware of the participant, dancer in front of the eyes is changed over to the dancer that has been recorded in advance. In addition, by overlapping the live scene and recorded ones, participants will experience simultaneous past and present. It is very difficult to tell which dancer is really existing or which is not. Each participant will be required to discover their own “reality”.
Characters are a means of visual communication and recording a language. Civilizations throughout the world have created various characters, which convey their culture and history. This project focuses purely on the form of the characters rather than their meaning. The characters have been learned by artificial intelligence (AI) not for their meaning but for their shape and patterns. AI has created and drawn lines that look like characters but do not have any meaning. By learning handwriting with one writer in each language, artificial intelligence collected information on the shapes of each character system, as well the idiosyncrasies of each writer, of a AI, to possess a plotter.
Sonic Fountain II
An excavation filled with milky water, Sonic Fountain is surmounted by nine taps distributed in a grid which taste according to a precisely written score. In the water, microphones record the sound of drops of water – sound broadcast live in space, like a concert. In the artist’s words, Sonic Fountain “is a deliberately abstract work that bares architecture and reveals its rhythm, tempo and language”.
Cloud, produced on-site at the museum using thousands of feet of red electrical wire, hosts a fourteen-channel composition that visitors listen to by wearing customized headphones. These devices, developed by the artist, contain magnetic coils that receive the magnetic fields circulating in the cable loops and make them audible. As visitors move around the installation, they look at the chaotic electrical wiring suspended in the gallery but hear the prerecorded sounds programmed into different segments of the sculpture.
“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..
Aquaphoneia is an alchemical installation centred around the poiesis of time and transmutation of voice into matter. A large horn floating mid space echoes the ghosts of Edison, Bell, and Berliner’s machines. But unlike early recording, herding sound energy to etch pressure patterns in solid matter, this odd assemblage transmutes voice into water and water into air. Disembodied voices abandon their sources to cross the event horizon of the horn. Estranged, the schizo-phone falls into the narrow depths of the bell, squeezed into spatiotemporal infinity, calcinated, liquified and released: The aqueous voice then flows into three alchemical chambers where inner time is surrendered to the tempi of matter: unbound, yet lucid and sound.
Voices of Aliveness
This project, upon the initiative of l’Ecole des Beaux-Arts de Nantes, has been conceived as a meta-monument where are gathered video sequences recorded by a camera with GPS. People are screaming while biking in a 500 m circle in the countryside. The traces of this route can be visualized thanks to lines that form a sort of tower in the virtual space, where it can go on indefinitely. On these lines, in an order that looks more like a music score than a succession of shootings, mobile video screens simultaneously display the image of the performances.
The main idea of this project is to present exhibition visitors with the chance to destroy any object that might happen to be on their person, in order to transform it into a unique sound composition. The installation consists of five hydraulic presses, capable of crushing practically any object (a mobile telephone, pair of glasses, headphones or whatever). In the process of destruction, a special microphone records the sounds made as the object undergoes deformation, and in just a few minutes, a computer algorithm transforms them into a 20 minutes album.
拉斐尔·洛萨诺 – 亨默
רפאל לוזאנו, המר
Depending on atmospheric conditions, Open Air could be seen up to 10 miles away from the Parkway each evening from 8 to 11 p.m. The Project Information Center at Eakins Oval was equipped with app download, free mobile loan stations and seating areas for watching the lights and listening to the messages. There was also be an Information Outpost located at Sister Cities Park (18th Street and Logan Square).The Open Air voice archive also features selected “Voices of Philly,” recorded messages from distinct individuals both past and present who have inspired and influenced the flavor of Philadelphia. “Voices of Philly” messages are accessible on this website and were played at various times throughout the project. Content for “Voices of Philly” was collected by project partner WHYY executive producer Elisabeth Perez-Luna and includes David Lynch, Sonia Sanchez, Sun Ra, Louis Kahn, M. Night Shyamalan, Tina Fey, ?uestlove, Marcel Duchamp, Buckminster Fuller, Jimmy Heath, Santigold, Maurice Sendak, Patti LaBelle and many more.
拉斐尔·洛萨诺 – 亨默
רפאל לוזאנו, המר
Pulse Room is an interactive installation featuring one to three hundred clear incandescent light bulbs, 300 W each and hung from a cable at a height of three metres. The bulbs are uniformly distributed over the exhibition room, filling it completely. An interface placed on a side of the room has a sensor that detects the heart rate of participants. When someone holds the interface, a computer detects his or her pulse and immediately sets off the closest bulb to flash at the exact rhythm of his or her heart. The moment the interface is released all the lights turn off briefly and the flashing sequence advances by one position down the queue, to the next bulb in the grid. Each time someone touches the interface a heart pattern is recorded and this is sent to the first bulb in the grid, pushing ahead all the existing recordings. At any given time the installation shows the recordings from the most recent participants.
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.
Performance: Capture Part 2
In “Performance Capture: Part 2”, open source motion capture sequences are mapped onto stock low-polygonal unsmoothed 3D characters. Bodies inflate, deflate and oscillate between states, while movements shift and repeat in offset patterns as information transfers from one body to the next. In the animation, what should be used to record, simulate and create perfect virtual realities instead collapses into the uncanny, the abstract and the unreal.
“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
Signe Lidén and Espen Sommer Eide
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.
From the Latin, damnatio memoriae describes an act of erasure from the historical record reserved for
those who have brought dishonor to the Roman State. Employed as the most stringent punishment for
treason, damnatio memoriae physically razes all traces of an individual from society, typically through
the destruction a statue’s physiognomy or the abrasion of inscribed monuments. Throughout the past
two decades, Sassolino has developed a body of work that examines the relationship between industrial
machines and humanist impulses where viewers are meant to question how an sculpture’s kinetic
function aesthetically and conceptually allegorizes human experiences and cultural conditions.
jip van leeuwenstein
Camera’s and other technologies create a safer living environment than ever before. Mega databanks and high resolution cameras stock hundreds of exabytes a year. But who has access to this data? Not only the security department but also the advertisement industry is interested in this technology. They pay to use real time data to their advantage. They create advertisements that call your name, keep records of your personal interests and they follow you everywhere you go. By wearing this mask formed like a lens it possible to become unrecognizable for facial recognition software and because of it’s transparence you will not lose your identity and facial expressions. So it’s still possible to interact with the people around you.
Thorsten Fleisch creates films that reveal the shapes and patterns of natural forces and phenomena. In this work he reveals what energy in one of its simplest forms looks like in motion. Energie! is a sequence of still images created on light-sensitive photographic paper. The artist exposed dozens of sheets of paper to enormous electrical discharges, each leaving its imprint as a trail of light. Animating these images reveals patterns in their flow of energy, akin to tracing the flow of electricity at each moment of a lightning strike. As the images are photographs created without cameras, they are records of single moments. Accordingly we see dozens of split-second documents animated to reveal the shape and power of energy.
Nick Knight is one of the most sought after fashion and editorial photographers in the world today. His first photographs however were focused on an entirely different field. In the 1970s, he took a documentary approach in recording the Skinhead movement popular among youths at that time. He also has a keen interest in pressed flowers and plants
‘Aposematic Jacket’ is a wearable computer for self-defense. The lenses on the jacket give off the warning signal, “I can record you”, to prevent possible attack. When the wearer pushes a button under threat, the jacket records the scene in 360 degrees and sends the images to the Web.
This world-renowned Japanese artist’s impressive audiovisual compositions bring visual and sonic material together using a completely revolutionary perspective. His language, a new international benchmark in the world of digital art, field recordings and computer-generated structures coexist in harmony, and open the gateway to an imaginary world where complexity and simplicity alternate and combine in a strange symbiosis.
silver apples of the moon
image detail : Buchla 100 synthesizer
Morton Subotnick helped bring the modular voltage-controlled synthesizer to a state of readiness for performance and recording and was the first composer to take advantage of the new instrument’s potential. Composed in 1967 specifically for release on Nonesuch, Silver Apples of the Moon was Subotnick’s first full-length LP of electronic music, and the album became an international sensation.
Toki Ori Ori Nasu – Falling Records
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.
This poetic machine prints your message and a code on a sheet A6, slips it into a biopolymer cylinder attached to a balloon, which is finally released into the air. Then, the balloon will travel haphazardly to a potential recipient.
Where did the idea come from? The basic idea was to take a stand against the current use of «smart» technologies by creating a poetic concept, using current technology that allows us to communicate differently and rediscover expectation, the random, and the unexpected.
For the record, I have always been attracted by what is in the air and remember having won a balloon release contest when I was about ten years old. My balloon flew from Switzerland to Austria, this definitely left an impression on me and perhaps influenced the idea of this project.
Songs from Liquid Days
Songs From Liquid Days became Philip Glass’ most popular and successful recording. The title holds the clue to the music’s accessibility: These are songs, providing a more familiar and comfortable format for appreciating the world of minimalism than Glass’ operas or instrumental pieces. Working with such lyrical collaborators as David Byrne and Suzanne Vega, he created art music which sounds radio friendly. There is also great variety displayed on this album.
The Admiral’s Garden
Christine Ödlund’s work explores the borders of our knowledge of the world around us, connecting such themes as the chemical communication of plants, synaesthesia and theosophy. She works in a variety of media, including drawing, sculpture, video, watercolour and sound works.
Stress Call of the Stinging Nettle: When a plant reacts to a butterfly larvae feeding on its leaves, it releases chemical substances, or compounds. The characteristics of these compounds have been analyzed in collaboration with the Ecological Chemistry Research Group at the Royal Institute of Technology in Stockholm, and then transposed into amplitude and intensity of sinus tones, recorded at EMS (Electroacoustic Music in Sweden), Stockholm. Thus these beautiful graphic score and soundtrack by Swedish artist Christine Ödlund are direct transpositions of “the plant’s life, struggle and death”.
FILE ANIMA+GAMES RIO 2015
Lauren Gregory’s work has been described as primal — drawing from the vocabulary of early human cave paintings, she instinctually always paints with her fingers. Working quickly in oils, she records surprisingly precise images of her live portrait subjects, commemorating the tenderness of their brief human connection.
Improvisation on 4 Sequences
So now, I have the time to release some of these quadraphonic performances. It’s not entirely feasible to release a quad performance on vinyl — I did it, with help —the first quad vinyl release in at least 30 years, complete with enclosed hardware decoder. As a collector’s item, that’s fine, but I want to make the quad files available in a more practical way. This Geneva recording is my first release solely on my Atmospheric label. The piece is titled “Improvisation on Four Sequences” and those four sixteen-stage sequences have been the “raw material” of most of my Buchla concerts since the early 70’s. We’re making this performance available in several formats, including quadraphonic, 5.1, stereo and ambisonic.; all at 44.1 and 88.2.
Untitled (Al Madat)
A recording of a Sufi dhikr undertaken by patients at the Sultan Bahu Rehab Centre in Westridge, Mitchell’s Plain. Dhikr (literally, “remembrance”) is a traditional Islamic recitation, where sacred names are chanted with special breathing techniques, often creating trance-like effects. This practice was brought to the Cape with the Malay slaves, and is now used by the rehabilitation centre as an augmentation to the curative process. “Al Madat,” the specific dhikr used for this installation, translates as “help,” and is here used to implore the Prophet for assistance.
Dracula (Bela Lugosi)
Dracula is one of Philip Glass’ many projects that involves adding music to classic films, the most effective of which is probably Cocteau’s La Belle et la Bête, which essentially turned Cocteau’s masterpiece into a stunning film opera. His music for Dracula exists in four versions: the original, for string quartet, recorded by the Kronos Quartet; an arrangement by the composer for string quartet and piano; and arrangements for the Philip Glass Ensemble and for solo piano, both made by Michael Riesman, who plays the solo version.
The Garden of Earthly Delights
Based on his own novel “Metaphysics”, Lech Wajewski’s film is an erotic treatise on art, love and death. When British art historian Claudine learns that her cancer is terminal, she abandons caution and takes her lover, Chris, on an extraordinary journey to Venice, where their passion finds fulfillment in the fantastic paintings of Hieronymus Bosch. Videotaping their trip, Claudine intends to leave Chris a haunting record of their emotional and spiritual discoveries.
Eyecode (Golan Levin, 2007) is an interactive installation whose display is wholly constructed from its own history of being viewed. By means of a hidden camera, the system records and replays brief video clips of its viewers’ eyes. Each clip is articulated by the duration between two of the viewer’s blinks. The unnerving result is a typographic tapestry of recursive observation.
Arne Svenson is self taught as a photographer, but his sensibility was largely formed by his early work as a therapist/educator working with severely disabled children. His vision embraces the unusual, quirky individuality of people and places and represents them with beauty, clarity and reverence. He creates most of his work within the controlled environment of the studio, and even when he ventures out to record the world, his vision is informed by the interior quality of his studio. Svenson works serially and obsessively on discrete projects which vary greatly, yet share these qualities. A sense of humor and fatalism allows Svenson to move freely from one obsession to the next, always manifest with extreme craft, diligence and love.
Dinh Q. Lê
Crossing the Farther Shore
In Crossing the Farther Shore, Lê incorporates photographs taken in Vietnam during the 1940s-1980s, with the majority dating to the pre-Vietnam War era before 1975. The images are those that might fill a familys photo album: portraits, scenic vistas, birthdays, and holidays. Lê has collected pre-1975 Vietnam photographs for years, finding them in antique stores and second-hand shops and wondering, why are there so many abandoned photographs? Lê considers them to be an important record documenting the everyday lives of Southern Vietnamese people – how they dressed, looked, and felt. Such photos are one of the few records of South Vietnam that have escaped from the Northern Vietnamese communist government’s systematic effort to erase the pre-1975 existence of the South.
Self portrait with white odor
I started the project as a personal research in odor. At the beginning I tried to experience the world through smells and without them, tried to learn my own smell through designated mask. I “Recorded” Smells in primitive ways and spread them artificially. Then I tried to neutralize my sense of smell by using blurring “White odor” as if I was an anosmic for one day. I created conceptual models for an instrument that would “increase odor”, and for an instrument that will allow you to smell danger/diseases