Skin-awareness
The immersive space morphs and alters with light and becomes solid, its pressure composing and decomposing the self-awareness of skin. The dancer’s body is extended and manipulated as a conscious entity, exceeding the physiological object. The constant feedback between the body’s trajectory and interaction with the environment changes the nature of the object itself.

The way we were
Not only does Arcangelo Sassolino transform failure into art, but he manages to make the art of failing a profound part of the art of living. He goes even further in the awareness of risk. He is aware that his experiments may not hold up to the forces that he himself puts in place but this possible collateral damage wants to represent an additional value, becoming precisely the existential metaphor of the concepts of risk and failure. His installations explore the behavior and mechanical limits of matter, he forces their characteristics to distort their shape, gravity, pressure, friction, statics, and of each possibility Sassolino contemplates the risks of collapse with its precise timing and programming.

Skia

file festival
As natural as the daily sunshine, one’s shadow, formerly a constant companion, now often escapes from attention. A silhouette of our physical form, one’s shadow is no more than a flat, disembodied reduction of the contours of one’s self.The installation skia examines the interplay of our shadows and our conscious awareness of our physical displacement of space. In this closed-circuit installation, visitor´s images are manipulated and projected as artificial shadows.What does it mean if one’s shadow suddenly frees itself and develops an alien autonomy? And what has such an estrangement in common with the multiple identities of the post modern ego?

Rising Awareness
Could one succeed in rising the level of awareness by sharpening one’s perception rather than repeating the vapid catchphrase, “raising awareness,” which has been coopted by an ever-growing money-raising industry that fails to improve our circumstances in a substantive way? Wearing a cocktail dress, I assembled a large kinetic structure made of wooden beams and ladders in front of the audience. I then walked and balanced on the twenty-foot wide structure at eight feet off the floor. Rising Awareness addresses my ongoing preoccupations about the physicality of experience, inhabiting the body, proprioception as the possible strongest sense of self, how spatial awareness correlates with overall awareness and self-awareness, how physicality enhances creativity, finding balance between gravity and groundlessness, a concept of happiness as the fullest expression of one’s particular cognitive potential, pushing boundaries, and the current irreverent politics of liability.

Project Orb[i]s
Orbis is a proposal for a Prototypical System, which is highly adaptive in nature, and creates an urban infrastructure that responds and caters to the changing needs and conditions within the city, by augmenting the everyday experiences and activities. Orb(i)s is a behavioral assembly that establishes the possibilities of a dynamic environment not limited to a building plan; rather, it is autonomous, adaptable, dynamic and self-assembling based on real-time data culminating in a constantly reconfiguring ecology. The sensing abilities of the system make it self-aware and encourage any decision-making, while its self-assembling quality arises from a unit-to-unit communication that leads to a higher order of organizations and structures.

Visual Voice Virtual Reality
VVVR (Visual Voice Virtual Reality) is a voice controlled tool for self exploration and well being. It combines virtual reality and audio effects to temporarily free the mind from language and cultivate awareness of the present moment. In VVVR two people sit across from one another and are represented in the virtual space with corresponding avatars. When either person makes sound it is translated into glowing geometry that flows from their mouth. The vocal audio is harmonically processed and fed back through the headphones.

The Augmented Hand Series
The “Augmented Hand Series” (by Golan Levin, Chris Sugrue, and Kyle McDonald) is a real-time interactive software system that presents playful, dreamlike, and uncanny transformations of its visitors’ hands. It consists of a box into which the visitor inserts their hand, and a screen which displays their ‘reimagined’ hand—for example, with an extra finger, or with fingers that move autonomously. Critically, the project’s transformations operate within the logical space of the hand itself, which is to say: the artwork performs “hand-aware” visualizations that alter the deep structure of how the hand appears.

Ada
File Festival
Similar to Tinguely’s “Méta-Matics”, “ADA” is an artwork with a soul. It acts itself. At Tinguely’s it is sufficient to be an unawarely struggling mechanical being. He took it wryly: the machine produces nothing but its industrial self-destruction. Whereas “ADA”, by Karina Smigla-Bobinski, is a post-industrial “creature“, visitor-animated, creatively acting artist-sculpture, self-forming artwork, resembling a molecular hybrid, such as a one from nanobiotechnology. It develops the same rotating silicon-carbon-hybrids, midget tools, miniature machines able to generate simple structures. “ADA” is much larger, esthetically much more complex, an interactive art-making machine.

Temporary Immersive Environment Experiments

Temporary Immersive Environment Experiments’ is a research on audio/visual installations by using the state called immersion which is the state of consciousness where an immersant’s awareness of physical self is transformed by being surrounded in an engrossing environment; often artificial, creating a perception of presence in a non-physical world.
In this particular edition, the poetics of light bending is explored. Inspired by Issac Newton’s experiments with light, this installation bends laser light in unpredictable angles to create a architectural light + sound scape. ‘Liminality’ is chosen as a concept in this project,a radical effort to deconstruct the framework of this illusory space and transgress the normal boundaries of the viewing experience to set out to transform the conventional flat cinema projection screen into a three dimensional kinetic and architectonic space of visualisation.

via highlike submit

イリ·キリアン – スティーヴ·ライヒ
יירי קיליאן – סטיב רייך
Иржи Килиана – Стив Райх
Falling Angels
Falling Angels was created in 1989 as one Kylián’s Black and White Ballets. The Black and White ballets consisted of six pieces, with Falling Angel being dance 6. It is choreographed to Steve Reich’s Drumming (Part One) created in 1971, which was based on ceremonial ritual music from Ghana (West Africa). Throughout Fallen Angels there is the use of mesmeric choral movement and repeated phrases. Falling Angels is for 8 women and depicts female dancers in their aim to achieve perfection but succumb in various stages to the human female psyche and female events such as ambition, seduction, pregnancy, birth, death, motherhood and self-awareness. Kylián was influenced by surrealism and minimalism during the creation of this work and the ‘black and white ballets’. In this ballet we see the combination of classical lines and sharp percussive movements that give unpredictability to the piece as a whole