The Table
The Table is an autonomous robot with an automatic mechanized system able to react to unexpected movement or obstacles and to carry out one or more tasks by executing a program in a given environment. As is the case with most “prototypical” robotic works, or single editions, the basic physical components can be pre-manufactured then modified or custom built to meet specific needs. In the case of The Table, the control system and its algorithms were entirely conceived by Max Dean and Raffallo D’Andrea. All the components, including the wheels and motors, were also custom manufactured, giving the installation a unique character. The singular characteristic of this work lies in the robotic nature of the table and it’s capacity to operate in an environment specifically designed for it. For example, the shade of red painted on the floor is directly linked to the effective functioning of the camera and the control software. Also, the space lights used in the room produce a light that prevents the creation of shadows, which the software could mistakenly interpret as a physical presence.

Contemporary Art Centre in Cordoba
BUILDING FAÇADE WITH AN INTEGRATED LIGHT AND MEDIA INSTALLATION

To transform the façade into a light and media display without fundamentally changing its solid appearance as envisioned by Nieto Sobejano turned out to be the biggest challenge in the project. The façade is accordingly designed to deliver a tactile and solid appearance in the daytime while it turns at night into a unique and dynamic communication wall that reacts very specifically to the architecture. The 100-meter façade consists of 1,319 hexagonal, recessed and pre-fabricated “bowls” on different scales. Each of the bowls serves as a reflector for an integrated artificial light source. The intensity of each lamp can be controlled individually, forming a huge irregular low-resolution grey scale display. The thorough immersion of the “pixel-bowls” – like negative impressions – in the volume of the façade turns the architectural scheme itself into a digital information carrier. During the day, the façade shows a three-dimensional landscape with no sign of being a media facade. Additionally, this tectonically modulated surface topography is characterized by a playful composition of light and shadow that constantly changes with the movement of the sun.

Jean-Philippe Rameau
Les Indes Galantes

The first merit of this new production, streaming with intelligence, is that Laura Scozzi and Christophe Rousset have read Fuzelier’s verses deeply. And of Rameau, we must add, so much the composer, perpetually dissatisfied with his poets, harassed them word for word, when he did not take up the pen himself. In addition to lines which, like his contemporary Marivaux, seem to have been invented instantly, Fuzelier has built a dialectical finesse between peace and war, joy and hatred, pleasure and violence, the state of Nature and the state of society. The Gallant Indies according to Laura Scozzi are not a gigantic burst of joy. On the contrary, they reveal a perpetual and restless balance between shadow and light and are a look, less consensual but true and human, on the Age of Enlightenment. Here is a startling ideological reversal, without any forcing: Laura Scozzi has simply revealed the implicit nature of a libretto, so far read superficially.

АЙРИС ВАН ЭРПЕН
イリス ヴァン ヘルペン
FALL 2017
AERIFORM
‘Aeriform’ examines the nature and anatomy of air and the idea of airborne materiality and lightness, creating negative and positive space with shadow and light. Van Herpen also drew inspiration from the Danish underwater artists Between Music who challenge the relationship between the body and its elemental surround, in a subaquatic environment where air is absent.

واين ماكغريغور
韦恩·麦格雷戈
웨인 맥그리거
ויין מקגרגור
ウェイン·マクレガー
Уэйн МакГрегор
rAndom International
FAR
Wayne McGregor’s anatomy-defying choreography and ground-breaking approach across dance, science, film, music, visual art and technology has fuelled a string of truly unique works. FAR is no exception. Inspired by the controversial Age of Enlightenment, FAR mines an era that first placed ‘a body in question’. Ten incredible dancers confront the distortions, sensuality and feeling of the 18th Century‘s searing contemporary sensibility to a haunting score by the critically-acclaimed composer Ben Frost. Staged in a mesmerizing environment of shadow and light (rAndom International, Lucy Carter), object and film (Moritz Junge, Ravi Deepres), FAR binds cutting edge design with choreography made from a radical cognitive research process.

SILHOUETTES
SILHOUETTES is a dialogue between space and light. Dots become lines, lines become curves. Directions and trajectories are drawn, space become oriented and is set in motion. Space is not vacuum, literally, but it becomes matter and it starts dancing in a field of shadow and light..

point of no return

With point of no return, Ryoji Ikeda condenses the unknowable chaos of the event horizon of a black hole into a work of order and balance. Composing a delicate assemblage of basic shapes, sounds, light and shadow, the artist eschews the intricacies of data for a more sculptural approach. While gesturing towards the sublime, the infinite expanse of space and the immense, reality-warping gravitational force of a black hole, he focuses in on the beauty of the physical, bringing together a few simple elements to make sense of something unthinkably complex. Through his own artistic process of playing with space, the artist finds purity in basic structures while drawing inspiration from the vast scope of the universal. “point of no return is a very simple, very intense piece,” he says.

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.

Empire State
Empire State is a kinetic A.I. artwork visualizing the current time-of-day and weather at the Empire State Building in New York. The imagery was created from running a sketch through an Artificial Intelligence model to generate two variations on the image, each printed on each side of the discs. The piece visualizes the current time-of-day and weather by animating clouds, rain, light/shadow, by rotating sections of discs to the reverse side. When one walks up to the piece, they will see their image reflected back at them, further embedding them to the connection between where they are and the current state in NYC.

Through the Membrane
We define the space around us by observing and perceiving light and shadow. That is to say, our perception shapes our basic understanding of this sensory world, and hence the “reality” we believe in. If our experiential knowledge and awareness of space are challenged, would our definition of a “real phenomenon” also be changed? Through the Membrane utilizes optical polarizers to change how light passes through space. The installation does not rely on any electromechanical devices. Simply with creative use of material and structure, it presents a super-sensory experience in space where reality and illusion are inextricably juxtaposed.

Distortions in Spacetime
In a giant star’s final moments, atoms compress to a point where density becomes infinite, time stretches to a stop and the gravitational field is so strong that not even light can escape: a black hole. But the force that creates this dark shadow also spews out a supernova explosion of matter that can eventually coalesce to form planets, plants and people. In Distortions in Spacetime, visitors will see themselves reflected in this matter and will begin to understand the cosmic connection between black holes, dying stars and our very existence.

Telestron DTLA
Conceptually, at its foundation, the installation was an exploration of the absence and presence of light and how it defines a space. The team wanted to play with dramatic scale, and to do so they employed two Quantec KR150s as Robotic Conductors, wielding large, fabricated geometric shades to manipulate the various light sources and cast brilliant arrays of graphic shadow work throughout the space. They upgraded the show for The Row to be more immersive, adding more synchronized lighting fixtures and laser projectors around the perimeter of the space to embellish the ambient lighting states, and as a result amplified the user experience even further – creating a more sculptural and geometric installation for the masses.

Solar Pink Pong
file festival
Solar Pink Pong” is a hybrid of street and video game. Players of this game can interact with an animated pink sunlight reflection on the street using their bodies and shadows. The device that makes this game possible can be mounted on utility poles or building sides.

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

Internal view of the O’Neill cylinder
“One of my earliest Space Colony paintings was based on the giant ‘Model 3’ cylindrical habitats envisioned by Gerard O’Neill. I imagined the clouds forming at an ‘altitude‘ around the rotation axis. At this time the scene is bathed in the ruddy light of all the sunrises and sunsets on Earth at that moment as the colony briefly enters the Earths shadow, out at the L5 Lagrangian point where stable locations are easily maintained. Oil on canvas panel disposition unknown. “

森永邦彦
쿠니히코 모리나가
くにひこ もりなが
КУНИХИКО МОРИНАГА
Anrealage

Kunihiko Morinaga, the creative director of cult Japanese label Anrealage, has a thing for sensations and optical illusions. His debut Paris show last season was about light and shadow. Today, his sophomore outing focused on light and dark. Or, better, on the impressions you get from flashing or projecting light in pitch black. The Anrealage sculptural silhouettes were cut in a special black fabric that revealed a printed texture only under ultraviolet lights, or had needle-punched white circles—like a spotlight projection—splattered across the front. To emphasize the depth of such darkness, everything was black, including models’ faces, a heavy stroke that made things a little too dramatic.

Reflected Roof
A series of fans gently shape the textile into a sequence of changing forms that although programmed will never exactly repeat. The daylight, cast from above, falls onto and through the fabric and as it’s angle changes throughout the day creates ever changes in colour, shadow and reflection.

Exponential Urban symphony
Canto’s works are precise and geometric in nature, using boundary lines to delineate spaces where tension can be released. He relies on light and shadows to compose his pieces with reflective effects, sometimes layering moving images with video projector mapping over sculptures to rebirth the pieces into installation art.

Torus 9
After growing up in Southern California’s Coachella Valley, Phillip K. Smith III received his Bachelor of Fine Arts and Bachelor of Architecture at the Rhode Island School of Design. From his Palm Desert, CA studio, he creates light-based work that draws upon ideas of space, form, color, light + shadow, environment, and change.

Travel Notebooks: Perugia
FILE SAO PAULO 2015
FILE VIDEO ART
“Perugia” is part of a series of works titled “Travel Notebooks”.
Perugia is a magical three-dimensional chessboard where rods of light alternate with cones of shadow and show the soft pink of the stone or the dark humidity of time.

Pixel geante
Well Well Designers are a couple that set up a business creating lights out of paper. I like the idea of having a pop up lamp, I think it is really creative and is perfect for modern apartments. I would like to look at ways of creating my own pop up lamps that give off an array of shadows, different ones for different moods.

Tropic of Capricorn
“I see sculpture as an ongoing dialogue between many things. Material, form, substance, light / shadow, time / space & content. Sculpture is curiosity made visible in three dimensions…with additional dimension or two added to it. The dimension of time, and one of imagination.”

0,16
0,16 is a light installation in which the shadows of a passer-by is transformed into ‘pixels’. The installation consists of a wall built of small square frames covered front and back with transparent paper. A third layer of paper is attached in the centre of the frames. A lamp shining at a distance breaks the shadows of the passers-by into squares, allowing a pixellated human figure to be seen on the other site of the installation. In this simple way, Bartholl renders tangible the pixels found in the world of digital communications.The ‘resolution’ of the screen is 0,16 ppi (pixels per inch), hence the title.

1st light

Paul Chan’s work summons the darkness that envelops us despite the greedy illumination of our cities. Evoking our world on the verge of disintegration, it celebrates the light that emerges in too much light.
The fight is no longer the fight between day and night that inaugurates Murnau’s Faust, but that between the light of the spirit and the light of things. In this shadow theater, under the auspices of a telegraph pole shaped like the Golgotha ​​cross, we witness the rise of the objects of our consumerist societies.
Phones, I-Pods, scooters, whole trains rise to the sky, saved, as the shadows of men fall, hurled to the abyss, like the suicide bodies of “September 11” victims falling from burning towers.
The image, gradually modified along the continuum of projection, carries with it the prophecies of the Apocalypse rehashed by American fundamentalist movements, and the obvious disgrace of a society that celebrates its materialist cult.

Light Calligraphy
File Festival

The use of a single-chip IC to control the machine’s arm is like Chinese calligraphy’s motion related to Zen. The machine’s arm draws the light with the motion of Chinese calligraphy on the wall with the absorb pigment (Chemistry: ZnS). The viewer can pursue and touch the light point. When he touches the light point, he can fix his shadow on the wall, what gives the illusion of catching the light. In the process of pursuing and touching the light point, the viewer and the machine’s arm move to

in transit
Two swift beams of light travel through a room creating infinite shadows on a series of floating white frames. This is In Transit X, a darkened, room-based installation that alludes to an endless void.The dizzying effects of In Transit X place the viewer into a monochromatic man-made space. The fifty-foot-wide animated light installation by artist Hc Gilje was originally made for the Wood Street Galleries in Pittsburgh in 2012, and recently went on display last month at Kulturkirken Jakob in Oslo. Using block-like frames and light as the mediums, Gilje creates dynamic visual dimensions that lend themselves to a mesmerizing noirish experience.

Amelia

Edouard Locke

“Directed and choreographed by Locke in 2002, Amelia, is a beautiful piece of dance on film that won awards and critical acclaim at numerous festivals when it came out. Amelia features a hypnotic, original, minimalist score written by David Lang for violin, cello, piano and voice, and lyrics from five of Lou Reed’s most famous works that he created in the 60s for the Velvet Underground. It is beautifully shot from multiple angles, some dizzying and swooping, in a space that was tailor-made for the film itself. The shadows and lighting in tandem with the shots and the movement add layers of beauty to the stark visuals.” Sarah Elgart

Augmented Shadow
File Festival

Augmented Shadow is a design experiment producing an artificial shadow effect through the use of tangible objects, blocks, on a displayable tabletop interface. Its goal is to offer a new type of user-experience. The project plays on the fact that shadows present distorted silhouettes depending on the light. Augmented Shadows take the distortion effect into the realm of fantasy. Shadows display below the objects according to the physics of the real world. However, the shadows themselves transform the objects into houses, occupied by shadow creatures. By moving the blocks around the table the user sets off series of reactions within this new fantasy ecosystem. In this installation, the shadows exist both in a real and a virtual environment simultaneously. It thus brings augmented reality to the tabletop by way of a tangible interface. The shadow is an interface metaphor connecting the virtual world and users. Second, the unexpected user experience results from manipulating the users’ visual perceptions, expectations, and imagination to inspire re-perception and new understanding. Therefore, users can play with the shadows lying on the boundary between the real, virtual, and fantasy. Augmented Shadow utilizes this unique interface metaphor for interactive storytelling. Maximizing the magical amusement of AR, it is embedding an ecosystem where imaginary objects and organic beings co-exist while each of them influences on each other’s life-cycle, even though it is not in use by users. Light and shadow play critical roles in this world’s functions causing chain reactions between virtual people, trees, birds, and houses. A set of tangible blocks allows users to participate in the ecosystem. Users can influence on the system by playing with the blocks or observe the changes of the shadows as if kids were playing with an ant farm.

ユナイテッド·ビジュアルアーティスト
美国视觉艺术家
Always/Never
Always/Never is the result of UVA’s recent investigations of the perception of time.
Always/Never is a grid of pyramidal elements inspired by the sundial, each passing through time at a different rate.
Changing patterns of light and shadow create the illusion of a fluid surface; shifting combinations of colours from nature recall different times of day.