Нед Кан
Tornado
A 10-foot tall vortex is formed by air blowers and an ultrasonic fog machine inside a sculpture installed in the atrium adjacent to the Winter Garden. The vortex continually changed shape in response to the surrounding air currents.These fluctuations gave the vortex an erratic and life-like appearance. Viewers were encouraged to alter the shape of the vortex with their hands. The calm, central core of the vortex is clearly evident.
Kahn’s interactive scientific projects leave little doubt about his command of meteorological processes. Through his immense technical ability, he demonstrates the versatility of turbulent systems, such as the vortices of wind and water. He employs diverse mechanical, pneumatic and electrical technologies to design, build and refine his installations. This is how he constructs dazzlingly complex but comprehensible images of nature that respond to viewers, conform to architectural structures, and reveal environmental conditions.

Machine Hallucinations — Sphere

The artwork presents a series of AI Data Sculptures that incorporates vivid pigments, shapes, and patterns, aiming to create a collective, meditative, and multisensory experience. This immersive experience simulates the rhythms of various environments and invites the visitors to imagine alternative realities constructed by invisible data movements around them.
Machine Hallucination: The Sphere features dynamic visualizations of data that are based on vast archives containing visual imageries of space and nature while celebrating the unique architecture of The Sphere. For this project, Anadol and his team used these themed datasets as the building blocks for the three distinct chapters of the artwork and trained a unique AI model with subsets of the collected image archives. After the training, when idle and unsupervised, the “machine mind” generates new aesthetic visuals and color combinations through unique lines drawn by algorithmic connections.

The Forgettable Art Machine

FILE 2024 | Installations

International Electronic Language Festival

The Forgettable Art Machine is an artificial intelligence-driven video installation. When facing the panel, the public has their image captured, starting a cycle of analysis, creation and destruction. From this data, a composite emerges, slowly transforming the visitors’ image into a generative visualization. Once the cycle is complete, the composition is deleted, waiting for a new audience to be captured.

Bio

Matthias Oostrik works at the intersection of digital art, installation art, cinema and architecture. His works establish unpredictable relationships between people and their surroundings. Using digital technology, his installations allow visitors to reshape their environment and their relationships with each other. Oostrik collaborates with renowned professionals and, above all, with his audience, who often become an integral part of his work.

Credits

Co-production: Zester
IA Music: Than van Nispen

IJIROS
file festival
Ijiro is a robot which expresses emotions reacting to a user’s actions. Boldly, it consists of an OLED display, a speaker and an accelerometer in a cylinder shell. Ijiro isn’t able to move itself because it doesn’t have any actuators. However, it expresses emotions with faces in the display and voice from the speaker when a user touches it, lying, standing, swinging, hanging and so on. For example, if a user swings it softly, it reacts smiling. But if a user swings it roughly, it reacts angrily. So those reactions let users feel it like a baby. It is actually baby’s emotions characterized by cognitive science. Also, Ijiro’s shape is designed as a cylinder. It is considered to get various user’s actions because only a cylinder can be stood, lied down, rolled and so on in primitive shapes. Recently it has been easier to use electronic parts for arts. One advantage of making art pieces with compact electronics like a cell phone. So the art style is able to change from being viewed in a large room to being anywhere. Ijiro was developed to entertain people to keep it like a physical pet. We hope you all enjoy touching it.

Sun and Moon Room
Sun and Moon Room in the Art Museum of Nature and Human Non-Homogeneity, located in Bungotakada City, Oita, houses one of the interactive art installations designed to extend one’s physicality in contact with the nature. The concept of this work is a room where visitors can play with sunlight. As visitors walk through the room, small apertures on the ceiling automatically open and close, following their movements. The aperture system is designed to envelop the visitors’ bodies in light and to change the shape of the light cast at their feet, mimicking the waxing and waning of the moon. Visitors’ movements are detected by sensors, which trigger to open only the apertures located in the direction of the sun. The room is controlled to create an interior condition that represents the weather of the moment using a program for analyzing live data released by the Japan Meteorological Agency.

MAN-NAHĀTA
Computational growth across material and urban scales offers a framework for design through self-organization, enabling the generation of vast, diverse forms exhibiting characteristics like those that emerge through the biological growth processes found in Nature. In this project, we construct an oriented volume spanned by surface normals of the shape at every point. The value of the oriented volume drives the iterative deformation of the shape. Depending on the parameterization of this process, we can obtain distinctly different growing forms. Importantly, the emergence of these forms is driven only by the time evolution of a geometric operator acting on the shapes iteratively, thereby connecting geometry and growth through an algorithm. To form the Man-Nahata landscape, the buildings of the urban landscape are transformed through repeated morphological closing operations, where the field of influence follows a gradient from the center to the outskirts of a circular region.

The Wild Swans

The project is the creation of a series of kinetic garments that tell the story of “The Wild Swans” by Hans Christian Anderson. In the fairy tale, 11 princes have been turned into swans from a transformative spell cast by their wicked stepmother. Their sister, the princess, rescues the princes by collecting stinging nettles and knitting them, under a vow of silence and in great pain, into magical shirts so that her brothers can return to their human shape. She is very nearly done knitting them all when she runs out of time; she throws the sweaters onto her brothers to transform them, but the last one is incomplete, leaving her youngest brother forever with a swan’s wing instead of an arm.

Sonic Mountain
As a unique site-specific commission for the Donum Estate, Los Angeles-based artist Doug Aitken has created the ethereal work Sonic Mountain (Sonoma), three concentric circles of suspended stainless-steel pipes whose differing lengths form a wave at their base, mirroring the free Euler-Bernoulli shape that describes the chime’s frequency. Installed in the eucalyptus grove, measuring forty-five feet in diameter and twice human height, and comprising 365 chimes — one for each day of the year — Sonic Mountain (Sonoma) works with one of Donum’s most persistent elements, the Carneros breeze that cools the grapes and creates a temperate zone for growing Pinot Noir. Each day, the warm wind begins its soft whisper, rustling through the vines and trees, building in strength through the day until mid-afternoon, and then gradually diminishing in force. Known to have been used since at least the ancient Roman period in Europe and the second century in India and China, wind chimes create chance, inharmonic music. At Donum, Aitken has teamed up with his friend the composer Terry Riley to compose chords in the chimes to be played by the wind , depending on how it blows, so the lyrical work sounds throughout the estate, demonstrating the artist’s practice of making installations that synthesize many media and are never constrained by tradition.
video

Urban imprint
“If there is to be a “new urbanism… it will no longer be concerned with the arrangement of more or less permanent … but for the creation of enabling fields….that refuse to be crystallized into definitive form; it will no longer be about meticulous definitions, the imposition of limits, but about expanding notions, denying boundaries, not about separating and identifying entities, but about discovering hybrids; it will no longer be obsessed with the city but with the manipulation of infrastructure for endless intensifications and diversifications, shortcuts and redistributions – the reinvention of psychological space.”, Dutch architect + Harvard Professor, Koolhaas 959, writer of Delirious New York. URBAN IMPRINT is how we design a piece of this new urbanism, an augmented materiality , as we define it. An environment that is a ‘blank canvas’ to be reshaped by the future self.

Fractal Microorganisms

The skeletons also has the feature of fractals, which often being mentioned when discussing the forms of nature. Both of symmetry and fractals can be generated from one simple structure. Therefore, I decided to write a script that let people draw a random structure, and using the structure to generate a symmetry fractal shape. The fractals have their diameter through the time according to a sinusoid, making them almost like breathing.

tape sao paulo
file sao paulo 2016
Constant wrapping of pillars with a transparent adhesive tape results in a complex, amorphous surface through the process reminiscent of growing of organic forms. One line evolves into surface that forms an organic shape of extraordinary strength. The entrance of the audience inside the volume transforms the sculpture into architecture. It was practically “found” through the act of chaotic wrapping, where a one-dimensional line (“tape”) slowly turned into two-dimensional plane, which then finally curved into volume.

File Festival
Paul Robertson is an Australian animator and digital artist who is known for his pixel art used in short films and video games. He is mostly known for Scott Pilgrim Vs. the World: The Game and the recent release, Mercenary Kings. Apart from his seasoned career as a game designer and movie creator, Robertson has been recently spotted on Tumblr with these GIFS. His interest in inserting flashing neon colors, geometric shapes, Japanese character animation, and 1990′s computer imagery, deems his work as heavily influenced by the Seapunk/Vaporwave aesthetic.

فرناندو روميرو
费尔南多·罗梅罗
フェルナンド·ロメロ
페르난도 로메로
Soumaya Museum

Museum buildings tend to be conceived either for maximum functionality – acting as neutral containers for art – or as iconic structures that represent a city at a particular historic moment. The Museo Soumaya was designed as both: a sculptural building that is unique and contemporary, yet one able to house a collection of international paintings, sculptures, and decorative objects dating from the fourteenth century to the present.The exterior of the building is an amorphous shape perceived differently from every angle, reflecting the diversity of the collection inside. The building’s distinctive façade is made of hexagonal aluminum modules facilitating its preservation and durability. The shell is constructed with steel columns of different diameters, each with its own geometry and shape, creating non-linear circulation paths for the visitor. The building encompasses 20,000 square meters of exhibition space divided among five floors, as well as an auditorium, café, offices, gift shop, and multipurpose lobby. The top floor is the largest space in the museum, with its roof suspended from a cantilever that allows in natural daylight.

“6 Sided Plane in 5 Masses and 3 Scales with 2 Free Regions
The drawings also clarify the schema underlying the locations of the bored holes in the sculptures. Situated along lines linking vertices at the perimeter of the forms, they recall constellation maps or, as with 8 Sided Plane in 7 Masses and 2 Scales with Free Region (1975/2018), the plans of Romanesque cathedrals. Here, again, the relationship is inverted. The black shapes representing the solid stone columns in the plans echo the shafts of air bored through the steel. The term “Romanesque” appears frequently in Rabinowitch’s titles. Though absent here, the conglomeration of shapes visible in Romanesque church plans, like those of Cluny in France, bear an affinity with the additive sensibility evident in Rabinowitch’s structures. Donald Kuspit has focused attention on the artist’s interest in Northwest Coast traditions, especially the totem pole. Like the totem pole, Rabinowitch’s works manifest a “disrupted continuum,” a whole built out of distinct parts. For me, the presence of the drawings in this exhibition subtly undermined that assertion. The lines along which the bored holes are situated form a network that passes over all (or at least most) of the components in each work, in effect linking them. Though no longer visible in the steel versions, the connective links act as a reminder of this second related principle of organization. Some may see it as a complication, a discrepancy, or be disappointed by the realization, but I think it helps demystify these “new” early sculptures. At the same time, the proximity of the studies by no means diminished the deep-rooted and intriguing complexity of Rabinowitch’s sculptural work.”John Gayer

Path of silence
Inspired by the remarkable topography of the landscape of the Kistefos Sculpture Park, the stepped slope and terraces beside the Industry Museum, where the power and energy of water is directly visible and gives the site a special quality, a free form is adapted to the shape of this landscape, thus creating a dialogue between the place and the object. The sculpture is defined by an extensive mirror labyrinth that encloses three spaces of silence: A contemplative space, where an enclosure of high mirror steles promotes an upward glance to the sky, a natural space, where a tree inside the sculpture links the inside with the outside and an active space where walls of water appear and disappear, thus offering ever-changing perspectives of the surroundings.

Articulated 3D-Printed Gown
Michael Schmidt and Francis Bitonti revealed their fully 3d printed gown modeled by Dita Von Teese.
The fully articulated gown based on the Fibonacci sequence was designed by Michael Schmidt and 3D modeled by architect Francis Bitonti to be 3D printed in Nylon by Shapeways. The gown was assembled from 17 pieces, dyed black, lacquered and adorned with over 13,000 Swarovski crystals to create a sensual flowing form.Thousands of unique components were 3D printed in a flowing mesh designed exactly to fit Ditta’s body. This represents the possibility to 3D print complex, customized fabric like garments designed exactly to meet a specific person or need.

AVA_V2 / Particle Physics_Scientific_Installation
Ava; is the surface-volume shape coefficient. The main inspiration comes from monumental experimentations which focused on particle physics. AVA’s design originate from the Buckminster Fuller’s iconic dome structure. It has 360 traceable area from the exterior surface of the dome. Cosmic rays reinterpreted within the concept of AVA and the first version of the performance screened at Paris. AVA is a Commisioned Artwork and designed as a portable installation which can be transportable and positionable at any place.

Waterfall
The sculptural artwork is composed of four metal ribbons lined with LED screens that cascade down the wall. The sinuous shape of Waterfall is reinforced by the constant flow of abstract images that slide down the screen surface. The video is generated in real-time by global trading data. Waterfall attempts to capture the ceaseless ebb and flow of financial data that touches us in more ways that we can imagine.

Thixotropes
They’re called Thixotropes. Compositions comprised of eight illuminated mechanized structures create choreographies of lighting effects that alternate form warm to cold light. Designed by London based design firm Troika, these suspended systems merge technology with art and explore the realm in which rational observations intersect with the metaphysical and surreal. Each of the structures is shaped as a composition of intersecting angular and geometric forms, made of thin tensed banding lined with rows of LED’s. The constructions continuously revolve around their own axis thereby materializing the path of the light and dissolving the spinning structures into compositions of aerial cones, spheres and ribbons of warm and cold light while giving life and shape to an immaterial construct.

ONE SHAPE, ONE SQUARE, ONE EXECUTION, ONE TRANCSENDENCE
ONE SHAPE, ONE SQUARE, ONE EXECUTION, ONE TRANSCENDENCE consolidates three quotations from the writings by the minimalist artist and philosopher Ad Reinhardt. The works in question are “Abstract Painting, Sixty by Sixty Inches Square”, “On Negation” and “There is just one painting”, a fragment of which has been taken as a work title. The text “On Negation” is turned into sound and used to cause the vibration of the black square plane that has the same dimensions as “Abstract Painting” by Ad Reinhardt.

WIDE/SIDE
WIDE/SIDE is an interactive installation in which shapes, images, and sounds are joined and interdependent. A visually engaging block, captivating in its monochromatic conception and minimalist lines, serves as a projection screen and teems with conglomerations of lines and shapes. As a result the installation is always changing and acquiring countless different forms.
The individual forms of the projections in reality are based on the surrounding environment, responding to the movements and gestures of the viewers. Visitors and passersby therefore themselves become part of the work and define its appearance.

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

Lumibolic
Lumibolic is an interactive and occupiable environment shaped from hyperbolic paraboloid geometries. Its luminous surfaces are composed of strands of glowing EL wire that modulate their form and intensity in response to sound and motion inputs. Designed to generate dynamic visual vibrations inspired by the work of Op-Artists Bridget Riley and Victor Vasarely, the piece visualizes relationships between site and visitor on a large scale.

ShenZhen Science Technology Museum
A cascade of terraces will frame a large atrium at the heart of the Shenzhen Science & Technology Museum that Zaha Hadid Architects is developing in China. Slated for completion in late 2023, the pebble-shaped museum will encompass 125,000-square-metres and contain a mix of public spaces, galleries and educational facilities. It has been designed by Zaha Hadid Architects as a landmark for Shenzhen’s new Guangming Science City – a masterplan intended to establish the city as a hub for innovation.

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.

Power Plants
Hito Steyerl’s series of projects at the Serpentine Galleries is positioned around ideas of ‘power’. Beginning from the premise that ‘power is the necessary condition for any digital technology’, the artist considers the multiple meanings of the word, including electrical currents, the ecological powers of plants or natural elements, and the complex networks of authority that shape our environments. She addresses the notion of power through three interrelated research strands and projects: Actual Realityos, a collectively-produced digital tool; Power Walks, a series of guided walks and a tour that draws upon conversations with campaigners, community groups and organizations in the local area surrounding the Serpentine, and finally this exhibition, Power Plants, which features new video installations created using artificial intelligence trained to predict the future.

Asemic Languages
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.

WOMANEROES

“Eliška Sky’s tribe of ‘womaneroes’ stand bold and bright, their bodies and heads adorned in vibrant shapes, colours, and textures. Beneath the wigs and paint are women of all ages, shapes and ethnicities, photographed with a large-format camera to capture every detail, rough or smooth, with the intention for the images to eventually be printed and exhibited life-size. “It started as visual play, but transformed into a series that challenges depictions of women’s bodies,” explains the London-based Czech photographer. “In light of my own experience of working in the fashion industry, I felt the need to portray the body in new ways and forms, with an element of playfulness and humour in opposition to western media advertising”.” Marigold Warner

克劳斯奥伯迈尔
the concept of … (here and now)

In front of a giant screen, two dancers interact with a cohort of cameras… Their movements are captured by infra-red sensors and projected onto the screen, whereby their bodies become the canvas on which new images take shape. The result is a shifting kaleidoscope of strange, living, quasi-mathematical visual worlds which sometimes seem to be emanating or even escaping from the dancers’ bodies. “Who decides which movement to make: the man or the machine?” Blurring the line between the real and the virtual, Klaus Obermaier loves to subsume his performers’ bodies and physicality in a disconcerting digital universe. With his latest creation, the choreographer/artist has taken a bold new step. He has constructed a system of projectors and infra-red sensor-cameras, trained upon the movements of two dancers. The performers thus find themselves thrown headlong into a living, moving graphical universe: their movements are projected onto the screen, but at the same time their bodies are illuminated by more projected images. This is a true artistic performance, pushing well beyond the frontiers of a standard dance recital, or even a contemporary dance show. A corporeal, temporal performance. A choreography which makes subtle use of its raw materials, deftly combining lights, video, perspectives and the real-time power of bodily movement.

Triph
“When left alone with no audience, the object glows dimly as if it were asleep. Yet when visitors approach, the installation slowly comes back to life. Colour gradients pour into each shape, whilst mirrored surfaces start reflecting light – all to the orchestra of an encompassing soundscape. This project invites visitors to become part of something. An immersive light experience in which the audience directs the intensity, audio and colour palettes simply by approaching, moving around in and between the large geometric shapes of the installation. Truly, a merging of art, interaction design, sound, tech and vision. As visual architects, our aim with ‘TRIPH” is to demonstrate that a number of different techniques can be combined into a mix of unexpected shapes and materials, that in turn help to create a new truly unique way of experiencing a story. Both in daylight condition and at night. With our self-initiated work, we aim to find undiscovered methods of narrative, questioning the ways people discover and open themselves up to new conceptual work.” Circus Family

Wavelet
It uses the changing light to mimic the flowing water. Wavelet is composed of 1,300 light-responsive light bulbs. Each light bulb is designed in an arc shape, which gives the light wave a distinct direction. Each of the teardrop-shaped light bulbs is embedded with custom-made electronics that detect and react to changes in light and colour. When any of the light bulbs detect a change in colour or light, it displays the colour accordingly. When any of of the lights are turned on, the adjacent light bulbs react to the light change and the light waves automatically expand out to the very edge of the installation. From a single source of light, waves spread out like a series of dominoes. The random variable patterns created give a pleasant surprise to the audience.

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

Architectural Constellation
To intensify the experience of visitors with the particular surrounding, X-Architects imagined “a constellation of architecture strategically placed on the vast terrain”. In fact, using the existing topography, the project puts in place dune shaped units, offering views of sabkhas. Moreover, other elements placed on the highest point of the site, grow vertically like the desert flower Cistanche Tubulosa and propose views towards the stars.

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

MOL
MOL (2018) takes up the ancient technique of memorizing information by placing symbols and signs along a mental path through an imagined house from room to room. Interested in the way technology affects both our sense of and need for memory, Nymann attempts to capture her own active and associative thinking by reconstructing her path through her abandoned childhood home. In the work, she visualizes her past experiences through the placement of anchor objects—which, according to the ancient Greco-Roman method of loci, shape the way we perceive the external world—suggesting that in our increasing reliance on technology to memorize for us, we allow others to form our view of the world.

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

Synapse
Synapse is a 3D-printed helmet which moves and illuminates according to brain activity[…] The main intention of this project is to explore the possibilities of multi-material 3D printing in order to produce a shape-changing structure around the body as a second skin. Additionally, the project seeks to explore direct control of the movement with neural commands from the brain so that we can effectively control the environment around us through our thoughts. The environment therefore becomes an extension of our bodies. This project aims to play with the intimacy of our bodies and the environment to the point that the distinction between them becomes blurred, as both have ‘become’ a single entity. The helmet motion is controlled by the Eletroencephalography (EEG) of the brain. A Neurosky’s EEG chip and Mindflex headset have been modified and redesigned in order to create a seamless blend between technology and design.

Energie!
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.

After Deep Blue

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

Max-Planck-Institut

The CMS consists of an industrial robot arm with six independent axes, extended with an L-shaped cabin axis. The seventh axis allows for varying the orientation of the cabin with respect to the robot arm by changing the location of the cabin’s attachment point from behind the seat to under the seat, or any intermediate position. Recently, the CMS has been further extended with a linear axis of ten meters. The resulting eight degrees-of-freedom (DOF) provide an exceptionally large workspace. Several extreme motions and positions can be achieved, such as large lateral/longitudinal motions, sustained centrifugal motions, infinite head-centered rotation, and up-side-down motions.

dementia simulator
This Dementia Simulator headset designed by Central Saint Martins graduate Di Peng lets wearers experience symptoms of the disease for themselves (+ movie). The helmet affects each of the senses, in an attempt to replicate many of the challenges faced by dementia sufferers. The translucent, egg-shaped device sits over the wearer’s entire head, and includes a mouthpiece, earpiece and screen that covers the eyes.

The New Pathe Foundation Headquarters
Renzo Piano Building Workshop designed the “organic creature” in the courtyard of a 19th-century block to house the new headquarters of the Fondation Jérôme Seydoux-Pathé – dedicated to preserving the history of French film company Pathé and promoting cinematography.
The egg-shaped form connects to the surrounding Haussmann-era buildings at four points. Its form curves away from the existing buildings and its top peeks over the roofline.

HOW TO GROW AND STILL STAY THE SAME SHAPE
If Comte’s sculptures are rooted in the naturalness of biomorphic forms, her mural interventions transform surfaces into optical sequences and infinite graphic signs with a digital age aesthetic. The monochromatic vocabulary that invests all her work brings her visually close to the abstraction of Sol LeWitt, Bridget Riley and even John Armleder, an artist with whom she studied. On the occasion of her exhibition at Castello di Rivoli, Comte has carried out a gigantic mural intervention consisting of eleven individual wall paintings specially designed for the galleries on the third floor of the historic residence. Also inspired by some eighteenth-century decorative motifs present on the ceilings and walls of the main museum building, the work develops repeated modules through space.

Boxing Ballet
Yang’s Boxing Ballet turns one half of the gallery into a reworking of Oskar Schlemmer’s 1922 costumed dance work Triadisches Ballett, with replicas of five of the Bauhaus teacher’s bulbous and exaggerated figures, from a female figure made of hoops to a circle that looks like a flattened stickman. Here, Schlemmer’s figures are reimagined as golden bell-covered shapes on wheels or wire frames hanging by a wire from the ceiling. As they all come with handlebars, it seems we are meant to provide the choreography, stiffly pushing, say, a giant roosterlike creature around like an awkward shopping trolley.

L’Orfeo.
Dutch National Touring Opera’s production of L’Orfeo.
Artist Lonneke Gordijn, together with director Monique Wagenmakers and choreographer Nanine Linning, created a new interpretation of L’Orfeo.
The kinetic sculpture EGO, specially developed for L’Orfeo, is a handwoven block controlled by algorithms and motors. The block has the ability to shift its shape and state, embodying Orfeo’s perspectives and thoughts. The oldest opera combined with modern cutting edge technology.

Phoenix International Media Center
According to Architect Shao Weiping, the design of the building resembles DNA-like double helix that has been wrapped into a loop.[4] He adds that the circular contours of the Phoenix complex echo the yin-yang symbol of ancient Chinese philosophy. The Phoenix Centre is notable for being an experimental building designed by a domestic firm.[5] Within the doughnut-shaped exterior “shell” are two conventially-structured interior towers.

Meditation
file festival
The sound transforms and shapes the image of waves sinking inside. The reproduced media, when compressed and suppressed, provide more possibilities of thinking and choices than the values contained in its own form. Through these processes, “Meditation” can be the right tool for meditation.

Birdie
The original Birdie suspension lamp was designed by Ingo Maurer himself in 2002. Birdie is the smaller version of the Birds Birds Birds chandelier and is suited for ceiling heights of 230 to 260 cm. With 12 halogen low-volt bulbs, extra produced by Ingo Maurer, and handmade wings of goose feathers this lustre becomes an extraordinary design lamp. The individual wires can be turned, bent and shaped whichever way you like.

Class room chair

Polyfunctionality and deconstruction of everyday objects, irony and humour as weapons and moments of profound insight: these are some of the ideas behind the works by the architect, designer, sculptor and film-maker, Stefan Wewerka (born in 1928, in Magdeburg).
In his works, Wewerka pushes against conventional concepts relating to art and aesthetics, rationalism and functionalism. As a result for instance, the Last Supper is turned into a weird affair, the kitchen space turned into a kitchen tree. Wewerka’s unmistakable trademark is the manipulation of chairs. Sawn, hacked and bent out of shape, these chairs subversively thwart previously unquestioned concepts relating to furniture. In stark contrast to this, however, are his sculptural furniture designs, adapted to suit the requirements of the human body and its habits.

Ephraim Henry pavie, french borned architect has definitly freed his concepts from the regular geometrical constraints. First there are the free shapes, the smoothness of the curves and openings, and the shiny and polished skin of his “handmade” pieces. Inspired by the art of feng shui, the shape of his architecture is like an interface between the inside energies and the outside natural environment. The architect’s creative work has been published in national and international magazines, online and on national television.