marnix de nijs

PIVOT POINT – ICHIHARA
‘Pivot Point – Ichihara’ is an interactive site-specific installation. Standing on a controller pod you navigate over and through a 3D terrain where gravity seems to have disappeared, you gradually become tele-present in a parallel projected space by exploring a mediated version of the venue, it’s direct surroundings and the Ichihara region. A cinematic journey to a fascinating point cloud realm, precise in details but simultaneously abstract and dreamlike.The kidney shaped interface is covered with capacitive sensors and mounted on a pole, touching this interface right, left, up or down aims the virtual camera accordingly. When you release the navigation pole the virtual camera automatically starts spiralling back to the initial starting point your journey and temporary centre of the universe, the Asohbara Art House.

Mathias Krissmer

II00II0I0I00II000I
“Krissmer’s ‘Kinetic Paintings’, explore visual composition, movement and scale in a way that thrills and disorientates. They are an optical experience simultaneously aesthetic and perceptual. The digital projections can be taken to any scale making them architectonic and potentially intimate. Their focus on a geometric language set in dynamic movement creates a certain sculptural juxtaposition, enhanced by the predominant use of black and white. The occasional introduction of bright colours further dramatises the Krissmer aesthetic. These are works that inspire, that must be experienced by the mind and the body.”

Cassils

Inextinguishable fire
The title of the piece references Harun Farocki’s 1969 film of the same name, which approaches the impossible task of effectively depicting the horror of napalm on film. Cassils’s gesture of self-immolation speaks to both the desire for–and the impossibility of–knowing such horror, even while decisively aiming to approach it. Though the stunt is a simulation of violence, it still presents real danger. This possibly volatile situation–and the attempt to control it–is captured to create an image where danger, empathy for those experiencing violence, and the privilege of removal from such circumstance operate simultaneously in one transparent performance.

Herman Kolgen

Eotone
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.

Mark Dorf

Contours
Contours proposes a distancing through de-familiarization of what has become concrete by way of image and language. Active contradiction and abstraction are central to the works through a mixture of variables often seen in opposition or as dis-harmonious. Through the presentation of puzzling symbols, both familiar and skewed, a legible illegibility is produced: information being transmitted, but the immediate read obscured and hidden from sight. Through this, current sight-lines are made visible allowing for critical reflection, while simultaneously revealing the flexibility of language and image in order to engender the possibility of alternative understandings of the world: a crucial consideration in context of our contemporary global social and political shifts.
video

Rafael Lozano Hemmer

Redundant Assembly
In “Redundant Assembly” an arrangement of several cameras composes a live-portrait of the visitor from six perspectives simultaneously, aligned using face detection. The resulting image is uncanny, detached from the laws of symmetry and the depth perception of binocular vision. If several visitors are standing in front of the work, a composite portrait of their different facial features develops in real time, creating a mongrel “selfie”.

EVA PAPAMARGARITI

Liminal Beings
Liminal Beings explores the concept of automaton and the different anthropomorphic forms and functions embedded within its ontology. Automata, since ancient times, have been standing on the verge of two states, developing machinic and human characteristics simultaneously – in reality, and in the collective consciousness. They are trained to execute and learn respective actions and procedures, thus creating an uncanny, awkward state, trapped in limbo between diverse conditions of existence.

Karen Lancel and Hermen Maat

Kissing Data Symphony
Intimacy Data Symphony is a poetic ritual for intimate experience of Kissing and Caressing each other faces, multi-sensory and socially shared in public space of merging realities. In live experiments with Multi-Brain BCI E.E.G. head-sets, visitors are invited as Kissers (or Caressers) and Spectators. Brain activity of people kissing and caressing is measured and visualized in streaming E.E.G. data, real-time circling around them in a floor projection. Simultaneously, the Spectators brain waves are measured, their neurons mirroring activity of intimate kissing and caressing movements, resonating in their imagination. The Spectators brain activity data are interwoven in the data-visualization. Brain activity of all participants, mirroring each others emotional expressions and movements, in interpersonal and aesthetic ways, co-create an immersive visual, Reflexive Datascape.

MARK HANSEN & BEN RUBIN

Марк Хансен и Бен Рубин
마르크 한센과 벤 루빈
Listening Post

Listening Post is an art installation by Mark Hansen and Ben Rubin that culls text fragments in real time from thousands of unrestricted Internet chat rooms, bulletin boards and other public forums. The texts are read (or sung) by a voice synthesizer, and simultaneously displayed across a suspended grid of more than two hundred small electronic screens.Listening Post cycles through a series of six movements, each a different arrangement of visual, aural, and musical elements, each with it’s own data processing logic.Dissociating the communication from its conventional on-screen presence, Listening Post is a visual and sonic response to the content, magnitude, and immediacy of virtual communication.

Doug Rosman

Self-contained II
A neural network, trained to see the world as variations of the artist’s body, enacts a process of algorithmic interpretation that contends with a body as a subject of multiplicity. After training on over 30,000 images of the artist, this neural network synthesizes surreal humanoid figures unconstrained by physics, biology and time; figures that are simultaneously one and many. The choice of costumes and the movements performed by the artist to generate the training images were specifically formulated to optimize the legibility of the artist within this computational system. self-contained explores the algorithmic shaping of our bodies, attempting to answer the question: how does one represent themselves in a data set? Building on the first iteration of the series, the synthetic figures in self-contained II proliferate to the point of literally exploding. Through the arc of self-contained II, this body that grows, multiples, and dissolves never ceases to be more than a single body.

Freya Olafson

MÆ Motion Afterefffect
MÆ – Motion Aftereffect explores motion-capture, ready-made 3D models and monologues found online, ranging from experiences with virtual reality in live gameplay to out-of-body experiences and astral projection tutorials. The work addresses the impact of emerging consumer technologies associated with AR – Augmented Reality, VR – Virtual Reality, MR – Mixed Reality, XR – Extended Reality and 360° video. Monologues sourced from the internet provide the infrastructure for the work; an in-ear monitor feeds Olafson the monologues onstage, challenging her to listen and speak simultaneously. This dual action of listening and speaking enables her to embody a state of presence that references data streaming, live processing, and gaming. As a performer she becomes a conduit, medium, or interface, broadcasting edited monologues from the internet to the audience. The action of performing the work becomes like playing a video or VR game.

LUCYANDBART

露西·麦克雷和巴特·赫斯
Люси Мак Рае и Барт Хесс

“Lucyandbart” is a collaboration between artists Lucy McRae and Bart Hess. In it they imagine human bodies and faces physically altered with a shocking but artistic realism. Globules of foam, asymmetric spines… fascinating and repugnant simultaneously, the pictures become even more disturbing because they don’t hint at the emotional state of the subject. Each transformed human looks blankly back at you, neither horrified or surprised or excited about their change of form, but merely present and allowing it to be shown to you.

Gustav Metzger

Liquid Crystal Environment

Liquid Crystal Environment is made using heat-sensitive liquid crystals that are placed between glass slides and inserted into projectors. The slides are rotated to create movement within the liquid, and as the crystals are heated and cooled they change colour. The patterns produced within the various slides are then simultaneously projected onto screens around the exhibiting space, all under the control of a computer program.

Masaki Fujihata

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.

Ryoji Ikeda

池田亮司
이케다 료지
РЕДЗИ ИКЕДА
superposition

superposition is a project about the way we understand the reality of nature on an atomic scale and is inspired by the mathematical notions of quantum mechanics. Performers will appear in his piece for the first time, performing as operator/conductor/observer/examiners. All the components on stage will be in a state of superposition; sound, visuals, physical phenomena, mathematical concepts, human behaviour and randomness – these will be constantly orchestrated and de-orchestrated simultaneously in a single performance piece.

REJANE CANTONI & LEONARDO CRESCENTI

Tunnel
File Festival
“Tunnel” is a kinetic, immersive and interactive sculpture, composed of 92 porticos that become disordered in function of the position and body mass of the interactor. Numerous users can simultaneously enter and interact with the machine. Interactors agency the machine via their position and weight. An example of interaction is: you go into the “Tunnel” and stand by one of the side walls. In this case, the relative position and the gravitational force of your body provoke variations of floor height. The floor inclines up to 5º, the associated porticos progressively rotate in the corresponding direction and angle, and this propagates ondulatory movements throughout the entire installation. For the outside observer, the internal movement or your displacement in relation to the installation produces kinetic optic effects.

Iris van Herpen

АЙРИС ВАН ЭРПЕН
イリス ヴァン ヘルペン
Autumn/Winter 2019
This season van Herpen collaborated with American kinetic sculptor Anthony Howe, whose pieces are powered by the wind. His spherical Omniverse sculpture had pride of place in the Élysée Montmartre venue. The designer said she was compelled by the way its arching vertebrae, spinning on a curving axis, simultaneously expand and contract. Her finale dress was made in the image of Omniverse, with rotating wings constructed of aluminum, stainless steel, and feathers.

Thomas Feuerstein

Psychoprosa

The exhibition PSYCHOPROSA focuses on mucus as a biochemical substance and sculptural material. The production of mucus takes place as a real process within the exhibition spaces, transforming the Frankfurter Kunstverein into an interconnecting ensemble of greenhouse, laboratory, walk-in refrigerator, cinema, and factory. Through tubes connected to one another, equipment and objects produce and transform their interior substances, refrigerators open and close automatically and transparent threads of mucus drip from expansive glass sculptures.

In close collaboration with biochemists, Thomas Feuerstein has developed the synthetic molecule Psilamin, derived from algae and fungi. In its production, large quantities of viscous biofilm are generated. If one were to take Psilamin, one would begin to feel psychotropic effects. Perception would liquefy, and objects in the room would appear soft and shapeless. Simultaneously, the flowing nature of the sculptural matter, which escapes solid form, externalizes an inner psychic process. At the end of the biochemical production process, which visitors can track in the different exhibition spaces, there is the expan-sive sculpture Accademia dei Secreti over whose glass containers vast amounts of mucus pour.

Diana Thater

“Science,Fiction”

Through a combination of the temporal qualities of video and the architectural dimension of its physical installation, Thater’s work explores the artifice of its own production and its capacity to construct perception and shape the way we think about the world through its image. Natural diversity, wildlife, and conservation have been persistent themes in the artist’s work, and she has dedicated herself to an examination of the varied kinds of relationships humans have constructed with animals. While her in-depth studies of ecosystems and animal behavior propose observation as a kind of understanding in itself, her ethical position is implicit in the work, which, while subtly political, provides views of the sublime in all its incarnations—stunning, beautiful, and simultaneously terrifying.

Marnix de Nijs

Accelerator

Marnix de Nijs’ installation examines the precarious balance of machine, image and body in time and the effects that accelerated forces of gravity have on today’s urban citizenry. Participants sit in a racing car seat attached to a motorized revolving arm and focus on a video projection which is simultaneously circulating with them.

Balazs Kicsiny

Winterreise
Captured moments are central in Kicsiny’s installations. His characters are simultaneously frozen still and in motion. In some works this paradox becomes literal, as in the installation Winterreise that depicts two priests skiing in different directions using the same skis, which makes forward motion impossible. The figures seem lost, isolated and their journey endless. In their hands they hold Jacob’s staffs, navigational instruments used in the 17th century. The work alludes to the continuous search for one’s place in life.

Anish Kapoor

New Born
Newborn takes its name from Brancusi’s stylised depictions of infant faces made from marble, brass and wood. Kapoor re-presents decisively modernist forms through clean geometries – a perfect sphere interrupted by two upward facing convex slices which culminate in a curved central ridge. Simultaneously dominating the terrain and dissolving into it, this impressive nearly ten feet sculpture hovers gracefully on the ground at a single precise point, miraculously poised and balanced.

Sasha Waltz

Sacre
Sacre is Waltz’s forceful version of The Rite of Spring. The stage is smoke-filled, and a cone of rocks and ash lies centre stage like the remains of a fire. Couples invade the stage, and clump into ragged groups that rupture and re-form: fracturing along gender lines, or splintering into disparate parts. Though she ends up overloading the piece with too many sub-scenes – too many rites, really – Waltz is terrific at simultaneously marshalling and unleashing the wild energies of her dancers, skewering the stage with images of birth, sex and death, of savage conformity and naked revolt.

DANIEL PALACIOS

Waves
FILE FESTIVAL
A long piece of rope generates 3D waves floating in space by the physical action of its movement: the rope which creates the visual waves also simultaneously creates the sound by cutting through the air, making up a single element. The installation is affected by those who watch it. When the audience moves around it they influence the movements of the rope, generating visual and acoustic sound waves from harmonic patterns to complex ones.

Gerda Scheepers

Body Corporate
Through Scheepers’ methodised application of her materials; painting with pieces of fabric, a pair of scissors and familiar forms, she has created a pathway back to painting through sculptural means. A pair of colourful wall works that resemble soft, unlikely shelves are simultaneously abstract paintings. Similarly ambiguous, another work acts like either a window blind that rolled in a possible pictorial message, or a painting that quit and became a roller blind.

Marpi

Wave Atlas
Wave Atlas is a water world teeming with artificial digital life, which users simultaneously create and discover. The more users who interact, the richer and more complex this ecology grows.

 

LUCYANDBART

露西·麦克雷和巴特·赫斯
Люси Мак Рае и Барт Хесс

Imagine human bodies and faces physically altered with a shocking but artistic realism. Globules of foam, asymmetric spines… fascinating and repugnant simultaneously, the pictures become even more disturbing because they don’t hint at the emotional state of the subject. Each transformed human looks blankly back at you, neither horrified or surprised or excited about their change of form, but merely present and allowing it to be shown to you.

JULIAN MAYOR

Graziano Chair
The Graziano chair was inspired by computer generated wire-frame models, and by toughness coupled with fragility. Wire frame drawings express form though an economical use of marks, and with their own set of codes, they allow a viewer to look at the inside and outside of an object at the same time, and from many angles simultaneously.

ALLORA & CALZADILLA

АЛЛОРА И КАЛЬСАДИЛЬЯ
Never Mind That Noise You Heard

Through sculpture, photography, performance, sound and video, Allora and Calzadilla’s works have been informed by questions of mark making, traces, and survival in a way that is simultaneously conceptual, metaphorical and spatial. Their understanding of material and metaphor as a couple is crucial; for them a material is never simply self-evident in its meaning, it is always marked with histories, cultures, and politics that are at once irreducible to and indivisible from the material in question. Another recurrent trope in their work is that of animality, and its unstable relationship to the realm of the human. Most recently, they have created a series of works that explore the interplay between militarism and sound in the context of today’s global state of war.

IRIS VAN HERPEN

АЙРИС ВАН ЭРПЕН
イリス ヴァン ヘルペン
Autumn/Winter 2019
This season van Herpen collaborated with American kinetic sculptor Anthony Howe, whose pieces are powered by the wind. His spherical Omniverse sculpture had pride of place in the Élysée Montmartre venue. The designer said she was compelled by the way its arching vertebrae, spinning on a curving axis, simultaneously expand and contract. Her finale dress was made in the image of Omniverse, with rotating wings constructed of aluminum, stainless steel, and feathers.

KATHARINA FRITSCH

КАТАРИНА ФРИЧ
卡塔琳娜弗里奇
קתרינה פריטש
カタリーナフリッチュ
LIKE ALL FRITSCH’S WORK, RATTENKÖNIG IS SIMULTANEOUSLY SEDUCTIVE AND UNNERVING. SHE OFTEN TRANSFORMS QUOTIDIAN OBJECTS OR ORDINARY LOOKING FIGURES INTO SOMETHING NEW AND STRANGE THROUGH REPETITION AND MANIPULATION OF SCALE AND COLOR. HER SCULPTURES ARE THE RESULT OF A TIME-CONSUMING PROCESS: A PIECE IS USUALLY MOLDED BY HAND, THEN CAST IN PLASTER, REWORKED, AND THEN CAST AGAIN IN POLYESTER.

michael maltzan

Bettina pavilion
The Bettina is a limited-edition architectural pavilion designed for REVOLUTION that debuted at Design Miami in 2015. It is simple in silhouette yet also a complex three-dimensional form. Recalling the iconic style and pyramidal form of the classic white tent, the contemporary pavilion is simultaneously geometrically taut and sensually draped across the structural frame. Each profile peak is extruded diagonally making a roof of two ridges that appear different from every angle.

Iris van Herpen

АЙРИС ВАН ЭРПЕН
イリス ヴァン ヘルペン
materia lacrima
Pierre Debusschere
Hanne Gaby Odiele

“Inspiration is a matter of sensitivity. It is the ability to collect from the past, present and future as they shift past us simultaneously. In this issue of A Magazine I want to affirm the importance of alliance and fraternisation, to transgress the experiential boundaries of those versatile relationships that are the catalysts for true inspiration.”

Bart Lens

The XL(amp)
The XL(amp) was initially designed to mark the edge of a fair booth and simultaneously present images on the inside. The lamp shade foil is foldable. This allows for easy transport and makes it possible to cover the lamp with a photo film. The lamp, by virtue of its size, defines its own space.

ALLORA & CALZADILLA

АЛЛОРА И КАЛЬСАДИЛЬЯ
performative ellipses

Through sculpture, photography, performance, sound and video, Allora and Calzadilla’s works have been informed by questions of mark making, traces, and survival in a way that is simultaneously conceptual, metaphorical and spatial. Their understanding of material and metaphor as a couple is crucial; for them a material is never simply self-evident in its meaning, it is always marked with histories, cultures, and politics that are at once irreducible to and indivisible from the material in question.

JULIA RANDALL

Джулия Рэндалл
Blown

Julia Randall is in love with drawing, and uses her seductive technique to craft images that subtly challenge assumptions about corporeality, desire, and the natural world. Intersecting sensibilities activate her work; images are simultaneously erotic and humorous, beautiful and repulsive. Although she clearly operates in the realm of fantasy, Randall uses observation-based drawing and hyperrealistic technique to create images that are surreal and suggestive.

Florian Graf

Chamber Music
Florian Graf’s work questions the relationship between people and architecture and the psychological and emotional influence it has on us. He interrogates the visible and invisible systems by which our daily life is structured or investigates how intimate and collective thought are represented or simultaneously affected by the built realm.

KATHARINA FRITSCH

Катарина Фрич
卡塔琳娜弗里奇
קתרינה פריטש
カタリーナフリッチュ
Like all Fritsch’s work, Rattenkönig is simultaneously seductive and unnerving. She often transforms quotidian objects or ordinary looking figures into something new and strange through repetition and manipulation of scale and color. Her sculptures are the result of a time-consuming process: a piece is usually molded by hand, then cast in plaster, reworked, and then cast again in polyester.

Aisha Zeijpveld

What Remains
By crafting bodily optical illusions, the Aisha Zeijpveld ‘What Remains’ series obscures reality. These captures were taken by Amsterdam-based photographer Aisha Zeijpveld. According to her website, Zeijpveld’s “focus on people their nakedness and vulnerability yet simultaneously their potency and pride characterizes her photography.” In order to create that capacity in her work, the ‘What Remains’ series was based around the sketches of Austrian artist Egon Schiele. By translating these sketches into photographs, Zeijpveld recreates the expressive figures portrayed by Schiele often were “unfinished.”

Yoshi Sodeoka

袖岡由英
13-compositions #10
gif

Yoshi Sodeoka is an artist based in New York for over two decades, whose work is characterised by his neo-psychedelic aesthetic and exploration of multiple media and platforms. Primarily comprising of video, GIFs and print his practice also simultaneously inhabits the world of fine art, music, publications, and advertising.more

Lee Bul

Untitled
Untitled is the most complex of Lee Bul’s series of monsters. It comprises a white central body composed of multiple parts that simultaneously evoke the physical and the technological or cybernetic. Exploding outwards into space from its core are other parts of the form, including an octopus-like head, that appear frozen in space as fragments of the one entity.more

KATHARINA FRITSCH

КАТАРИНА ФРИЧ
卡塔琳娜弗里奇
קתרינה פריטש
カタリーナフリッチュ
LIKE ALL FRITSCH’S WORK, RATTENKÖNIG IS SIMULTANEOUSLY SEDUCTIVE AND UNNERVING. SHE OFTEN TRANSFORMS QUOTIDIAN OBJECTS OR ORDINARY LOOKING FIGURES INTO SOMETHING NEW AND STRANGE THROUGH REPETITION AND MANIPULATION OF SCALE AND COLOR. HER SCULPTURES ARE THE RESULT OF A TIME-CONSUMING PROCESS: A PIECE IS USUALLY MOLDED BY HAND, THEN CAST IN PLASTER, REWORKED, AND THEN CAST AGAIN IN POLYESTER.

YCAM InterLab + Yoko Ando

Dividual Plays
While the antonym of individual is “collective” in general, Gilles Deleuze (1925-95), a French philosopher, came up with the notion of “dividual” since the preposition “in” disaffirms the following word. Notions of “individual” and “dividual” have been, and continue to be, discussed in various contexts such as the economy, civil society, personal identity and more.
Through her time at The Forsythe Company, Yoko Ando came to define improvisation as “being individual but with the possibility of being collective at the same time”. While each agent performs independently, he/she is synchronized with other dancers simultaneously. RAM project began by finding shapes for the ideas in Yoko’s dancer’s mind. The piece expands on the idea of “dividual” and explores new dance, new notions of the body and the new relationships between the human body and technology by pursuing deeper interaction between dancers and the notion of system.

Matthias Zwicker, Wojciech Matusik, Fredo Durand, and Hanspeter Pfister

Automultiscopic 3D displays
Automultiscopic 3D displays allow a large number of viewers to experience 3D content simultaneously without the hassle of special glasses or head gear. This display uses a dense array of 216 video projectors to generate images with high angular density over a wide field of view. As users move around the display, their eyes smoothly transition from one view to the next. The display is ideal for displaying life-size human subjects, as it allows for natural personal interactions with 3D cues such as eye-gaze and spatial hand gestures.

Susan Hiller

Psi Girls
Psi Girls is a video installation composed of five scenes from feature films depicting girls or young women manipulating telekinetic powers to move or destroy household objects. Hiller selected short excerpts from The Fury (1978) directed by Brian de Palma, The Craft (1996) by Andrew Fleming, Matilda (1996) by Danny De Vito, Firestarter (1984) by Mark Lester, and Stalker (1979) by Andrei Tarkovsky. Each excerpt has been enlarged, tinted with a different colour, and heavily edited by Hiller. Certain scenes have been slowed down and others spliced and looped so that each clip has an identical running time of two minutes. The only footage presented in its entirety is that taken from Tarkovsky’s film Stalker. The scenes are synchronised and play simultaneously along a single wall. Psi Girls was commissioned by the Delfina Foundation, London, in 1999. The word ‘Psi’ in the title refers to paranormal or psychic faculties.

Rafael Lozano-Hemmer

Sphere Packing
“Sphere Packing” is a series of 3D-printed pieces designed to concentrate the entire musical production of a composer in a single dense multi-channel device. The size of each sphere is directly proportional to how prolific the composer was, for example the sphere for Johann Sebastian Bach has 48 cm diameter and holds 1100 loudspeakers playing simultaneously Bach’s 1100 different compositions, while the sphere for Hildegaard Von Bingen only has 11 cm diameter and 69 loudspeakers. The project presents at a glance the comparative production volume of many composers. As people are a couple metres away from a sphere they hear a quiet murmur of sounds, but as they approach and put their ear up close to individual speakers they can hone in on specific compositions. The series is inspired by American composer Charles Ives’ practice of simultaneity as a compositional tool.

POSTCOMMODITY

The Night is Filled With the Harmonics of Suburban Dreams

The Night is Filled With the Harmonics of Suburban Dreams provides an Indigenous critique of water, energy and sustainability policy discourse. It offers an absurd metaphor that mimics the unbalanced feedback loop generated by markets and consumers locally and globally, where an economy driven by the Judeo Christian Western scientific worldview simultaneously produces scarcities and an industry of “sustainability.”

ANNA WILKINSON

Sculptural Simulacrum

“..Inspiration for this project comes from digital sculpture that created by sculptors who use specialized software to create their work.
In my literature review, I was fascinated to learn how much engineering and math are often involved in digital sculpture and to learn that the process of digital sculpturing has many similarities to pattern making which also relies heavily on mathematic, angles, and precise measurements…” “…One of the most inspiring digital sculptors for me was “Basheba Grossman”. I enjoyed many of his pieces, but was especially inspired from his digitally created bronze knots. In addition to the precise geometry of the knot sculptures, something which, even with the naked eye, it’s apparent that the knots are precise symmetrical pieces. What is also fascinating about the knots is that they exist simultaneously as different shapes that still occupy a single space! Collectively the knots form a sphere, or suggest a cycle or globe, yet the components of the knots are often more like bent stretching disc or arms. The knots have no visible foundation, it is impossible to see where the “starting point” and the “ending point” or even the edges of the sculpture exist..”

FLORIAN HECKER

فلوريان هيكر
フロリアン·ヘッカー
Sound Installation
In his installations, live performances and publications, Florian Hecker deals with specific compositional developments of post-war modernity, electroacoustic music as well as other, non-musical disciplines. He dramatizes space, time and self-perception in his sonic works by isolating specific auditory events in their singularity, thus stretching the boundaries of their materialization.
Their objectual autonomy is exposed while simultaneously evoking sensations, memories and associations in an immersive intensity. Some of his works incorporate psycho-acoustic phenomena, disorienting listeners’ spatial perceptions and expanding their conception about sound. Hecker’s most recent recording, Speculative Solution ( Editions Mego, 2011), brings together Hecker’s sonic practice and psychoacoustic experimentation with philosopher Quentin Meillassoux’s concept of ‘hyperchaos’ – the absolute contingency of the laws of nature.
During his residency at MIT, Florian Hecker will research a new sound piece that takes the concept of the “auditory chimera” as point of departure. Originally developed at MIT by Bertrand Delgutte, senior research scientist at the MIT Research Laboratory of Electronics, the concept of the auditory chimera inspires an exploration of the relationship between pitch perception and sound localization. Hecker will create a text and sound piece that incorporates the recordings of material read by students. Using an anechoic chamber he will work with students to explore the experiential nature of psycho-acoustic practice.

Joon Y. Moon

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.

STELARC

drawing with robot arm
“With gene mapping, gender reassignment, prosthetic limbs and neural implants, what a body is and how a body operates becomes problematic. We generate Fractal Flesh and Phantom Flesh, extended operational systems and virtual task environments. Meat and metal mesh into unexpected and alternate anatomical architectures that perform remotely beyond the boundaries of the skin and beyond the local space it inhabits. The monstrous is no longer the alien other. We inhabit an age of Circulating Flesh. Organs are extracted from one body and inserted into other bodies. Limbs that are amputated from a dead body can be reattached and reanimated on a living body. A face from a donor stitched to the skull of the recipient becomes a Third Face. A skin cell from an impotent male can be recoded into a sperm cell. And more interestingly a skin cell from a female body might be recoded into a sperm cell. Turbine hearts circulate blood without pulsing. In the near future you might rest you head on your loved one’s chest. They are warm to the touch, they are breathing, they are certainly alive. But they will have no heartbeat. A cadaver can be preserved forever through plastination whilst simultaneously a comatose body can be sustained indefinitely on a life-support system. Dead bodies need not decompose, near-dead bodies need not die. Most people will no longer die biological deaths. They will die when their life-support systems are switched off. The dead, the near-dead, the not-yet-born and the partially living exist simultaneously. And cryongenically preserved bodies await reanimation at some imagined future. We live in an age of the Cadaver, the Comatose and the Chimera. Liminal spaces proliferate. Engineering organs, stem-cell growing them or by bio-printing will result in an abundence of organs. An excess of organs. Of organs awaiting bodies. Of Organs Without Bodies.” STELARC

RICARDO BARRETO, MARIA HSU and AMUDI

feel Me tactile interactive bed
File Festival
“feelMe” is a work that for the first time remotely transmits the tactile sensation. Our work provokes the exploration of the sense of touch while promoting the interaction between two people mediated by a machine. The work is constituted of two surfaces, or “beds”: the first one (tactile transmission unit), in which one of the participants, layed down, imprints marks to its surface by pressing it with the weight and movement of the different parts of his/her body; these impressions will be captured and transmitted to the other participant, who lies in the second “bed” (tactile reception unit) and receives them simultaneously in the same positions and in proportional intensities, however, in negative, that is, when the surface in the first bed sinks, it rises in the second one, promoting a touch. The first body touches the second one, and the “beds” may be a few meters or thousands of kilometers apart from each other. Between the bodies, dozens of occult sensors, microcontrollers, engines (lineal actors), computers and a program that orchestrates that tactile communication. We allow the participant to experiment the possibilities of encounter between bodies through the digital world, with a different approach from the one provided by virtual reality. We want to explore the tactile perception separately in its “corporal way”, and only in future works to propose the expansion/extension of multimedia perception with the inclusion of tactile perception.