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

Phosphor
Focused rays of ultraviolet light paint temporary landscapes on a layer of phosphorous dust on the museum floor. Operating on concepts of erosion and mutation, the installation changes its behaviour and visual appearance during the exhibition period. Each trace of light leaves a mark on a virtual mountain range, like water slowly washing out deep canyons. With a little help from alchemy and quantum physics, matter acquired a memory: translating time into space

DIMENSION
Mamoru Hosoda collaborated with Morinaga to create this great collection film. It begins with the formation of the clothes as Morinaga designed them, not through cut and drape but via cut and paste, and we see the garments as digital toiles made up of fractal contours true to the representation of futuristic facades stretching back to Metropolis and Tron. Then the dresses form more tangibly, but still in 2D, filling those vectored spaces with the angled jigsaw of reclaimed denim, chino cotton, and gabardine, plus reflective material (all seamlessly bonded) from which they are made. It slowly becomes kind of clear that we are seeing a fashion show in U, the virtual world which Belle’s heroine inhabits—and that it is also being streamed on U’s equivalent of YouTube. There are rooms within rooms within rooms.

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仮想世界は二次元。非日常の世界。現実世界は三次元。日常の世界。仮想とは、現実にはない世界を仮にあるものとして考えてみること。現実とは、事実として目の前にあらわれている世界そのもの。2022年春夏コレクション「DIMENSION」は二次元と三次元を越境する。画面の中の世界は二次元。細田守監督最新作「竜とそばかすの姫」のアニメーションの世界。劇中に存在する仮想空間’’Ｕ’’でコレクションが幕を開ける。CGアバターモデルが、宙に浮くガラスのランウェイを歩く。画面の外の世界は現実。‘’U’’が投影された真っ白な空間を、実在のモデルが歩く。コロナ禍がもたらしたデジタルのファッションショーは、軽々と世界の距離を縮め、すべてをフラットにした。画面の中では、立体と平面の区別はなくフラット。画面の中と外の境界もまた、消えていく。画面の外で纏うだけでなく、画面の中でも纏うことができる。

Momentum
Momentum shows the rhythm and registers the passage of time. The installation, accompanied by the actions of the artist, describe the bittersweet feelings of transience. In a four meter long iron construction pigments drip slowly, drawing circles on a water surface.

EYJAFJALLAJÖKULL
Inspired by the icelandic volcano, which wreaked travel havoc across europe, Joanie Lemercier presents the latest incarnation of its audiovisual mapping project painted directly onto a large wall, a wireframed scenery is slowly revealed by gentle light effects. The audience’s sense are progressively challenged as optical illusions question their perception of space.

Machine Tree
Machine with Tree is a kinetic sculpture combining dead trees with metal machinery. It is designed to use the object’s center of gravity to achieve a movement where the tree appears to float in midair. In Machine with Tree, a dead tree is placed at the end of a long, sharp rod on the machine. The tree slowly moves back and forth with the machine’s movements, as though floating in midair. Through its creation of artificial, bizarre movements controlled by machinery, it illustrates a melancholy contemplation of the strange and contradictory things woven together by our reality.

Imagination Dead Imagine
An androgynous head is projected as if contained within a minimalist cube. Sounds of the head slowly breathing fill the space. The head is serene, waiting. Suddenly a substance pours over it from all sides, drenching it in what appears to be a bodily fluid. The spectator wants to turn away but can not, the gaze is compelled through the invocation of the scopic drive. Horror at the repulsive nature of the substance (the abject) is replaced by fascination with the beauty of what might be considered a contemporary sublime.

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.

Le Salon
dancing kings
This piece shows the mental, physical and financial decay of what was once a wealthy family. The aristocratic grandfather, a cornerstone of the family, unconsciously drags his children along with him as he tries to keep up appearances.Set in a once opulent drawing room – now a symbolic glory hole  – he slowly loses control of his house, his bladder and – ultimately – his mind. The househould he once led is now run by his offspring, who treat him as shabbily as they treat one another.

No Longer Write – Mochiji
Powered by artificial intelligence’s Generative Adversarial Networks (GANs), the collected works from ancient Chinese Calligraphers, including Wang Xizhi, Dong Qichang, Rao Jie, Su Shi, Huang Tingjian, Wang Yangming, as input data for deep learning. Strokes, scripts and style of the masters are blended and visualized in “Mochiji”, a Chinese literature work paying tribute to Wang Xizhi. Wang is famous for his hard work in the pursuit of Chinese calligraphy. He kept practicing calligraphy near the pond and eventually turned the pond for brush washing into an ink pond (Mochi). The artwork provides a platform for participants to write and record their handwriting. After a participant finished writing the randomly assigned script from “Mochiji”, the input process is completed and the deep learning process will begin. The newly collected scripts will be displayed on the screen like floating ink on the pond, and slowly merge with other collected data to present a newly learnt script. The ink pond imitates process of machine learning, which observes, compares and filters inputs through layers of image and text, to form a modern edition of “Mochiji”.
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不再写 – Mochiji
以人工智能的生成对抗网络（GANs）为动力，将王羲之、董其昌、饶捷、苏轼、黄廷健、王阳明等中国古代书法家的作品作为深度学习的输入数据。向王羲之致敬的中国文学作品《麻糬》，将大师的笔触、文字、风格融为一体，形象化。王先生以对中国书法的刻苦钻研而著称。他一直在池塘边练习书法，最终把洗笔池变成了墨池（麻糬）。艺术作品为参与者提供了一个书写和记录他们笔迹的平台。参与者完成“Mochiji”中随机分配的脚本后，输入过程完成，深度学习过程将开始。新收集到的脚本会像池塘上的浮墨一样显示在屏幕上，并与其他收集到的数据慢慢融合，呈现出新学到的脚本。墨池模仿机器学习的过程，通过图像和文本的层层观察、比较和过滤输入，形成现代版的“年糕”。

What hath God wrought?
The title of the installation is a line from the Book of Numbers in early modern English. It was the first message transmitted by telegraph in 1844, the first communication technology on the basis of electricity and binary coding. The artwork is fed by the 100 most used words in Thomas More’s book ‘Utopia’, feeding the correspondence between a series of telegraphs. The telegraphs translate the words into sound and light. Written rolls of paper drift to the floor. Slowly but surely, mistakes slip into the closed system and the meaning of the words alters. The Morse orchestra deals with the rationalism of the Renaissance and its belief in progress and posits by contrast an aesthetic of a self-regulating system in which the fault rules and defect becomes beauty.

BIG

Vancouver House (twisting tower)

“we would build the building literally two feet off center, and as we poured each form, slowly the building would come back to center. it’s an incredible engineering feat of both horizontal and vertical post-tension.” Buro Happold

Internet Machine
“Internet machine is a multi-screen film about the invisible infrastructures of the internet. The film reveals the hidden materiality of our data by exploring some of the machines through which ‘the cloud’ is transmitted and transformed. The film explores these hidden architectures with a wide, slowly moving camera. The subtle changes in perspective encourage contemplative reflection on the spaces where internet data and connectivity are being managed. In this film I wanted to look beyond the childish myth of ‘the cloud’, to investigate what the infrastructures of the internet actually look like. It felt important to be able to see and hear the energy that goes into powering these machines, and the associated systems for securing, cooling and maintaining them.” Timo Arnall

Wave wall
A wall of 122 wind-activated pendulums are each magnetically coupled with its neighbors so that the whole wall moves as a slowly undulating surface similar to a large piece of fabric rippling in the wind. In winds greater than 15 knots, the wall’s coherent wave-like movement becomes more chaotic as the pendulums break their mutual magnetic coupling. The pendulums can also be manually activated.

Blueprint
Blueprint embraces the relationship and parallels between art and science, creating compositions through the mathematical principles of logic that underpin life. Exploring analogies between DNA and computer code, UVA have created the Blueprint series; works that pair genetics and code as the blueprints of artificial and natural systems. As the work slowly changes over time, patterns fluctuate between varying degrees of complexity. Blueprint uses the basic concepts of evolution to create an ever-transitioning image. With cells literally transferring their genes to their adjoining others, colour flows like paint across the canvas. Drawing up a unique colourful composition every minute, Blueprint presents the unlimited outcome that results from a single algorithm; a single set of rules.

Breaking News: Flooding of the Louvre
Natural disaster increasingly linked to a climate change has arrived to the museum of Louvre, which responds to the flooding of Paris in 2018. The artwork also respresents the issue of cultural leftover. Recycling is the main value of the process. By destruction of model that was a part of previous project Put Your Head into Gallery, the leftovers are reconstructed and new meanings and possibilities are created. The flooding of the Louvre Museum speaks about news culture and our fluctuating perception of disasters as it is seen through media. The scale of the disaster is often difficult to assess from news coverage. In the work “Breaking News” flood goes slowly into the room of the Louvre, letting the viewer to gradually watch the destruction of interior. it brings the viewer shochinkly close to what has not happened but easily could have, viewer sees the before and after effect in a highly visualized manner, which is as convincing and threatening, as fake.

Cocoon
“Cocoon is a 360° x 220° spherical, immersive video installation we designed, directed and produced in house. Cocoon places the participants inside several shells of abstract and figurative architectural spaces, which slowly peel away. Cocoon believes architecture is not static, but is transitory, evolving and animated. Our city is our cocoon.” Factory Fifteen

Azymut
AZYMUT offers a defragmented and detailed look at the architectural elements and pieces of sky that surround it. A rotating installation of 16 magnifying mirror discs, motorized and synchronized, slowly directs the visitor’s gaze to disjointed elements of the Riva degli Schiavoni and the Palazzo Ducale opposite to the Church of San Giorgio Maggiore.

山海塾

butoh

TOBARI

“Over the 90 minute performance, I feel no less than transported. There are eight male performers, including Ushio Amagatsu himself. The dancers often move slowly, with incredible muscular control, fluidity and elegance. And suddenly the spell will be broken and they’ll run across the stage, their painted bodies leaving clouds of white powder hanging in the air like a shadow or ghost. Slow sustained movements are countered with tiny, minute gestures of the fingers. Hands are often gnarled, the joints contorted with incredible tension. It is mysterious, hypnotic and strange. The countenance of the performers is most arresting – behind the white paint, their faces reveal the fragility, humility, vulnerability and truth of their humanity.”Day Helesic

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

Mare Tranquilitatis

Mare Tranquillitatis – the title of this optical fibre sculpture of cosmic dimensions refers to a lunar mare that is situated within the Tranquillitatis basin on the moon. Very slowly and barely perceptible, this work takes on varying hues of yellow and white, creating the strange and poetic impression that the work is actually breathing,imitating the sensation that the moon is actually alive in the night sky.

Matrix Paris
Matrix Paris is a fully immersive and experiential light installation. The visitors walk into a maze of LED lights distributed over two floors. The colors of the lights slowly change between red and blue. These colors delineate the visible color spectrum as well as the spectrum of our human emotion with red as the most sensual color and blue as the cool, rational counterpoint. The corporeal intensity of the immersive aesthetic experience combined with the underlying technological aspects of a highly sophisticated binary logic blurs the border between the virtual and the real.

Latent Space
In Latent Space fine lines weave virtual spaces around the viewers. The architecture that manifests is highly fragile — the space grows, shrinks, collapses. The acoustic dimension is also deeply spatial — slowly morphing soundscapes float around the dome, enveloping the observers in sound and image. The omnipresence of the virtual realm is transposed into the physical space of the dome to unmask the often proclaimed boundlessness of digital space. The work tests and investigates the spatial effects of the dome, which serves as a metaphor for the virtual net that always surrounds us.

Drawhearts
Drawhearts eternally repeats the act of steaming up a pane of glass and lining out a heart, slowly fading away each time. A pulley system freely moves the body of the machine across the pane of glass, with its main part consisting of a miniature fog machine to steam up the glass and an articulated drawing arm.

FILE SAO PAULO 2017
OVERVIEW

Astronauts who were able to observe planet Earth from outer space for the first time, all experienced a strong emotional reaction later called the overview effect. A euphoric feeling of oneness with the planet and all living beings as a collective biotope where ‘my molecules are yours’ and vice versa and individuality seems an illusion.
The Overview-installation consists of a motorized video screen that can slowly pan, tilt and lift. The screen is 3m x 4m wide and has LED light on the backside. An abstracted globe is projected on the front.

Vanitas Machine

The installation VANITAS MACHINE addresses the desire for eternal life and the potential of life-prolonging measures. Based on a candle which – by means of technical intervention – burns down very slowly, vanitas machine creates a contemporary analogy to the endeavour of prolonging the human lifespan with the help of science and technology.Being one of the classical vanitas symbols, a burning candle recalls the futility of the moment, the transience of human life and the certainty of the end of all existence. But is this end really still inevitable?In the course of the last two centuries, average human life expectancy has increased significantly in the industrialised countries. Moreover, in the context of scientific research the biological causes of ageing are being explored. Numerous theories of aging have already been developed pointing both towards physiological as well as environmental factors.One of the first theories of ageing was the so-called »metabolism theory«, which claims that the lifespan of organisms is reciprocally related to energy turnover and therefore connected to calorie intake, oxygen consumption and heart rate: The higher the metabolic rate, the shorter the lifespan of the organism.

Master Touch

In ‘Master Touch’ you make your face visible on a big screen by touching your face. By caressing your own face you ‘paint’ your face on a large electronic screen. On the screen your face appears and merges slowly with portraits of the Rijksmuseum collection.
Merge your face with master pieces from the Rijksmuseum collection, for example a portrait of Rembrandt or van Gogh. Together with the Old Masters you compose a new portrait here and now. In an a sensitive, playful and innovative way you open up the collection and make it personal.

emotional leak

Dickson combines phenomenology with architecture and digital technology to create sculpture, installation, and performance that considers the emotional and sensorial qualities of spaces. In Emotional Leak (2011) they produced the physical manifestation of a slowly leaking roof. Inspired by water and realized in glass, the resulting form is a black monolithic sculpture, resembling a digital gothic architectural model.

shrink
File Festival
Two large, transparent plastic sheets and a device that gradually sucks the air out from between them leave the body (in this case the artist himself) vacuum-packed and vertically suspended. The transparent tube inserted between the two surfaces allows the person inside the installation to regulate the air flow. As a result of the increasing pressure between the plastic sheets, the surface of the packed body gradually freezes into multiple micro-folds. For the duration of the performance, the person inside moves slowly and changes positions, which vary from an almost embryonic position to one resembling a crucified body.

Shifting Intimacies
An interactive/media artwork for one person at a time. Each participant enters a large, dark space containing two circles of projected film imagery presented within an immersive sound environment. One image floats upon a disc of white sand and the other on a circle of white dust. Participants’ movements direct and affect the filmic image and spatialised audio experience. Throughout the work a layer of dust (an artificial life form) slowly eats away and infuses itself deep into the imagery and sound. Each person has 10 minutes alone with the work. Their movement through the space continually affects speed, quality, balance and flow within the work. At the end of the experience they are invited to climb a lit platform and cast dust back onto the images below.

LIQUID DIAGRAM
Twelve installation units formed a line across the exhibition space. Each unit consisted of a round-bottom flask in a stainles steel stand, with a vertical glass tube attached. Each flask was filled about a quarter-full with distilled water. When a resistance coil heated the air inside the flask, it expanded, forcing the water up into the glass tube. The level of the water rose when the air was being heated and began to drop slowly as it cooled down.

بوب ويلسون
鲍伯·威尔逊
בוב וילסון
ロバート·ウィルソン
밥 윌슨
БОБ УИЛСОН
Peter Pan
All in all, Robert Wilson’s Peter Pan is in itself a great adventure. Although it starts slowly and affectedly, it by and by offers the most stunning images and captivating performances, which are filled with plenty of mystery and possess emotional depth, letting us reflect upon our childhoods – all the varied ones each one of us had and has.

Waterfall
video art
FILE FESTIVAL
Waterfall presents the viewer with a single static shot of a majestic waterfall. Over the course of the piece a number of diminutive figures walk slowly into the shot on the gravel bar at the bottom of the falls. They have come to pay their respects to the waterfall, we might call them pilgrims – we might call them tourists. Their slow-motion performances appear to be a mixture of the comedic and the devout.

COMO UM JABUTI MATOU UMA ONÇA E FEZ UMA GAITA DE UM DE SEUS OSSOS
The performance presents the audience with the image of a male body subjugated by an object: an orange high-heeled shoe whose heel is a 30-cm stake. Unable to stand and occupy an erect, masculine and dominating position, this body moves slowly across the horizontal plane through a choreography that condenses images referring to a woman’s objectification. Based on the transformation of the shoe and its placement on a male body, the work raises questions regarding gender identity and the role of objects in this process.

Melita
FILE FESTIVAL 2019
A 20’ (minutes) animated real-time VR (Virtual Reality) short film about Anaaya, a brilliant scientist working to find a new planet for humanity while the world that we know dies slowly due to extreme climate change; and Melita, an AI designed to help her on her herculean task. This is the first part of a much bigger tale, that will take us into Melita’s journey to find Aurora, the next cradle for humanity.

Formosa
“Formosa relies heavily on words and poetry for its inspiration and imagery. It traces Taiwan’s history from the 16th century, when Portuguese sailors upon seeing the island exclaimed, “Formosa!” meaning “Beautiful!” Poems appear on a white scrim above a white floor. In the beginning, the poems are whole. The black Chinese characters are neatly aligned. Gradually, however, the poems slide away and the characters enlarge, slowly disappear, become abstract, pour like a stream, peel away, and break apart. A chaotic jumble appears. To some extent, the writing dances.” Carmel Morgan

White Water and Dust
Set to the piano scores by Erik Satie and other composers, White Water is a lyrical dance of pure movement that flows beautifully as its title suggests. The curtain opens to a projected colour image of a flowing river; it slowly transforms into black and white. In serenity and in turbulence, whiteness of waves and ripples streams out of the blackness. Green netting and girds used for digital design interrupt the flow of water, thus revealing the process of creating virtual images and illusion of light, providing a pleasant surprise to the dance.
Cloud Gate
Cloud Gate is the name of the oldest known dance in China. In 1973, choreographer Lin Hwai-min adopted this classical name for the first contemporary dance company in the greater Chinese-speaking community.

selfportrait with tongue
Selbstportrait mit Zunge is a video portrait that shows the artist in profile, wearing the traditional dress and hairstyle of her homeland, stretching out her tongue and moving it slowly. Mirroring the non-durational aspect of painting, a conventional means of portraiture, the work isn’t marked by beginning or end points. Selbstportrait mit Zunge challenges the notion of temporality as an essential component of video, a medium that is normally defined by the presence of durational elements.more…

android apparatus
Hillary Predko: Design + Textiles + Fabrication
Lindy Wilkins: Design + Code / electronics
Vanita Butrsingkorn: Performer @ Design Exchange, photos
Coco Freddie: Model @ Electro Threads
Miranda Tempest: Performer @ Android TO
My initial artwork didn’t feel like wearables as we conceptualize them now, but slowly my work morphed into artistic concoctions of cybernetic beings. I have an undergrad in computation arts, and a masters in digital media, so that definitely laid the groundwork for my explorations in this field.

Living pod
file festival
Light, shape variations and mimicry meet in Living Pod. In front of the false twin pieces, the user can slowly set garment A in motion using a light source. Garment B then imitates piece A in an exaggerated and unbalanced fashion, changing structure through miniature electric motors activated by light sensors that are sown through the garment. Using flat-pattern cutting techniques, Ying Gao was able to give the process fluidity and flexibility. In addition to the mechanical movements of the garments, Living Pods underlines two fundamental aspects of today’s fashion system: confrontation and imitation. The garment plays a mediating role between man and his environment. By using light, Living Pod is similar to project Walking City, which uses air to make the pieces look like they are breathing.

Caten
Created for the Saint Sauveur chapel in Caen, Caten is a levitating sculpture, determined by gravity and guiding the evolution of a sound composition.
300 fine wires suspended from two ropes, connected themselves at each end to a slowly rotating arm, form an evanescent surface which interacts with the architecture. By a symbolic mirror effect, the curves of the wires, created by the gravitational force, reflect the shapes of the church arches. Caten opposes the ephemeral to the eternal, the movement to the static, and produce a tension between the lightness and the millenary stability of the space.

Measuring Angst
Measuring Angst is a robotic sculptural installation by artist Jonathan Schipper that simulates the mundane act of throwing a glass bottle across a room into a brick wall. The event happens in slow motion, taking nearly 12 minutes to complete as the bottle rotates slowly through the gallery space and then gradually explodes into smaller fragments before rewinding and starting again.

文森特·勒罗伊
北极光环
Pebble
The ‘pebble’, conceived by vincent leroy, occupies a space with an incredible aesthetic experience. This gigantic elliptical mirror floats with utmost grace, softness and voluptuousness, like this example inside the ‘grand palais’ in paris. The installation forms a sensory experience rather than a visual one. With the mirrored effect, the ground and horizon move slowly until they disappear, making you lose your mark. French artist vincent leroy slows down time and displays his magical mechanism, using the same technology as his boreal halo: inflatable with steel cables in slow rotation.

Avalanche
Zoro Feigl’s (1983) installations seem to be alive. His materials dance and twist. Placed together in a space, the separate works become one: large and ponderous in places, nervous or gracious elsewhere. Feigl’s forms are constantly changing, sometimes slowly, sometimes quickly.

Amethyst
Amethyst initially was created as a site-specific installation with images and sound. Slowly dissolving slides reminisce the process of decay. The automated slideshow is projected in a dimly lit but richly decorated room, the visual style of the imagery referring to fashion photography. I created this work on the occasion of Salon/1, by whom I was invited to show my work in Museum van Loon during the Amsterdam Fashion Week 2010.

PROMETHEUS DELIVERED

The marble sculpture PROMETHEUS DELIVERED – a replica of Prometheus Bound by Nicolas Sébastien Adam (1762) – is slowly decomposed by chemolithoautotrophic bacteria. The acidic process water from the bioreactor KAZBEK penetrates the body of the sculpture via tubes and runs off the surface of the stone. The limestone turns into gypsum while the sculpture slowly dissolves. The biomass of the bacteria is the energy source for human liver cells from which the organic sculpture OCTOPLASMA grows. Inorganic stone turns into organic meat. PROMETHEUS DELIVERED is a play on words, referring to birth in the sense of “delivery”, and to the central importance of the liver in myth.

Trace II

Trace II is a sculptural device that alludes to scientific discoveries and the experimental apparatus of science. It is essentially a mechanical computer that draws its analogue programme from a revolving plaster head. The carefully balanced mechanism slowly measures the topography of a cast human head and translates its undulations onto a rotating cylindrical surface. The result is an evolving topographical diagrammatic depiction that is truly unique every time.

the expanding universe
The Expanding Universe is the classic 1980 debut album by composer and computer music pioneer Laurie Spiegel. The pieces comprising The Expanding Universe combine slowly evolving textures with the emotional richness of intricate counterpoint, harmony, and complex rhythms (John Fahey and J. S. Bach are both cited as major influences in the original cover’s notes), all built of electronic sounds. These works, often grouped with those of Terry Riley, Phil Glass, Steve Reich, differ in their much shorter, clear forms. Composed and realized between 1974 and 1977 on the GROOVE system developed by Max Mathews and F.R. Moore at Bell Laboratories, the pieces on this album were far ahead of their time both in musical content and in how they were made.

Bubbles
Bubbles is an adaptable spatial pneumatic installation at an urban scale. The installation consists of large pneumatic volumes that inflate and deflate in reaction to the visitors coming to the site. If unoccupied the volume of the site is slowly filled by the spatially distributed sacks creating a translucent bubble translucent infill. As the occupants enter and move through the installation, they bump the bubbles ranging from 6′ to 8′ in diameter that fill the lower layer of the space. More activity opens up the space more making it navigable. Sensors in the bubbles cause a fan in the manifold to transfer air to the bubble.

Conservation of Intimacy

Made of pine, latex, music wire, copper, nylon line, paper, pens and video surveillance. It measured 20′ x 35′ x 26′ at Southern Exposdure.
A couple rocking on the bench sends air pulses to another room causing balls to move and pens to transcribe their motions onto paper. The paper is moved by a third person on a stationary bike. The couple on the bench can watch the balls on a video monitor before them where the balls appear to bounce into the air. The motion is delayed and languid as though under water. Action is best when the couple is moving slowly together. As visitors work together to animate the mechanisms, they create a theatre for themselves and each other. By encouraging participation, and touch the pieces coax visitors to engage their bodies as well as their minds. The way that pieces move and feel and sound as you rock them, pedal, crank and press against them applies the kinesthetic comprehension’s of childhood to the tasks of philosophy. Bernie Lubell’s interactive installations have evolved from his studies in both psychology and engineering. As participants play with his whimsical wood machines, they become actors in a theater of their own imagining.