CAPACITIVE BODY
file festival

The installation “capacitive body” is a modular light system that reacts to the sound of its environment. Each custom-built module consists of an electro-luminescent light wire linked to a piezoelectric sensor and a microcontroller. Through its modular setup it can easily be adapted to various urban spaces. The sensors are used to measure vibrations of architectural solids in a range of low frequencies. These oscillations are triggered by surrounding ambient noise, for example traffic noise. The data sensor controls the light wires, which are tensed to a spatial net structure. According to the values of the measurement, light flashes are generated. With increasing vibrations the time between flashes becomes shorter and shorter. The stability of this nervous system gets to an end where it collapses and restarts again. A dynamic light space is thereby created, which creates a visual feedback of the aural activity around the installation.

Light High
The installation LIGHT HIGH is aimed at guiding the perception through targeted acoustic and visual phenomena into border areas in which ambivalent experiences set in and the habitual experience of space is abolished.[…] A mirrored ceiling together with a thin reflecting surface of water on the ground and a grid arrangement of lights are creating the spatial illusion of an infinite vertical space of light and darkness. By traversing a small bridge, the visitor can cautiously discover the immersing endlessness beneath his/her feats and above his/her head.

Thermotaxis
file festival
The term “Thermotaxis” signifies a movement of a living organism in response to heat stimulation. A thermal spot has power to encourage people to gather together like open fires in winter or water places in summer. The work “Thermotaxis” characterizes the open space as invisible thermal spots by providing people with thermal information. Our work aims to create a new spatial structure for communication not by architectural approach but by using information technology.

Hibanana Studio
Liu Chang & Miao Jing
FILE SAO PAULO 2017
FILE LED SHOW
“INFINITE” is an audiovisual installation created by New York-based visual artist duo Liu Chang and Miao Jing, in collaboration with sound artist Gan Jian. “INFINITE” explores the connection between time and space, discusses about spatial gravity and its influence to human’s perception. Sound and visual elements are in completely in sync in order to contribute the immersive experience.

ISS Tracker
L’ISS Tracker suit en temps réel la Station Spatiale Internationale dans sa course autour du monde, en suivant son orbite et en pointant du doigt sa position dans le ciel à tout instant. Un projet inspiré par ma fascination pour l’espace, qui a toujours stimulé l’imagination de l’espèce humaine. Un hommage à la prouesse technique que représente l’ISS, et aux astronautes à son bord. Il faut environ 92 minutes à la Station Spatiale Internationale pour faire le tour de la Terre. L’ISS Tracker se base sur les paramètres orbitaux à deux lignes, ou TLE (pour Two-Line Elements), pour déterminer l’orbite de la station et calculer sa position. L’azimut et l’élévation sont ensuite calculés par rapport aux coordonnées GPS de l’observateur, la date et l’heure, afin de définir la direction à pointer. La position de l’ISS est recalculée toutes les 10 secondes et la direction pointée par la main de l’ISS Tracker est mise à jour.

10 colonnes
Son travail le plus récent, simplement intitulé «10 colonnes», inaugure Bridge Projects en transformant l’espace d’exposition de 7 000 pieds carrés à Hollywood en un lever / coucher de soleil synthétique […] Smith a programmé les diodes électroluminescentes de chaque panneau pour faire défiler un séquence d’une heure de couleurs. La palette est baroque de l’ère spatiale, ses primaires et secondaires dotés du zing artificiellement amélioré de tertiaires délicieusement mélangés.

Spectrum
How intensely can you experience colour? Colour as a phenomenon which you don’t just see, but which totally absorbs… Spectrum is a spatial installation that makes colour tactile and tangible.
Fall backwards into a black hole and reawaken in an infinite spectrum. An immersive experience which will give you a whole new perspective on the coloured cycles of our everyday light. Following Blaas and Curve, Spectrum completes a triptych centred on white space, each piece created with spatial designer Cocky Eek in collabaration with Schweigman&. In Blaas you crawl through an inflatable balloon; in Curve you enter an endlessly spiralling tunnel. Spectrum starts by asking: how can we make the colour physically tangible?

T4T LAB
RADICAL RAUMPLAN
The real but withdrawn qualities of the raumplan of the Muller House can be understood as the unknown excess of the object. This is the space of the architectural project that exists beyond the limits of human cognition. Although this space is finite, it is vast and abundant. Any attempt to enter into this space must be somehow framed. As a metaphor, or a vehicle to frame the unknown excess, we take in part the idea of viewing, which is epistemologically important to the raumplan. Using this framework, our project attempts to go beyond our cognitive limitations and enter into the unknown space of the architectural project. From here, we can extract new spatial phenomena that can be notated into the known layer, to be understood by the architectural audience. For us, this means using a series of metaphors to frame our exploration of the unknown and attempt to extract new phenomena that engage the raumplan independent of its relationship to a human subject. This allows us to operate in a jective framework, allowing for an understanding of the object autonomously.

bow chair
designed by Zaha Hadid Architects, Ross Lovegrove and Daniel Widrig

N-01

The artist creates an unprecedented visuospatial system that transforms the historical museum and its viewers alike.Visitors are kindly invited to touch and move the black metal and glass elements of the artwork.The built environment is inhabited through an array of inputs and outputs. Our bodies set in motion invisible chains of cause and effect. Enter a room: lights turn on. Turn a handle:a door opens. This relay is modulated through system controllers, devices programmed to respond to moving bodies and aural commands. Buried within walls, floors and ceilings, building networks are a black box.

Staalhemel

The intimate topography of the brain is laid out across a grid of 80 steel ceiling tiles as a spatialized form of tapping. The visitor can experience the dynamics of his cognitive self by fitting a wireless EEG interface on his head, that allows him to walk under the acoustic representation of his own brain waves.The accumulating resonances of impacted steel sheets generates penetrating overtones. The spatial distribution of impact and the overlapping of reverberations create a very physical soundspace to house an intangible stream of consciousness.‘Staalhemel’ (‘steel sky’, 2009) articulates the contradictory relationship we entertain with our own nervous system. Neurological feedback makes that the cognitive focus is repeatedly interrupted by the representation of this focus. Concentrated thinking attempts to portray itself in a space that is reshaped by thinking itself nearly every split second.

n-Polytope: Behaviors in Light and Sound after Iannis Xenakis
N_Polytope: Behaviors in Light and Sound After Iannis Xenakis is a spectacular light and sound performance-installation combining cutting edge lighting, lasers, sound, sensing and machine learning software inspired by composer Iannis Xenakis’s radical 1960s- 1970s works named Polytopes (from the Greek ‘poly’, many and ‘topos’, space). As large scale, immersive architectural environments that made the indeterminate and chaotic patterns and behaviour of natural phenomena experiential through the temporal dynamics of light and the spatial dynamics of sound, the Polytopes still to this day are relatively unknown but were far ahead of their time. N_Polytope is based on the attempt to both re-imagine Xenakis’ work with probabilistic/stochastic systems with new techniques as well as to explore how these techniques can exemplify our own historical moment of extreme instability.

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.

daemon
The reactive audio-visual installation Daemon (in collaboration with Hansi Raber) analyzes the never-sleeping and permanent alertness of an artificial intelligence. Consisting of three semi-translucent, spatial shifted surfaces, the installation represents a solid wall when entering the space. When no visitor is in the room, the installation is in balance and visualizes infinite planned tasks and processes: rational beauty. When visitors enter the room, the installation reacts and the perfect procedure gets more and more distorted. When the visitor walks into, through and behind the surfaces, his silhouette gets merged with the projected visuals and absorbed by the surfaces.

Марин Савва
مارين سوا

Algaerium
Algaerium is an in-vitro aesthetic photosynthesis system of microalgae for spatial installation of algal biotechnology in the urban environment. As a collective family, each member of Algaerium represents an urban bio-repository, floating biota, in which to preserve the microorganisms for their future biotechnological use such as bio-energy. Through displacement into the urban environment, Algaerium re-contextualises the sterile environment of the algae culture laboratory. I have incorporated and manipulated the endogenous yet ‘re-programmable’ biological processes of photosynthesis and bioluminescence.

the girl in the wood frock
This project is based on a fairy tale in which a girl’s life is changed by what she wears. It is through clothing that the heroine experiences the outside world and the wood dress is both armor and prison for the girl, allowing her to escape the threat of incest while also disguising her true self from the prince.
Each dress in the series is an exercise in controlling one’s most immediate environment and how one navigates such an intimate spatial situation, using covers to filter what we feel by either exaggerating or muting sensation. They are also explorations of material technique and are made using a combination of high and low-tech methods and industrial materials such as printing press felt, rubber, and copper cable. The dresses are built rather than sewn and architectural construction informs their detailing.

Infranet
Infranet is a generative artwork realized through a population of artificial lifeforms with evolutionary neural networks, thriving upon open geospatial data of the infrastructure of the city as their sustenance and canvas. Born curious, these agents form spatial networks through which associations spread in complex contagions. In this city as organism, the data grounds an unbounded, decentralized, open-ended, and unsupervised system. Non-human beings flourish in this environment by learning, discovering, communicating, self-governing, and evolving. The invitation is to witness, through immersive visualization and sonficiation of this complex adaptive system, how a new morphologic landscape emerges as a possible but speculative city.

蒂姆·霍金森
ティム·ホーキンソン
تيم هاوكينسون
Möbius Ship
The ambitious and imaginative structure of Hawkinson’s sculpture offers an uncanny visual metaphor for Melville’s epic tale, which is often considered the ultimate American novel. Möbius Ship also humorously refers to the mathematical concept of the Möbius Strip. Named after a nineteenth-century astronomer and mathematician, the Möbius Strip is a surface that has only one side, and exists as a continuous curve. Its simple yet complex spatial configuration presents a visual puzzle that parallels Hawkinson’s transformation of the mundane materials into something unexpected.

Symphonie Cinétique

The exhibition project focuses mainly on the cor­relation and inter­action of three elements: reflection, sound and movement. Symphonie Cinétique narratively inter­relates the three elements, and brings out their inherent, almost mystic harmony. The result of this process is an artistic synthesis, a unique spatial experience. At the premiere, Arnalds performed the Symphonie Cinétique live on piano and tablet. This fascinating interplay between music, light and movement served as a prelude to the exhibition.

file festival 2019
‘Tempo: cor’(Time:color) consists of an immersive installation that seeks to modify our experience of time by converting hours into color. A set of chromatic clocks, each set to a different GMT time zone, projects, in a semicircle, the current time in their mathematical and chromatic representations. The conversion between these two forms of time representation is based on an algorithm composed of sinusoidal functions that modulates the RGB colors as a function of the current time, gradually modifying the intensities of blue, green and red throughout the day: at midday yellow predominates, while at four in the afternoon the hour is red; midnight is blue, six o’clock in the morning is green. Side by side, the colors projected by the clocks merge, creating an immersive experience of a continuous and circular time, between the different time zones, that crosses the entire chromatic spectrum. This installation is part of a series of works in which I investigate the relationships between human notations and codes and our experience of space-time, seeking to change the ways we understand it; in this case, visitors immerse themselves in a spatial experience of time that provokes the questioning of notations and perceptions that we usually consider axiomatic. Changing the way we represent time will change our way of experiencing it?

NOQTURNL V1
Noqturnl is an audiovisual meditation exploring collective dreamstate. The audience is invited to spend the night in the 4DSOUND system. A group of listeners are immersed in a spatial experience while they flit around the threshold between waking state and dream. Slow, pulse driven musical constructs, vast landscapes of sound and visual patterns develop over hours as the listeners drifts in and out of sleep, blurring the boundaries between dream environment and physical space: in doing so, allowing conscious access to the vivid, intuitive imagery and sensation within the borders of dream experience.

于爾根·邁爾
يورغن ماير
위르겐 마이어
יורגן מאייר
ユルゲン・マイヤー
Юрген Майер
RAPPORT Structures spatiales expérimentales
MAYER H. Architects travaille sur les interfaces entre l’architecture, la conception de la communication et les nouvelles technologies. L’utilisation de médias interactifs et de matériaux réactifs joue un rôle central dans la production de l’espace. En équipes coopératives, des installations au design urbain en passant par les concours internationaux, une recherche spatiale multidisciplinaire sur la relation entre le corps, la nature et la technologie est développée et mise en œuvre

surprisingly this rather works
“Surprisingly This Rather Works” is a spatial intervention at ST. AGNES / KÖNIG GALERIE and at the same time a virtual extension of its exterior. The entire gallery is transformed into a gaming environment inspired by the 1990s game show “American Gladiators” and so-called gyms that are used for cutting-edge research in artificial intelligence by companies such as Open AI in San Francisco.
The visitor turns into an avatar and interacts with objects that are part of a parcours. These objects broaden the perspective on what painting and sculpture can be in the digital realm.

A(g)ntense gallery installation
ATLV is a computational design firm based in los angeles, california. Founded by satoru sugihara, the studio pushes the boundaries of practice and research in contemporary architecture and spatial design. Through integration of technological innovations, design problems can be approached with many different perspectives. Using tailored software tools, ATLV is able to employ algorithms alongside electronic hardware and robotics to seek broader ideas of design, fabrication, and process.

The photographic images Niv Rozenberg creates allows us to see the urban environment through a new perspective. With New York City and Tel Aviv as his subjects, he “breaks the visual and spatial congestion of the city by constructing an archetypal form, isolated from function and separated from the city’s total urban structure.”

SPACE INBETWEEN
The series of spatial structures are a combination and overlapping of basic architectural-elements (roof, floor, wall, window, and ladder) and furniture feature (platform with different level for seating, laying, leaning). The shape and form represent contemporary architecture with simplicity of form but complex spaces. These structures can be seen as a transition between inside and outside. It provides variety of posture and different level with intimate space.

Xilempasto 10
“Oliveira’s installations, which he refers to as “tridimensionals,” have evolved into massive, spatial constructions that combine painting, architecture, and sculpture. In some installations he uses walls as supports, attaching and shaping lengths of PVC tubing to create enormous, protruding forms over which he layers thin sheets of wood.”more…

flicker

Flicker is an immersive electronic environment of generative image and sound. A collaborative work with Oliver Bown. Based on biological models of firefly behaviour, Flicker generates an ever shifting rhythmic, meditative environment to the viewer. Flicker uses 4 channels of synchronised high definition video and 8 channels of sound to immerse the viewer in a phenomenologically rich environment of artificial life. The work is a large-scale agent-based simulation, with each agent providing a rhythmic pulse at regular intervals. Agents try to synchronise their pulse with other agents in their immediate neighbourhood. The collective pulsations of groups of local agents are spatially sonified with int exhibition space. Over time, large groups synchronise at different rates, leading to complex visual and aural structures, syncopating and constant shifting in to a long term complexity.

カルロ·ベルナル
卡罗贝尔纳迪尼
كارلوس برنارديني
Suspended Crystallizzation

Suspended Crystallizzation 2010, une grande intervention de la lumière dans l’espace extérieur, c’est un dessin spatial qui coupant le vide entre les bâtiments, s’impose au niveau de l’air comme une forme illusoire. Destiné à transformer l’espace du contenant de l’œuvre d’art en une forme ouverte et «perméable», le projet matérialisé par la lumière physique de la fibre optique est réalisé à travers le libre expressionnisme de l’espace dessinant les lignes de lumière en négatif dans une telle obscurité environnement comme sur une feuille sombre.

particles at ycam

SPACIAL SOUNDS

Spatial Sounds (100dB at 100km/h) is an interactive installation that is capable of very intelligent behavior. Not only can the arm spin quickly or slowly, it can also make very well-defined movements in both directions. On the one hand, Spatial Sounds (100dB at 100km/h) lives a life of its own; on the other, it reacts very directly to the people in its space. The sensor can detect how close the visitors are and where they are in relation to the arm. When the installation scans the space, it makes inspecting movements and generates sounds that symbolize this scanning. It produces remarkably short, loud pulses and ‘listens’ to the reverberations from the empty space. The pulses combine different frequency ranges and rhythmical patterns. When visitors enter the room, they are detected immediately. The installation reacts in both a musical and a gestural way. The sounds relate directly to both the position of the arm and the dynamic ‘map’ of the space and the visitors. These sounds are very physical. For example, when the speaker is pointing at someone, it will generate a specific sound. This is also the case at high speeds and with several people in the room. However, the sounds and movements of the arm also tempt visitors to move around. Different locations in the space represent different sounds, as does the distance of the visitors to the rotating arm.