Ben Katz & Jared Di Carlo

The Rubik’s Contraption
“That was a Rubik’s cube being solved in 0.38 seconds. The time is from the moment the keypress is registered on the computer, to when the last face is flipped. It includes image capture and computation time, as well as actually moving the cube. The motion time is ~335 ms, and the remaining time image acquisition and computation. For reference, the current world record is/was 0.637 seconds. The machine can definitely go faster, but the tuning process is really time consuming since debugging needs to be done with the high speed camera, and mistakes often break the cube or blow up FETs. Looking at the high-speed video, each 90 degree move takes ~10 ms, but the machine is actually only doing a move every ~15 ms. For the time being, Jared and I have both lost interest in playing the tuning game, but we might come back to it eventually and shave off another 100 ms or so.” Ben Katz

Oscar Sol

Trinity
Trinity is an audiovisual interactive dance piece which tells the journey of a body going through different states of perception of the space. Through movement, the body is immersed in an environment of textures and audiovisual landscapes that not only accompany but will push to a transformation process.This work proposes a profound, clear and efficient interaction between its three elements: the triad of movement, sound and visuals. This interaction is understood as a dialogue which passes through different levels of intensity and transformations throughout the piece and is focused in the detection of the following qualities and patterns of movement like: forces and directions, acceleration, position, speed and body area.

Carsten Nicolai

reflektor distortion

The installation reflektor distortion – conceived as a rotating, water-filled basin – is inspired by the shape of a parabolic mirror that ‚rotates‘ water via centrifugal force. The work consists of the three main components mirror, reflection and distortion. Both curve and distortion of the water surface is affected by speed and integrated resistors that generate a permanently new and re-organizing mirror reflection. The water surface will be supplementary distorted via speaker by resonating low sound frequencies. The function of the mirror is hereby eminent: The mirror surface is the medium that reveals reality as distorted reflection. Rising the question of the observed and the real image the installation plays with the artist’s thesis that we all have a permanent distorted perception of reality.

KAROLINA SOBECKA

カロリナ・ソアベッカ
Каролина Собечка
Wildlife
FILE FESTIVAL

At night a projection from a moving car is shone on the buildings. The car projects a video of a tiger whose movements are programmed to correspond to the speed of the car: as the car moves, the tiger runs along it speeding up and slowing down with the car, as the car stops, the tiger stops also. The framerate of the movie corresponds to the speed of the wheel rotation, picked up by a sensor. The viewers are elevated from the everyday reality through this element of fantasy into a world with more dimensions, possibilities and perhaps beauty.

Michael Pinsky

Transparent Room
Transparent Room suspends viewers in a virtual space where they see through walls to hidden rooms and city streets, and through ceilings to the sky. The room’s confining walls are replaced by projections of the outside world, its time accelerated as clouds speed by and as cars and pedestrians alike race down the street. In this caricatured passing of time, views of the cityscape and of the building’s interiors are magnified, first showing details, then textures and, finally, just single colours.

JOGGING

Brad Troemel and Lauren Christiansen
JOGGING uses the microblogging platform Tumblr as a stage for immaterial works of art both real and digitally manipulated. The site functions as an evolving sketchbook in which ideas are conceived and executed with a speed and immediacy unconstrained by physical or institutional limitations, with as many as twenty pieces of work posted per day. This is in deliberate contrast to personal websites and curated portfolios in which an artist limits his or her production in an attempt to carve out an identifiable brand. Instead, JOGGING sees itself as both artist and art object, composed of multiple pieces or individual works but functioning as a single schizophrenic body, an abstract machine.

JOGGING

Brad Troemel and Lauren Christiansen
soup base

JOGGING uses the microblogging platform Tumblr as a stage for immaterial works of art both real and digitally manipulated. The site functions as an evolving sketchbook in which ideas are conceived and executed with a speed and immediacy unconstrained by physical or institutional limitations, with as many as twenty pieces of work posted per day. This is in deliberate contrast to personal websites and curated portfolios in which an artist limits his or her production in an attempt to carve out an identifiable brand. Instead, JOGGING sees itself as both artist and art object, composed of multiple pieces or individual works but functioning as a single schizophrenic body, an abstract machine.

Benedikt Groß

The Autonomous Human Drone Taxi

We keep hearing how technology will eventually solve the problem of vehicular traffic for good. Self-driving cars will only get us halfway to that future — they’re still cars, clogging up our roads, speeding down our freeways. The personal mobility future that I’m waiting for includes autonomous drone taxis that can sail high over the city, delivering me safely to my destination.

JONATHAN SCHIPPER

Slow Motion Car Crash

Jonathan Schipper’s work provides an alternative way of experiencing the world by slowing down physical events to almost imperceptible movement. His slow motion car crash sculptures are actual cars moving at speeds of 7mm per hour into a choreographed collision. The spectacular moment of the car crash is rendered safe and almost static. With a dramatic inevitability that reflects our own mortality, over the course of the Festival month the car is eventually destroyed.

JONAS BOHATSCH

vinyl+ • Expanded Timecode Vinyl
FILE FESTIVAL

A processing sketch is used to generate virtual objects being projected on white timecode-vinyl. These objects can either be placed randomly or by the user via the computer keyboard or an external midi controller. If the record starts to turn, the virtual objects will move with the speed of the record. If a virtual object touches the turntables needle, it will trigger an animation and the playback of a sound. This is possible because the vinyl’s timecode provides information about the record’s playback speed and the position of the needle, thus enabling to synchronize the movement of the turntable with the movement of the projection and to calculate collisions of virtual objects with the turntable’s needle. In vinyl+, an analog medium at the same time acts as a carrier and an interface for virtual audio- and video-objects.