Ghost Pole Propagator II
Ghost Pole Propagator captures and replays the ‘skeletons‘ of passersby in its environment, creating a layered and dynamic tapestry that reflects the history and activity of a locale. Presenting a universal communication of presence, attitude and gesture, the stick-figures this artwork generates are compact and expressive means of representing the human form. The format of the work is variable; in some presentations, the project serves as a kind of ‘interpretive monitoring station’ for nearby pedestrian traffic.

Samplingplong
File Festival

Randomly selected, acoustically usable finds (electronic junk, relays, plastic toys,compressed air valves, pneumatically operated components) are combined with cables and tubes. Via a device controlled by computer, they are turned into interactive instruments. An improvised ensemble evolves, from which – per mouse-over and mouse-click -short miniature compositions of dense rhythmic clicks, hisses, whirs, hums and crackles can be elicited. A tapestry of sound bursts forth from the floral-like web of cables and tubes. The installation can be used by the projected mouse-cursor: rolling over the improvised instruments causes small sound events. Activating the installation by rolling over its parts enables the user to play spontaneous improvisations. Clicking these objects starts short programs of loop-like compositions. Small “techno-compositions en miniature”, rhythmic patterns of analog (or real) sounds; a physical low-tech simulation of electronic, digital music, perhaps an ironic comment on interactivity.

Contours
London-based creative laboratory Bare Conductive was invited to team up with designers Fabio Antinori and Alicja Pytlewska in order to develop a large-scale metaphor for the idea of breathing life into a collection of responsive textile skins. ‘Contours’ is at the core of the interactive tapestry installation; a series capacitive sensors are applied to the suspended fabric substrates using conductive paint. These sensors react to the presence of a person within the vicinity and track their movements, outputting a constantly modulated ambient soundscape reminiscent of medical research environments. The abstract geometric ornamentation connects the tapestries’ individual sensors to form giant panels, serving as an acoustic feedback loop that alludes to the relationship between science and the body.

לזכות ונדרס
ヴェンダースに勝つ
벤더스 승리
ВЫИГРАТЬ ВЕНДЕРС
Wings of Desire
cinema
Wings of Desire is one of cinema’s loveliest city symphonies. Bruno Ganz is Damiel, an angel perched atop buildings high over Berlin who can hear the thoughts—fears, hopes, dreams—of all the people living below. But when he falls in love with a beautiful trapeze artist, he is willing to give up his immortality and come back to earth to be with her. Made not long before the fall of the Berlin wall, this stunning tapestry of sounds and images, shot in black and white and color by the legendary Henri Alekan, is movie poetry. And it forever made the name Wim Wenders synonymous with film art.

골란 레빈
ГОЛАН ЛЕВИН
Eyecode
Eyecode (Golan Levin, 2007) is an interactive installation whose display is wholly constructed from its own history of being viewed. By means of a hidden camera, the system records and replays brief video clips of its viewers’ eyes. Each clip is articulated by the duration between two of the viewer’s blinks. The unnerving result is a typographic tapestry of recursive observation.

Астрид Крог
light tapestry
“En tant que pionnière dans le domaine d’un nouveau genre de tapisseries infusée de lumière, l’impact du travail d’Astrid Krogh sur les arts, l’architecture et le design est considérable. Alors que jusque là les tapisseries étaient considérées comme de simples ajouts décoratifs à nos intérieurs, Krogh a montré comment la technologie textile pouvait en faire des éléments architecturaux. En intégrant le textile dans l’architecture, Krogh a ouvert la voie à des formes fluides et au design qui favorisent les relations dynamqiues entre le spectateur et l’objet. Par le passé la relation tactile à l’objet textile ne passait que par le sens du toucher, dans le travail de Krogh cette relation est mesurée par l’œil et ressenti de tous nos sens.» Bradley Quinn