Echo Echo
Echo Echo è un’installazione multimediale interattiva che utilizza gli assistenti virtuali per creare un eco digitale. Attivato dall’interazione umana, ogni dispositivo ascolta il suo predecessore e risponde di conseguenza. Nel corso di questa eco digitale, l’input originale diventa sempre più alienato. Simile al gioco Telephone (tedesco: Stille Post), le informazioni che riceviamo alla fine molto spesso non hanno nulla a che fare con il messaggio originale. Il lavoro è un approccio giocoso e un commento su uno dei problemi più grandi delle nostre attuali vite digitali.

Pétrole
L’idée principale de ce projet est de présenter aux visiteurs de l’exposition la possibilité de détruire tout objet qui pourrait se trouver sur leur personne, afin de le transformer en une composition sonore unique. L’installation se compose de cinq presses hydrauliques, capables d’écraser pratiquement n’importe quel objet (téléphone portable, paire de lunettes, écouteurs ou autre). En cours de destruction, un microphone spécial enregistre les sons émis lors de la déformation de l’objet et, en quelques minutes seulement, un algorithme informatique les transforme en un album de 20 minutes.

פולנק
プーランク
Karen Vourc’h
La Voix Humaine

La Voix humaine is the first “lyric tragedy” to take place entirely over the telephone. The argument is simple: this is a woman’s last conversation with the man she loves, as he prepares to marry another. Story of a suicide attempt, distressing cuts, interference: so many stages in this modern telecommunications ordeal where passionate love follows
new ways and deviations.“If you don’t like me and if you were clever,” the woman said to the man, “the phone would become a scary weapon. A weapon which leaves no traces, which does not make noise … “

Avatars
For this installation, So Kanno + yang02 composed all kinds of differently sized objects, including a telephone, a traffic cone, a plaster figure, a car, and a plant. Cameras, microphones, monitors and microcomputers are embedded in everyday objects arranged in the exhibition space, and connected to the Internet. Visitors can experience the work by logging in to / “riding“ each object via a web browser. Those objects exist as substitutes of – yet together with – real human beings (the visitors) in the same real environment that is subject to physical laws, rather than operating in a virtual space. Against the backdrop of the age of IoT, where all kinds of things are connected through networks, and artificial intelligence is about to mature, this work observes the new relationships that emerge when inorganic, non-autonomous objects transform into persons that act and perceive the world according to their own intentions.

Oil
The main idea of this project is to present exhibition visitors with the chance to destroy any object that might happen to be on their person, in order to transform it into a unique sound composition. The installation consists of five hydraulic presses, capable of crushing practically any object (a mobile telephone, pair of glasses, headphones or whatever). In the process of destruction, a special microphone records the sounds made as the object undergoes deformation, and in just a few minutes, a computer algorithm transforms them into a 20 minutes album.

E.A.T

Experiments in Art & Technology

In 1966, 10 New York artists worked with 30 engineers and scientists from the world renowned Bell Telephone Laboratories to create groundbreaking performances, known as 9 Evenings: Theatre and Engineering. Artists included Andy Warhol, John Cage, Lucinda Childs, Vyvind Fahlstrvm, Alex Hay, Deborah Hay, Steve Paxton, Yvonne Rainer, Robert Rauschenberg, David Tudor, and Robert Whitman. Notable engineers involved include: Bela Julesz, Billy Kluver, Max Mathews, John Pierce, Manfred Schroeder, and Fred Waldhauer.

努维尔
جان نوفيل
ז’אן נובל
ジャン·ヌーヴェル
Жан Нувель
장 누벨
Serpentine Pavilion

The design contrasted lightweight materials with dramatic metal cantilevered structures, rendered in a vivid red that, in a play of opposites, contrasts with the green of its park setting. In London, the colour reflects the iconic British images of traditional telephone boxes, postboxes and London buses. The building consists of bold geometric forms, large retractable awnings and a sloped freestanding wall that stands 12m above the lawn.
Striking glass, polycarbonate and fabric structures create a versatile system of interior and exterior spaces, while the flexible auditorium accommodates the changing summer weather and Park Nights, the Serpentine’s acclaimed programme of public talks and events, which attracts up to 250,000 visitors each summer.
Nouvel’s Serpentine Gallery Pavilion, the architect’s first completed building in the UK, operates as a publicly accessible structure within Kensington Gardens and as a café. The pavilion design highlights the idea of play with its incorporation of traditional French outdoor table-tennis tables.
This 2010 Pavilion is the tenth commission in the gallery’s annual series, the world’s first and most ambitious architectural programme of its kind, which has become an international site for architectural experimentation and follows a long tradition of pavilions by some of the world’s greatest architects. The immediacy of the commission – a maximum of six months from invitation to completion – provides a unique model worldwide.

كرافتفرك
קראפטוורק
クラフトワーク
THE TELEPHONE (Der Telefon Anruf)