LAb[au]

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.

Liam Young & John Cale

Loop 60 Hz: Transmissions from the Drone Orchestra
A flock of autonomous DJI copters are programmed as aerial dancers and are mounted with specially engineered wireless speakers to broadcast the instruments of the band. Other copters are dressed in elaborate costumes to disguise their form and reflect light across the audience below. Against a score of original compositions and selected tracks from Cale’s seminal career this collaboration with Young imagines the possibilities of the drones as emerging cultural objects. If these technologies are no longer unseen objects overhead, or propelled along classified flight paths but brought into close and intimate relations with us then how might we see them differently. When their transmission fades, when the drones lose their signal and without their protocols for terror and surveillance, do they drop from the sky, do they fall in love or do the drones drift endlessly, forever on loop.

Nicole L’Huillier and Sands Fish

Telemetron
Nicole L’Huillier and Sands Fish decided to explore how design and creativity might evolve as we begin to do more than merely survive in space. The Telemetron is a unique musical instrument that takes advantage of the poetics of zero gravity, and opens a new field of musical creativity. The project attempts to expand expression beyond the limits of Earth-based instruments and performers. Leveraging sensors, data transmission and capture (for performance after flight), as well as their experience as composers and performers, Sands and Nicole explore a new body language for music.

GEBHARD SENGMÜLLER

parallel image
This work consists of 2500 magnetic wire cables that connect an emitter (one square meter made of epoxy resin) that consists of a 50 × 50 grid with photo sensors that have their counterparts in the receiver with a grid of bulbs. Thus the sensors detect the light and transmit in parallel each pixel (“image element”) with its corresponding brightness effect to the light bulb in the receiver. Unlike conventional electronic image transmission procedures, “A Parallel Image” uses a technologically transparent procedure, transmitting to the viewer a correspondence between the real world and its transmission.

Andrew Schneider

YOUARENOWHERE
Conjuring a futuristic sort of shamanism, Andrew Schneider’s YOUARENOWHERE experiments with the virtues of sensory overload via quantum mechanics, parallel universes, and the “Missed Connections” board on Craigslist. Battling glitchy transmissions, crackling microphones, and lighting instruments falling from the sky, one guy on a mission and a tricked-out interactive new-media landscape merge to transform physical space, warp linear time, and short-circuit preconceived notions of what it means to be here now.

MAIA URSTAD

Maia Urstad, a sound artist based in Bergen, Norway, joined ISIS in 2009 for a 3-week research residency. Maia’s research was based around using and adapting portable radio systems and local FM-transmissions. Maia explored the Northumberland coast where she carried out experiments with multiple radios, broadcastings signals across the North Sea from the cliffs of Howic and the beaches surrounding Bamburgh in an attempt to communicate across the sea, attempting to reach her home town of Bergen.

WOW inc

Neuro Surge
Measuring about 9 meters in height, the work pierces through the atrium of the ‘shiseido’ ginza building from the first to the second floor and creates an unprecedented display of light with the use of new advanced fibers. WOW inc. attached 150 fibers with a .9 millimeter diameter to a laser module. The laser module transmits light through the fibers, which can be controlled by touch. The interactive work visualizes the complex transmission of sensory nerves and information into a dynamic light show.

Marie Hudelot

J’ai réalisé cette série de photographies argentique dans une volonté de construire un ensemble de portaits symboliques en m’inspirant des différents attributs de mon héritage familial partagé entre orient et occident, et plus précisemment entre la France et l’Algérie. Traitée à la manière de la tradition picturale des natures mortes, j’ai choisi de mettre en avant des personnages au visage recouvert, où la nature et différents objets significatifs de rites et coutumes prennent l’ascendant sur l’individu dans une réinterprétation de la transmission.

dietmar koering

Дитмана Коэринга
High Voltage Transmission Line Towers

Alan Ruiz

Transmission

Brenna Murphy

Liquid Vehicle Transmitter
アーティストのブレンナマーフィーは、彼女の迷路のような仮想空間を物理的な現実に重ね合わせる現実のフラクタル環境を作成します。
ポートランドを拠点とするアーティスト、ブレンナマーフィーは、彫刻、ゲームデザイン、インスタレーション、パフォーマンス、サウンド、インターネットに携わっており、人間の意識を結び付け、拡大するデジタルテクノロジーの能力に関心を持っています。マーフィーにとって、デジタルツールは、人間の経験の外にある異星人としてではなく、意識と認識を深める電子補綴物として機能します。迷路はマーフィーの実践における継続的なテーマです。彼女のインスタレーション、ウェブサイト、仮想環境は、放浪、移動、発見を促進する一連の連動スペースとして設定されています。彼女の作品で参照されている自然に発生する幾何学的形態のように、それらは展開構造の密な配列として互いに有機的に分岐しています。 YBCAでの彼女の展示会のタイトルであるLiquidVehicle Transmissionerは、マーフィーの作品の多くに見られる流動性をほのめかしています。
彼女の新しいインスタレーション、創発的な実体の聖歌の配列のために、マーフィーはさまざまなスケールで自己相似パターンを含む一種のフラクタルを設計しました。 3D印刷された彫刻、LEDライト、ライトボックス、木製のカットフォームの正確に構成された集合体から構築されたインスタレーションは、彼女の複雑で目がくらむようなインターネットベースの作品の実際のバージョンに似ています。マーフィーの仮想ビデオゲーム環境のように、創発的なエンティティのチャントアレイは、訪問者の空間と次元の両方の認識に基づいて再生され、意識の高い状態の探索を促します。
マーフィーは、彼女のアプローチにおいて深くポストヒューマニストであり、彼女の創造的なプロセスを、作品を制作するために使用されるツールとの直感的で調和のとれた関係を模索する瞑想の一形態と見なしています。彼女の複雑な形の配置は、彼女自身のエネルギーと視聴者のエネルギーに焦点を合わせ、それらを引き込みます。観客との調和のとれたつながりのこの感覚は、彼女がメンバーであるアートコレクティブ、MSHRおよびオレゴン絵画協会のアクティブな要素でもあります。

Danièle Huillet and Jean-Marie Straub

Moses und Aron
Oper in drei Akten Arnold Schoenberg
Moses und Aron, known in English as Moses and Aaron, is a 1975 film by the French filmmaking duo of Jean-Marie Straub and Danièle Huillet based on the unfinished opera of the same title by c. During its 1975 run at US festivals, it was also known as Aaron and Moses, and was frequently reviewed as such.
It is one of three films based on Schoenberg works Straub and Huillet directed, the other two being Einleitung zu Arnold Schoenbergs Begleitmusik zu einer Lichtspielscene , a short film made directly before Moses und Aron, and, over two decades later, an adaptation of the one-act comic opera Von heute auf morgen. The film retains the unfinished nature of the original opera, with the third act consisting of a single shot with no music as Moses delivers a monologue based on Schoenberg’s notes.The film was shot on location in Italy and Egypt. It utilized the same team of cinematographers as Straub and Huillet’s Chronicle of Anna Magdalena Bach. The soundtrack and cast of the film is the same as the 1974 recording conducted by Michael Gielen (Philips 6700 084).The original German version of the film was dedicated to Holger Meins, a former cinematography student who joined the Red Army Faction in the early 1970s and died on hunger strike in prison. This dedication was censored by German broadcasters for the film’s first transmission in 1975. The English subtitles of Schoenberg’s dense German libretto were prepared by assistant Gregory Woods, who is credited on the DVD.The film was shown at the 1975 Cannes Film Festival, but was not entered into the main competition.[1]

cinema full

LISA HAMILTON

À l’aide d’outils et de matériaux simples que l’on trouve couramment dans l’atelier d’un peintre, l’artiste Lisa Hamilton construit des images, des sculptures et de courtes vidéos qui interrogent les limites de la perception, la transmission du sens et la relation entre le spectateur et l’objet visuel. Dans des enquêtes récentes, elle engage le langage formel de l’abstraction, la théorie des couleurs et la dynamique psychologique du voir pour examiner le point de rencontre de l’observation et de la participation. Ici, elle propose, est le site critique où la forme produit du contenu. Dans son travail, les expériences de perception, d’enquête intellectuelle, d’émotion et d’invention matérielle convergent pour générer du sens à travers l’expérience du regard. Dans sa recherche d’articulation des idées sous une forme concrète, Hamilton a revigoré et élargi le discours contemporain sur l’abstraction.

RICARDO BARRETO, MARIA HSU and AMUDI

feel Me tactile interactive bed
File Festival
“feelMe” is a work that for the first time remotely transmits the tactile sensation. Our work provokes the exploration of the sense of touch while promoting the interaction between two people mediated by a machine. The work is constituted of two surfaces, or “beds”: the first one (tactile transmission unit), in which one of the participants, layed down, imprints marks to its surface by pressing it with the weight and movement of the different parts of his/her body; these impressions will be captured and transmitted to the other participant, who lies in the second “bed” (tactile reception unit) and receives them simultaneously in the same positions and in proportional intensities, however, in negative, that is, when the surface in the first bed sinks, it rises in the second one, promoting a touch. The first body touches the second one, and the “beds” may be a few meters or thousands of kilometers apart from each other. Between the bodies, dozens of occult sensors, microcontrollers, engines (lineal actors), computers and a program that orchestrates that tactile communication. We allow the participant to experiment the possibilities of encounter between bodies through the digital world, with a different approach from the one provided by virtual reality. We want to explore the tactile perception separately in its “corporal way”, and only in future works to propose the expansion/extension of multimedia perception with the inclusion of tactile perception.

ZIWON WANG

My name is Z
The artist invokes the debate on mechanization, and sense of self. Is it a thing of the far future or is it already an integrated part of our lives? For instance, if a human drives stick transmission automobile, in a broad sense, the human is mechanized suitable to the stick transmission automobile, and if the human drives automatic transmission automobile, the human is mechanized to the automatic transmission automobile.Wang says. We all live each day as a part of machine and mechanization deepens gradually. The body is gradually deprived. Yesterday, my finger took over remote control; today, the remote control takes over my finger. by various modes of assimilating the data of the world.”