Audio Responsive Treehouse

FILE 2024 | Architectural Synthetics
International Electronic Language Festival
Hassan Ragab – Audio Responsive Treehouse – United States

This work, created using generative artificial intelligence tools, is part of a broader exploration into discovering architectural forms through the intersection of different media. Potential shapes are generated based on the rhythms and timbres of the Shockone vs. Shockone song Run. The Bloody Beetroots. Factors such as camera movement and dynamics between the interior and exterior of the treehouse contribute to the creative process.

Bio

Hassan Ragab is an interdisciplinary media artist, architect and designer whose work focuses on the synergy between art, architecture, technology and humanity. He uses generative artificial intelligence to create a new visual language, and his work is exhibited globally. Additionally, Hassan writes about the integration of new media into art and design and has been recognized in numerous publications and news outlets.

beyond pages

The data projector loads images of a leather bound tome onto a tablet which a light pen activates, animating the objects named in it – stone, apple, door, light, writing. The soundscore immaculately emulates the motion of each against paper, save for the syllabic glyphs of Japanese script, for which a voice pronounces the selected syllable. Stone and apple roll and drag across the page, light illuminates a paper-shaded desklamp; door opens a video door in front of where you read, a naked infant romping, lifesize and laughing, in.

Anarchitecture

splitting house

“Of the many shows at the fabled 112 Greene Street gallery—an artistic epicenter of New York’s downtown scene in the 1970s—the Anarchitecture group show of March 1974 has been the subject of the most enduring discussion, despite a complete lack of documentation about it. Anarchitecture has become a foundational myth, but one that remains to be properly understood. Stemming from a series of meetings organized by Gordon Matta-Clark and reflecting his long-standing interest in architecture, the Anarchitecture exhibition was conceived as an anonymous group statement in photographs about the intersection of art and building. But did it actually happen? It exists only through oblique archival traces and the memories of the participants. Cutting Matta-Clark investigates the Anarchitecture group as a kind of collective research seminar, through extensive interviews with the protagonists and a dossier of all the available evidence. The dossier includes a collection of Matta-Clark’s aphoristic “art cards,” the 96 photographs that were produced by the various participants for possible inclusion in the exhibition, and images from a recently unearthed video of Matta-Clark’s now famous bus trip to see Splitting in Englewood, New Jersey.” Mark Wigley

Untitled 05
“I look at forms in nature for inspiration – from microscopic organisms like bacteria and viruses, to moss covered stones, branches of trees, the human body, seedpods, landscapes, star charts, etc., then try to bring all of these disparate elements together in the work”

Erebeta
« Erebeta » drives us on a vertical jump above the city. We ricochet on the pavement, twirl around the buildings and pass through streets. This bouncing point of view on modern Japan is accompanied by the traditional Kuroda Bushi music.

She Falls For Ages
MACHINIMA
This sci-fi retelling of the Haudenosaunee (Iroquois) creation story reimagines Sky World as a futuristic, utopic space and Sky Woman as a brave astronaut and world-builder. It begins on an ancient, alien world whose culture centres on the care and reverence for the beautiful, energy-producing Celestial Tree. The central figure of the tale is Otsitsakaion, a telepath. more…

Sonic Mountain
As a unique site-specific commission for the Donum Estate, Los Angeles-based artist Doug Aitken has created the ethereal work Sonic Mountain (Sonoma), three concentric circles of suspended stainless-steel pipes whose differing lengths form a wave at their base, mirroring the free Euler-Bernoulli shape that describes the chime’s frequency. Installed in the eucalyptus grove, measuring forty-five feet in diameter and twice human height, and comprising 365 chimes — one for each day of the year — Sonic Mountain (Sonoma) works with one of Donum’s most persistent elements, the Carneros breeze that cools the grapes and creates a temperate zone for growing Pinot Noir. Each day, the warm wind begins its soft whisper, rustling through the vines and trees, building in strength through the day until mid-afternoon, and then gradually diminishing in force. Known to have been used since at least the ancient Roman period in Europe and the second century in India and China, wind chimes create chance, inharmonic music. At Donum, Aitken has teamed up with his friend the composer Terry Riley to compose chords in the chimes to be played by the wind , depending on how it blows, so the lyrical work sounds throughout the estate, demonstrating the artist’s practice of making installations that synthesize many media and are never constrained by tradition.
video

Oblique WTC
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著者によると、この建物は単一の巨大構造を形成しており、複雑なネットワークを形成しており、個別のコンポーネントに分解することはできません。 この質感は、ウールニットと比較されます。 中には公共のスペースを含むいくつかのスペースがあります。 通りは曲がった塔に合流しているように見え、その中のエレベーターは坂を上って街の地下鉄に降りる列車になります。

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Здание, по мысли автора, образует единую мегаструктуру, сложную сеть, не раскладывающуюся на отдельные компоненты. Эта структура сравнивается с шерстяной вязкой. Внутри располагаются различные пространства, в том числе и общественные. Улицы как бы вливаются в гнущиеся башни, а лифты внутри них становятся поездами, взбирающимися по наклонным плоскостям и спускающимися в городской метрополитен

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The building, according to the author, forms a single megastructure, a complex network that cannot be decomposed into separate components. This texture is compared to a wool knit. Inside there are various spaces, including public ones. The streets seem to merge into bending towers, and the elevators inside them become trains that climb inclined planes and descend into the city subway.

PANGOLIN DRESS

The Pangolin Scales Project demonstrates a 1.024 channel BCI (Brain-Computer Interface) that is able to extract information from the human brain with an unprecedented resolution. The extracted information is used to control the Pangolin Scale Dress interactively into 64 outputs.The dress is also inspired by the pangolin, cute, harmless animals sometimes known as scaly anteaters. They have large, protective keratin scales covering their skin (they are the only known mammals with this feature) and live in hollow trees or burrows.As such, Pangolins and considered an endangered species and some have theorized that the recent coronavirus may have emerged from the consumption of pangolin meat.Wipprecht’s main challenge in the project’s development was to not overload the dress with additional weight. She teamed up 3D printing experts Shapeways and Igor Knezevic in order to create an ‘exo-skeleton’ like dress-frame (3mm) that was light enough to be worn but sturdy enough to hold all the mechanics in place

ДУ ХУ СА
ドーホー・スー。
서도호
specimen series refrigerator
348 West 22nd Street
Do Ho Suh est un artiste Coréen qui crée des installations spectaculaires en utilisant diverses matières et notamment le tissu polyester. Afin d’explorer les liens entre individualité et communauté, il utilise souvent le fils et le tissu pour investir l’espace. En déformant les perspectives et en jouant sur les propriétés même des matières utilisées, l’artiste met à l’épreuve notre perception de l’espace et notre place dans celui-ci. Époustouflant !

Swing Time

SWING TIME est un espace de jeux interactif composé de 20 balançoires en forme d’anneau lumineux. L’installation active un parc temporaire entre le Boston Convention and Exhibition Center et D Street pour créer un espace public expérimental. Fabrication sur mesure à partir de polypropylène soudé, les balançoires sont conçus en trois tailles différentes de sorte que les spectateurs peuvent participer, le but de l’exercice, est de jouer avec SWING TIME à titre individuel ou en groupe.L’éclairage LED au sein de la balançoire est contrôlé par un micro-contrôleur personnalisé, signalisant le niveau d’activité de la balançoire. Un accéléromètre interne mesure les forces d’accélération de l’oscillation. Lorsque les forces sont statiques et les fluctuations ne sont pas utilisés, ils émettent une lumière douce, blanche qui éclaire la zone. Lorsque les balançoires sont en mouvement, le micro-contrôleur allume la lumière du blanc au violet, en créant un effet lumineux coloré.

Hora do balanço
Hora do balanço é uma espaço de jogo interativo composto por 20 balanços leves em forma de anel. A instalação ativa um parque temporário entre o Centro de Convenções e Exposições de Boston e a D Street para criar um espaço público experimental. Feito sob encomenda em polipropileno soldado, os balanços são projetados em três tamanhos diferentes para que os espectadores possam participar. O objetivo do exercício é brincar com a instalação individualmente ou em grupo A iluminação LED dentro do swing é controlada por um microcontrolador personalizado, que indica o nível de atividade do swing. Um acelerômetro interno mede as forças de aceleração da oscilação. Quando as forças são estáticas e as flutuações não são usadas, elas emitem uma luz branca suave que ilumina a área. Quando as oscilações estão em movimento, o microcontrolador muda a luz do branco para o roxo, criando um efeito de luz colorido.

Walking ghosts
Étienne Bardelli fue un apasionado joven por el graffiti y el street art antes de ser el destacado diseñador gráfico y artista que es hoy en día. Nació en 1977, vive y trabaja en París. El trabajo de Etienne ronda de manera meticulosa y elegante por las intervenciones callejeras, el desarrollo de productos industriales, la imagen corporativa y el embellecimiento de los espacios. La sofisticación, la simplicidad y el equilibrio marcan cada pieza en su portafolio. Sorprendiendo desde el mas pequeño gesto hasta la instalación mas monumental de su obra. El trabajo de Bardelli corresponde a la migración constante que desarrolla un artista hacia el diseño y viceversa.

Brazil Now
BRAZIL NOW is a composition that addresses increasing militarization and surveillance within urban areas. Its geographical and acoustic reference is São Paulo, the largest megacity in Latin America. The piece is based on field recordings that capture the symptoms of a Latin American variant of turbo-capitalism with its distinctive acoustic features. Eruptive public demonstrations on the streets are often accompanied by loud, carnivalesque elements. These are controlled by a militarized infrastructure, openly demonstrating a readiness to deploy violence. The sonic documents are analyzed by machine learning algorithms searching for acoustic memes, textures, and rhythms that could be symptomatic for predominant social forces. The algorithmic results are then used as a base for a score and its interpretation through a musical ensemble. The piece drafts a phantasmatic auditory landscape built on the algorithmic evaluation of urban conflict zones.

HELL_TREE

Petra Cortright est une artiste Internet qui réalise des vidéos, des animations gif et des images fixes. Sa page d’accueil ressemble à une page html datée avec un tas de smileys et une liste de son travail: travail authentique, expérimental et nostalgique avec beaucoup de paillettes, d’étincelles, de collages et de personnages faisant des images. Tout au long du site Web, il y a des animations de souris amusantes, par exemple des étincelles qui suivent votre pointeur lorsque vous vous déplacez sur l’écran. Une autre chose intéressante est un cadre qui est attaché à votre pointeur afin que vous puissiez placer le cadre sur un portrait. Cortright a étudié à la Parsons School of Design de New York et au California College of the Arts de San Francisco. Aujourd’hui, elle vit et travaille en Californie. Elle a exposé à l’international dans des galeries telles que Gloria Maria Gallery (Milan) et Spencer Brownston (New York) entre autres. Récemment, Cortright a exposé avec sa série SO WET à la Preteen Gallery de Mexico.

En transit
Deux faisceaux de lumière rapides traversent une pièce, créant des ombres infinies sur une série de cadres blancs flottants. Il s’agit d’In Transit X, une installation sombre et basée sur une pièce qui fait allusion à un vide sans fin. Les effets vertigineux d’In Transit X placent le spectateur dans un espace artificiel monochromatique. L’installation lumineuse animée de 15 mètres de large de l’artiste Hc Gilje a été réalisée à l’origine pour les Wood Street Galleries de Pittsburgh en 2012 et a récemment été exposée le mois dernier au Kulturkirken Jakob à Oslo. En utilisant des cadres en forme de blocs et de la lumière comme supports, Gilje crée des dimensions visuelles dynamiques qui se prêtent à une expérience noirâtre fascinante.

Tree Drawings
Tim Knowles est un artiste pluridisciplinaire britannique. Même s’il se défend d’être obsédé par le vent, cet élément a beaucoup inspiré son travail, il aime ses propriétés et son absence de contrôle. Tree Drawing est un très bel exemple du travail de Tim Knowles, il accroche des feutres aux branches d’un arbre et attend que le dessin se fasse sous l’impulsion du vent ou de la brise sur les branches. Ce qui est beau dans cette oeuvre c’est qu’on peut ressentir les propriétés intrinsèques de l’arbre, qui peut être souple, rigide, léger, fragile.

Omelia Contadina
Omelia Contadina est née de l’intérêt de JR pour les difficultés rencontrées par un grand nombre de petits agriculteurs et d’habitants des campagnes italiennes. Alice Rohrwacher explique les origines du projet: “l’automne dernier, lors d’une promenade à la frontière entre l’Ombrie, le Latium et la Toscane, j’ai fait part à mon ami et artiste JR de mes inquiétudes quant à la destruction du paysage agricole, violé par les monocultures intensives avec quelles grandes entreprises façonnent des territoires entiers. Je lui ai raconté, en fille d’apiculteur, la mort massive d’insectes que provoquent de tels changements… À un moment donné, nous nous sommes arrêtés à un carrefour: de tous côtés, des rangées ininterrompues de noisetiers remplissaient le paysage jusqu’à l’horizon. En regardant cela, nous nous sommes dit que cela ressemblait à un cimetière de guerre. Sur le chemin du retour, nous avons décidé – si cela ressemble à un cimetière, nous devons organiser des funérailles. Mais ce doit être un enterrement plein de vie!”

“Poem for an artificial intelligence”

the sun is a beautiful thing

in silence is drawn

between the trees

only the beginning of light

this realm of rain

grey sky and cloud

it’s quite and peaceful

safe allowed

And, arguably, worse:

I am a coal-truck

by a broken heart

I have no sound

the sound of my heart

I am not

Point Cloud Old Growth
Forest on Location
In the video work Forest on Location, we see the avatar of the Iranian opera singer Shahram Yazdani walking through a forest. One moment, the forest wraps around him protectively, the next moment the trees crumble away into loose pieces of bark, or melt into a static green mass. At the same time, the forest as a whole floats around in darkness, uprooted. It is a forest without a location, except on our screen. The young man’s avatar appears to be wandering around there aimlessly. It is a wonderland that he exits from towards the end of the video, when his body slips straight through the green wall. This finally breaks the spell of the illusory forest, and everything is revealed to be no more than staged decor. But the forest does exist as a real forest, somewhere. This virtual green world is a digital back-up of Bia?owie?a Forest: the last remaining stretch of primeval low land forest that once covered much of Central Europe. Inspired by what the historian Simon Schama wrote about Bia?owie?a in Landscape and Memory (1995), Persijn Broersen and Margit Lukács journeyed to Poland to capture the forest suffused by old-Germanic nostalgia and mythical atmosphere.

鳥光桃代
Miyata Jiro
“Miyata Jiro” by Momoyo Torimitsu is a life size replica of the typical Japanese businessman. Sporting a suit, glasses, and a receding hair line complete with a comb-over, Miyata has mechanically crawled the metropolises of New York, London, Amsterdam, Paris, Rio de Janeiro, and Sydney. With the aid of the artist in full nurse costume, the duo engages street and business life (Miyata has crawled the likes of Wall Street and La Defense — epicenters of business cultures as well as typical touristic destinations). The performance and audience reactions were videotaped and photographed and six monitors at the Dikeou Collection play the respective videos, each identified by a small flag for the country in which the crawl took place.

We only come out at night
FILE FESTIVAL 2007
We Only Come Out at Night is an urban graffiti project involving interactive public projections. A site is selected at dawn and a sticker is stuck or a stencil image is sprayed at the location. When the sun sets, jellies are projected over the heads of pedestrians on the street. As the pedestrian walks underneath the projection, the monsters grab the shadows of the people and eat them. The sticker is then removed and the project visits another place at dawn. A website is created to track the history of the monster appearance in order to promote and create a mythology. There are seven monsters in total, each monster’s design and behavior is unique. Gula, the monster that always eat, Avaritia, the monster that stuffs you into his pants, Invidia, the monster that takes your image and pretends to be you, and so on. Each monster is unique but always sad.

Illusion Lens
French Artist Vincent Leroy has proposed a geodesic installation imagined to sit atop the Roppongi Hills Mori Tower in Tokyo. The otherworldly sphere takes on a similar form to that of a spaceship, with three strong industrial legs holding up its perch. Sitting 238 meters high in the center of the rooftop’s helipad, the installation quietly overlooks Tokyo’s sprawling cityscape. Leroy accurately refers to the sphere’s kaleidoscope effect as “a sampler of the sky,” as it captures its surrounding climate and twists the image into multiple pieces. The artist designed the proposed installation as an escape from the busy streets of Tokyo, a place to contemplate and reflect in peace either alone or with loved ones.

Dans 13 Tongues
Choreographer CHENG Tsung-lung has always been fascinated by his mother’s stories about “Thirteen Tongues”: the street artist and legendary storyteller from their neighbourhood in Taipei was known for being able to slip into various roles. With his full-length work, CHENG succeeds in becoming a modern “Thirteen Tongues” himself: He transforms Taoist rites, festive parades and the bustling street life of Taipei into a fantasy world, blurring the past and the present, the real and the surreal. Against a mysterious soundscape of Taiwanese sounds, Japanese Nakashi melodies and the electronic music of LIM Giong, the dancers stomp and tremble in ecstasy like enchanted shamans in an endless festival.

The Legible City

In The Legible City the visitor is able to ride a stationary bicycle through a simulated representation of a city that is constituted by computer-generated three-dimensional letters that form words and sentences along the sides of the streets. Using the ground plans of actual cities – Manhattan, Amsterdam and Karlsruhe – the existing architecture of these cities is completely replaced by textual formations written and compiled by Dirk Groeneveld. Travelling through these cities of words is consequently a journey of reading; choosing the path one takes is a choice of texts as well as their spontaneous juxtapositions and conjunctions of meaning.

Algorithmic Architecture
This short film is intended to encourage a creative audience to seek out Kevin Slavin’s talk Those Algorithms Which Govern Our Lives. It employs an effect which takes place in Google Earth when its 3D street photography and 2D satellite imagery don’t register correctly. This glitch is applied as a metaphor for the way that our 21st century supercities are physically changing to suit the needs of computer algorithms rather than human employees.

Solar Pink Pong
file festival
Solar Pink Pong” is a hybrid of street and video game. Players of this game can interact with an animated pink sunlight reflection on the street using their bodies and shadows. The device that makes this game possible can be mounted on utility poles or building sides.

Atmospheric Forest
Atmospheric Forest is a large scale VR point-cloud installation that visualizes and sonifies the relations between the forest and climate. It reveals the interaction patterns between the pine-tree emissions in Pfynwald, an ancient Swiss Alpine forest, and weather conditions in this valley, effected by drought. The trees do not only produce oxygen, but they are living bodies who breath too. I.e., they emit part of carbon dioxide, sometimes even up to 20 perc. from what they have consumed. When trees die, they release all the carbon they have collected during their lives back into the atmosphere. Atmospheric Forest explores the effects of drought on local forest ecosystems, and how such stress situations influence production of resin and volatile emissions (such as usual pine-tree scent).

РАФАЭЛЬ ЛОЗАНО-ХЕММЕР
拉斐尔·洛萨诺 – 亨默
ラファエル·ロサノ=ヘメル
라파엘 로자노
רפאל לוזאנו, המר
Open Air
Depending on atmospheric conditions, Open Air could be seen up to 10 miles away from the Parkway each evening from 8 to 11 p.m. The Project Information Center at Eakins Oval was equipped with app download, free mobile loan stations and seating areas for watching the lights and listening to the messages. There was also be an Information Outpost located at Sister Cities Park (18th Street and Logan Square).The Open Air voice archive also features selected “Voices of Philly,” recorded messages from distinct individuals both past and present who have inspired and influenced the flavor of Philadelphia. “Voices of Philly” messages are accessible on this website and were played at various times throughout the project. Content for “Voices of Philly” was collected by project partner WHYY executive producer Elisabeth Perez-Luna and includes David Lynch, Sonia Sanchez, Sun Ra, Louis Kahn, M. Night Shyamalan, Tina Fey, ?uestlove, Marcel Duchamp, Buckminster Fuller, Jimmy Heath, Santigold, Maurice Sendak, Patti LaBelle and many more.

the solar tree

“Solar tree”presents a modular architecture consisting of prefabricated “cells” made of steel and wood.
The cells can also house “solar leaves” to contribute even more to the energy needs and make the structure more and more autonomous.The architects’ aim is not only to create something innovative and sustainable, but also to integrate the new project with nature and the surrounding landscape.

THINK AND SENSE

Under the theme of Zen, this artwork represents a part of the philosophy of Zen with three-dimensional data created with photogrammetry technology composed of the most minimalistic landscape of “dots” and the soundscape of “undulations,” with the cooperation of Toryo Ito, vice priest of Ryosokuin, Kennin-ji Tacchu temple, Kyoto. The generated image reflecting the environmental information of the exhibition space creates “interaction between the environment and the image,” just like the trees and leaves swinging in the silence in the garden of a Zen temple.

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Credit Concept / Technical Direction: Shuhei Matsuyama Point Cloud System Design:Takamitsu Masumi Sound Design: Intercity-Express (Tetsuji Ohno) Photogrammetry Shooting: Naoya Takebe Photogrammetry Engineering: Katsuya Sakuma

The Search of The Glow
Sprinkling the mist while attaching the tree trunk. Interweaving a scenery with the forest which is inside the deep mountain. Sight with clarity or blur. Light stream lead the mysterious mist to venture the forest. Found a light object under the crowd of trees which is constructed by blend woods. Wood sticks are overlapping and winding as a hollow pinecone. Its construction and pattern go well with the line of the treetop. It’s a whispering between human and the nature.

White Canvas
“CoCoLab engages in the area of programming languages. We provide frameworks for the analysis and the transformation of programs. Our technology is based on know-how from compiler construction. The frameworks contain parsers and preprocessors which convert source code to abstract syntax trees and symbol tables. These data structures are the foundation of program analysis and program transformation.”

Joshua Tree Residence

Whitaker has envisioned an “exoskeleton” made of shipping containers painted bright white. The containers appear like a starburst, with cuboid forms pushing out in all directions.The home is intended to offer a connection to the sun-baked landscape, while concurrently providing a sense of protection and privacy. Square windows frame views of the blue sky and rugged terrain. In some areas, faceted ceilings give the effect of being inside a crystalline form.

あずままこと
אזאמה מקוטו
아즈마 마코토
Адзума Макото
Water and Bonsai

In his continued forays into experimental botany that blur the lines between art and science, artist Makoto Azuma (previously) has reimagined the bonsai tree, one of the oldest Japanese artforms. This latest work titled Water and Bonsai, began with a dead branch from a juniper tree which was carefully attached to java moss meant to simulate the form of leaves. The entire piece was then submerged into a modified hydroponic environment similar to some of his earlier aquatic plantscapes replete with LEDs, a filtration system, and C02 emissions that encourage photosynthesis.
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Inverso Mundus
The title of the work, Inverso – both an Italian “reverse, the opposite” and the Old Italian “poetry,” and Mundus – the Latin “world,” hints at a reinterpretation of reality, a poetic vision. In our interpretation, the absurdist scenes from the medieval carnival appear as episodes of contemporary life in a multichannel video installation. Characters act out scenes of absurd social utopias and exchange masks, morphing from beggars to rich men, from policemen to thieves. Metrosexual street-cleaners are showering the city with refuse. Female inquisitors torture men on IKEA-style structures. Children and seniors are fighting in a kickboxing match. Inverso Mundus is a world where chimeras are pets and the Apocalypse is entertainment.

hollow
Katie Paterson and Zeller & Moye’s public artwork, Hollow, is made out of 10,000 samples of different tree species and was unveiled in Bristol in early May. The BBC followed Katie over a ten-month period as she assembled the wood collection and created the artwork. Sourced from all around the world, her samples include the oldest tree in the world, a tree that survived a nuclear blast and many trees that are now extinct.

Amos Rex Museum
Amos Rex rethinks the urban park as part of our museum experience. Its structure is built with large concrete domes. This principle is very functional for museum use: it allows long column-free spans and flexible exhibition spaces. The domes contain skylights that introduce natural light into the galleries below as well as carefully selected views of life above. At street level, a new urban square has been created with a unique identity. The domes form an undulating landscape for people to enjoy, especially children. The Lasipalatsi building was restored respecting its valuable 1930´s Functionalist era interiors and details.

The Eternal
[Verse 1]
Procession moves on, the shouting is over
Praise to the glory of loved ones now gone
Talking aloud as they sit round their tables
Scattering flowers washed down by the rain
Stood by the gate at the foot of the garden
Watching them pass like clouds in the sky
Try to cry out in the heat of the moment
Possessed by a fury that burns from inside
[Verse 2]
Cry like a child, though these years make me older
With children my time is so wastefully spent
A burden to keep, though their inner communion
Accept like a curse an unlucky deal
Played by the gate at the foot of the garden
My view stretches out from the fence to the wall
No words could explain, no actions determine
Just watching the trees and the leaves as they fall

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.

insect microscope
The scientist at Howard Hughes Medical Institute’s Janelia Farm Research Campus, has been using laser-scanning microscopes to capture the incredible details of the insect world unseen to our naked eyes. Not only that, he also colors the pictures to show the tree-like structures that turn the pictures into these vibrant blueprints of life.

Class room chair

Polyfunctionality and deconstruction of everyday objects, irony and humour as weapons and moments of profound insight: these are some of the ideas behind the works by the architect, designer, sculptor and film-maker, Stefan Wewerka (born in 1928, in Magdeburg).
In his works, Wewerka pushes against conventional concepts relating to art and aesthetics, rationalism and functionalism. As a result for instance, the Last Supper is turned into a weird affair, the kitchen space turned into a kitchen tree. Wewerka’s unmistakable trademark is the manipulation of chairs. Sawn, hacked and bent out of shape, these chairs subversively thwart previously unquestioned concepts relating to furniture. In stark contrast to this, however, are his sculptural furniture designs, adapted to suit the requirements of the human body and its habits.

Tree Mountain
A Living Time Capsule
La húngara Agnes Denes creó un proyecto ecológico para la recuperación de terrenos naturales. Entre septiembre y octubre de 1995 11.000 personas plantaron 11.000 árboles en una gran montaña artificial en Finlandia. De ahí­ surgió la impresionante “Tree Mountain” o “Montaña de los árboles”. Esta artista concibió el patrón matemático donde se situarí­an dichos árboles.

منير فاطمي
Evolution or Death
Fatmi inverts spectacular representations of identity by rendering them mundane and within reach of a subject that may scramble any conclusive narrative. Fatmi’s work counters strategies of interpellation that identifies a subject with an ideology prior to that subject’s ability to place their identity in or beyond a particular ideology. Fatmi parodies the various interpellations of colonialism and capitalism that seek to define others according to symbolic narratives. In Evolution or Death, 2004, (fig. 4) two Anglo-European looking subjects imitate suicide bombers with books and papers taped around their abdomens. One holds open a trenchcoat and another holds up a book that looks like a detonator attached to wires. Fatmi reverses the situation. These are not the suicide-bombers from Arab and Muslim countries. Instead, they appear to be of European descent in a European street or modern room in casual clothing.

ديانا جامبوا/
戴安娜甘博亚/
Диана Гамбоа
Diane Gamboa has been producing, exhibiting, and curating visual art in Los Angeles for more than 20 years. From 1980 to 1984, she photographically documented the punk rock scene in East Los Angeles. Between 1980 and 1987, she was a member of ASCO, a conceptual multi-media performance art group. During this time she also organized numerous site-specific “Hit and Run” paper fashion shows. Created as easily disposable streetwear, Gamboa’s paper fashions became quite popular, and some were even exhibited in museums.

シンジターナー山本
Синдзи Тернер Ямамото
Global Tree Project: HANGING GARD
“Focado na natureza e no meio ambiente, eu crio instalações em locais específicos por todo o mundo, que exploram a interação entre a ausência e a presença e ilumino o espiritual na natureza”, explica o autor que ao conectar as duas árvores pelas raízes, uma morta e outra viva, quis evocar o ciclo da vida e aumentar as conexões das pessoas com o mundo natural.

Бойс, Мартин
马丁•博伊斯
마틴 보이스
מרטין בויס
マーティン・ボイス
Do Words Have Voices
Since 2005, Boyce’s work has drawn largely from an encounter with Four Concrete Trees, a group of sculptural pieces by the Martel Brothers made in 1925. Five years on, and Boyce’s work is an increasingly abstractive and virally pervasive aggregator, a lens through which everything must be seen. Like a strongly held belief or an indisputable fact, this is the world as infinite and varied as it ever was, just with one of the basic settings tweaked.

朱塞佩 利卡里
The sky in a room
“Nature has always been a big passion and the relation of nature and man-made environments is something I often try to confront in my work. The Sky in a Room was first inspired by the forests’ fires that in 2007 destroyed a big part of the south of Europe. They were largely man-made fires, intending to generate new land available for building speculation. A sick tree was cut down by the municipality of Rotterdam, cut in smaller pieces, archived and re-built inside the exhibition space, against the architectural surfaces of the gallery. The trunk of the tree was removed in order to give the public a different physical relation to the tree itself and to the white sterilized space of the gallery. The dead tree presents its branches covered with a layer of moss and molds creating a suspended landscape.”

The Floating Green Chair
The founder of Derbyshire, England-based Fully Grown, says the idea of creating “living furniture” came to him at a young age when he stumbled upon a bonsai tree that resembled a chair. Though it took another 25 years before Munro began to morph trees into furniture and an additional eight for his vision to become a reality, he never gave up.

Private Sunshine
Light Painter Janne Parviainen, also known as JANNEPAINT, is a full time artist who has been snapping photographs for over fifteen years. Like many light painters his discovery of the medium was an accident. In early 2007, Janne was out at night capturing long exposure photographs and accidentally bumped his camera, when he looked at his photograph the street lights had left streaks that appeared to be writing in the image; from that point on Janne was a Light Painter.