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Мозаичный вирус
Mosaic Virus (2018) и Mosaic Virus (2019) – это серия работ, в которых собраны идеи о капитализме, ценности и крахе с разных точек истории. Первый – это фрагмент движущегося изображения на одном экране, показывающий сетку постоянно меняющихся цветущих тюльпанов; второй – видеоинсталляция на трех экранах, на каждом по одному тюльпану. В обеих частях тюльпаны контролируются ценой биткойнов, которая со временем меняется, чтобы показать, как колеблется рынок, и делает эту ссылку явной. Тюльпаномания была феноменом 17-го века, когда цены на луковицы тюльпанов росли и падали: на пике цена была такой же, как в таунхаусе в Амстердаме, а затем упала до цены лука. Его часто считают примером одного из самых ранних зарегистрированных случаев спекулятивного пузыря, и можно провести сильные параллели с продолжающимися спекуляциями криптовалютой. Между двумя системами существует очевидная экономическая связь – обе часто описываются как неустойчивое безумие, – но для меня эта связь выходит за рамки того, как цены этих двух ведут себя на графике.

Urban Sun
URBAN SUN des Designers Daan Roosegaarde und seines Teams ist die weltweit erste künstliche Sonne, die öffentliche Räume mit einem sicheren UVC-Licht von 222 Nanometern vor dem Coronavirus desinfiziert. Nach dem erfolgreichen Start in Rotterdam geht URBAN SUN auf Welttournee zum Aarhus Festival in Dänemark, dem Museum of Design Atlanta in den USA, dem niederländischen Pavillon auf der World Expo 2020 Dubai in den VAE und anderen Orten. URBAN SUN ist eine innovative Designinstallation, die bessere und sicherere Räume schafft, um freier zu atmen.

Mosaic Virus
Mosaic Virus (2018) e Mosaic Virus (2019) sono una serie di opere che raccolgono idee sul capitalismo, il valore e il crollo da diversi punti della storia. Il primo è un pezzo di immagine in movimento a schermo singolo che mostra una griglia di tulipani in continua evoluzione in fiore; la seconda un’installazione video su tre schermi, ognuno dei quali mostra un singolo tulipano. In entrambi i pezzi i tulipani sono controllati dal prezzo del bitcoin, cambiando nel tempo per mostrare come fluttua il mercato e rendendo esplicito questo collegamento. Tulipmania è stato un fenomeno del XVII secolo che ha visto il prezzo dei bulbi di tulipano aumentare e crollare: al culmine andando allo stesso prezzo di una casa di città di Amsterdam prima di scendere al prezzo di una cipolla. È spesso considerato un esempio di uno dei primi casi registrati di una bolla speculativa e si possono fare forti parallelismi con la speculazione in corso sulle criptovalute. C’è un’evidente connessione economica tra i due sistemi – entrambi sono spesso descritti come frenesie instabili – ma per me questa associazione va oltre il modo in cui i prezzi dei due si comportano su un grafico.

antivirus mask and 3d makeups

“She tries to fantasize what complete aesthetic freedom of one’s appearance would look like. Her goal is to encourage a fun and creative approach to make up and self expression. By completely thrashing all preconceptions of what make-up is and how it’s used, Ines collaborates with various artists, musicians and models to produce her own fantastical versions of reality“. Teo Sandigliano

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

Pangolin Kleid
Das Pangolin Scales Project demonstriert ein 1.024-Kanal-BCI (Brain-Computer Interface), das Informationen aus dem menschlichen Gehirn mit einer beispiellosen Auflösung extrahieren kann. Die extrahierten Informationen werden verwendet, um das Pangolin-Schuppenkleid interaktiv in 64 Ausgaben zu steuern. Das Kleid ist auch von den Pangolin-niedlichen, harmlosen Tieren inspiriert, die manchmal als schuppige Ameisenbären bekannt sind. Sie haben große, schützende Keratinschuppen auf ihrer Haut (sie sind die einzigen bekannten Säugetiere mit dieser Eigenschaft) und leben in hohlen Bäumen oder Höhlen. Als solche gelten Pangoline als gefährdete Arten, und einige haben angenommen, dass das jüngste Coronavirus möglicherweise entstanden ist Der Verzehr von Pangolinfleisch. Wipprechts größte Herausforderung bei der Entwicklung des Projekts bestand darin, das Kleid nicht mit zusätzlichem Gewicht zu überladen. Sie hat die 3D-Druckexperten Shapeways und Igor Knezevic zusammengebracht, um einen “Exo-Skelett“ -ähnlichen Kleiderrahmen (3 mm) zu schaffen, der leicht genug war, um getragen zu werden, aber robust genug, um alle Mechaniken an Ort und Stelle zu halten

Disrupted Domains
Disrupted Domains features new animations created with molecular visualization software and SARS-CoV-2 structures displayed in Quorum at the Science Center. The animations were developed in remote collaboration with uCity Square biotech company Integral Molecular for Splan’s Science Center Bioart Residency while “sheltering in place” for COVID-19. The work in the exhibition is part of Precarious Structures, Splan’s project that explores the interconnectedness of cultural and biological systems during the coronavirus pandemic. Accompanying soundscape by Frank Masciocchi recorded in collaboration with Splan over Zoom.
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Glass Microbiology
Avian Influenza, commonly known as Bird Flu, refers to “influenza caused by viruses adapted to birds”. The first version, made in 2005, is one of Jerram’s earliest Glass Microbiology artworks. As such it is more abstract than the later 2012 artwork. In 2009, The Mori Museum, Tokyo exhibited this work in an exhibition called Medicine and Art, with works from Damien Hirst, Andy Warhol, Marc Quinn and Leonardo da Vinci.

Less faithful to the original text than Robert Wise’s 1971 film, the current version, whose executive producers include Tony and Ridley Scott, retains the essential elements of the plot: a government satellite on an intergalactic germ-related fact-finding mission crashes into a small town out West, emitting a deadly pathogen that kills everyone nearby save for an unhealthy older man and a baby whose survival is an epidemiological mystery. The military is called in to contain the disaster, and a team of high-status scientific researchers is assembled to determine the capacities of whatever is causing this plague and thus forestall the end of civilization.

cinema full

geometric death frequency 141

“The title of the piece is a pun that, with irony, alludes to the exceeding of tradition, irreconcilable dichotomy between life and death in a sculpture made, provocatively, by lifeless forms“, adds Diaz. “The line between life and none-life is more fleeing than we usually think: think about a virus that attacks a complex organism and reproduces in the same way as a micro-organism, even though it’s only an agglomerated of lifeless molecules: a natural crystal that, even though is a stone, can be born and undergo a fascinated process of growth that mimes perfectly the ways of an organic life“.

Tree Virus
“Tree Virus” sculpture wasn’t much to look at: a dead, black tree rooted in a craggy white ball suspended over a dirt pit, all of it covered by a plastic igloo. Built on a college campus in the Netherlands in 2008, the whole thing might have been leftover scenery from a Tim Burton film if it weren’t for the outrageous smell.
Inside the igloo, a heady mix of peppermint and black pepper saturated the air. It flooded the nose and stung the eyes. Most visitors cried; many ran away. Others seemed to enjoy it, laughing through the tears.

劳里·安德森
לורי אנדרסון
ローリー·アンダーソン
로리 앤더슨
Лори Андерсон
Language is a Virus
Paradise
Is exactly like
Where you are right now
Only much much better.
I saw this guy on the train
And he seemed to gave gotten stuck
In one of those abstract trances.
And he was going: Ugh…Ugh…Ugh…
And Fred said: I think he’s in some kind of pain. I think it’s a pain cry.
And I said: Pain cry?
Then language is a virus.
Language!
It’s a virus!
Language!
It’s a virus!
Well I was talking to a friend
And I was saying: I wanted you.
And I was looking for you.
But I couldn’t find you.
I couldn’t find you.
And he said: Hey!
Are you talking to me?
Or are you just practicing
For one of those performances of yours?
Huh?
Language!
It’s a virus!
Language!
It’s a virus!
He said: I had to write that letter to your mother.
And I had to tell the judge that it was you.
And I had to sell the car and go to Florida. Because that’s just my way of saying
(It’s a charm.)
That I love you.
And I (It’s a job.)
Had to call you at the crack of dawn (Why?)
And list the times that I’ve been wrong.
Cause that’s just my way of saying
That I’m sorry. (It’s a job.)
Language!
It’s a virus!
Language!
It’s a virus!
Paradise
Is exactly like
Where you are right now
Only much much (It’s a shipwreck, )
Better. (It’s a job.)
You know?
I don’t believe there’s such a thing as TV.
I mean – They just keep showing you
The same pictures over and over.
And when they talk they just make sounds
That more or less synch up
With their lips.
That’s what I think!
Language!
It’s a virus!
Language!
It’s a virus!
Language!
It’s a virus!
Well I dreamed there was an island
That rose up from the sea.
And everybody on the island
Was somebody from TV.
And there was a beautiful view
But nobody could see.
Cause everybody on the island
Was saying: Look at me! Look at me! Look at me! Look at me!
Because they all lived on an island
That rose up from the sea.
And everybody on the island
Was somebody from TV.
And there was a beautiful view
But nobody could see.
Cause everybody on the island
Was saying: Look at me! Look at me! Look at me! Look at me! Look at me!
Why?
Paradise is exactly like
Where you are right now
Only much much better.

ECTOPLASMATIC HOUSING
File Festival
‘Ectoplasmatic Housing’ aims to speculate about how architecture can mediate the pervasiveness of the contemporary ‘infocalypse’ age. An architectural experiment of physical and digital space through the use of interactive design and augmented reality.

Browsing through a domestic safari of Trojan savannas or sterilised virus forests while contemplating the emergence of thousands of cheap-friends-facebook flowers blossoming among the pulsating cocoons of dying obsolete apps… Quantum reality theories are ripe for the picking from wiki branches of tweeting pink daily hit dwarfing trees…
Ectoplasmatic Housing aims to speculate about how architecture can mediate the pervasiveness of the contemporary ‘infocalypse’ age. It cultivates data for a spatial interactive second nature manifestation. It grows, blossoms, dies and haunts. Overlayed with the physical this unstable ectoplasmatic nature may shift radically into a rapid nuke ecology of nightmares.

retrovirus sofa