深い壁
ディープウォールは、映画のような思い出の投影されたキャビネットです。人がその投影ビームに入ると、インタラクティブな壁が彼の影とそれに続く人の影の記録を開始します。最後の人がフレームを離れると、影は16個の小さな長方形の戸棚の1つで再生され、無期限にループします。構造主義映画のように、反復的なビデオのコレクションは、厳密に表象的な映画ではなく、それ自体がオブジェクトになります。

Pisca-piscar
Meu trabalho consiste na invenção e construção de engenhocas que são comandadas por vídeos de objetos animados. Os objetos são pinçados do meu cotidiano visual: portas do meu ateliê, bules da cristaleira da sala, taças e jarros da coleção da minha mãe. Todos eles são filmados e seus movimentos enfatizados durante o processo de edição, de maneira a criar gestos caricatos semelhantes ao comportamento humano e animal. A manipulação do tempo do vídeo é determinante para a deformação das imagens, que não se resumem a meras representações do real

Nihongo de Hanasoo

Nihongo de Hanasoo is an excerpted from a full evening perfornance work called Gaijin. Like Pop Titles ‘You’, it is an example of Z’s love for found text. She reads the chapter titles from a Japanese language text book accompanied by a loop of her voice reciting the Kana (Japanese phonetic alphabet) and a projected video (by Jeanne Finley + John Muse) of two, slow moving Butoh performers (Shinichi Iova-Koga and Leigh Evans).

Desire of Codes

This interactive installation in three configurations to expand.
Ninety structures resembling tentacles with built-in small surveillance cameras are placed across a white wall［Ninety Wriggling Wall Units, while six robotic search arms equipped with video cameras and laser projectors are suspended from the ceiling [Six Multi-perspective Search Arms]. Each device senses observe and follow as mosquito movements the positions and movements of visitors, and turns toward detected persons in order to observe their actions. In addition 4.7m round-shaped projection screen that looks like an insect’ s compound eye which installed in the back of the exhibition space［Compound Eye Detector Screen］.

Beginning Water Projection

According to the Mayan calendar December 21, 2012 is an certain era ended. Some followers of conspiracy theories claim that in this day the world will end. In June of this year, held an outdoor event, entitled “Revocation end of the world”. The whole event was opened the water projection called “Beginning”. Animation in a nutshell shows formation of the world. Introduce the audience in modern times.

Inter Dis-Communication Machine

Equipments which exchange views between two persons. You can only see through the other person’s eyes when you wear these machines, which forcibly put you in the other’s place. These were made to obscure the border between identities of two persons

GeoCosmos II during earthquake

The Geo-Cosmos does more than allow visitors to see the ever-changing face of our world; it has screened a variety of content, creating visuals of events happening on the Earth’s surface, so visitors can experience the “world of today.” Together with researchers and creators from Japan and overseas, we have also explored the possibilities of expression by making the best use of this spherical display’s special characteristics .

Маги Марин
マギー・マラン
Cendrillon
「1985年に作成されたマギー・マランによるこのシンデレラは、振付師の現在の創造物（過激で献身的）を見ると驚くべきものです。これは確かに必ずしも妖精ではありませんが、光景と不思議の側面を想定した物語です。シンデレラは幼稚な世界で巨大な人形に変身したキャラクターを作成します（プリンスチャーミングはロッキングホースで彼の美しさを求めます）。ダンサーは全員、顔をハードマスクで覆っているため、表現ができません。ただし、ステージ上の各キャラクターは不穏な方法で生きているこれらのパフォーマーは、それぞれの動きが強い意図を持っている栄養のある身体言語を通して彼らを生き返らせます。この作品がその期間に完全に刻まれているのは彼らと彼らを通してであり、パフォーマーがそれを呼吸している限り生命を見つけます彼らの人形のキャラクターに。
したがって、このシンデレラから発せられる香りは常にとても気がかりです。私たちは幼稚な世界にいますが、悪夢は決して遠くにはありません。二人の姉妹は、人形のファンタジーが生き返るホラー映画からほとんど出てくるでしょう。オーレリー・ガイヤールによって繊細に踊られたシンデレラは、最初の行為に甘さと空想をもたらすことによってバランスを取ります。その瞬間、幼稚な世界が点線で描かれています。私たちは巨大なプレイルームのようですが、2つの世界の間にある幻想的で夢のようなものです。しかし、このフェアバランスはロングボールシーンには現れなくなりました。ここでは、音楽が止まり、幼稚なせせらぎの余地ができます。すべてのキャラクターが遊び場のように演奏します。そして、さまざまな読書グリッドが消える2度目は、子供向けのシンプルな眼鏡の前にいるだけの印象を残します。ここでは、大人はもう自分自身を見つけることができません。」AmélieBertrand

世

Silo 468 Light Art Helsinki

INTERACTIVE LIGHT ART FOR URBAN REDEVELOPMENT SILO 468 HELSINKI Disused oil silo has been converted into mesmerizing light art piece and a public space with the aid of swarm intelligence and interactive lighting. The project is a conversion of oil silo into light art piece and a public space designed by Madrid based Lighting Design Collective (LDC). It sits by the sea facing central Helsinki, Finland. Prevailing winds well known to residents are strongly present. The natural light, wind and the movement of light on the water formed the principles for the lighting concept. Walls are perforated with 2012 holes referring to the Helsinki World Design Capital 2012 year. The lighting signifies the start of a major urban redevelopment for the City of Helsinki. It functions to draw focus to unknown district and creates a landmark and a marketing device for the City. Maybe most importantly through the use of natural and artificial light it created a unique civic space for the citizens to use. Furthermore, it set a precedent for a new district for 11000 people to become the “district of light”. During the first years the silo is mainly viewed from distance when the area starts to get build. 1280 LED domes in 2700K white are fitted inside the silo behind the cut-outs and visible from several kilometres away. LDC developed a bespoke software using swarm intelligence and nature simulating algorithms that refresh responding to parameters such as wind speed, direction, temperature, clear night and snow. System dials out every 5 minutes for new data. The patterns are fluid, natural in feel and never repeat. They are slow but speed up in relation to the wind speeds creating constantly changing mural of light. At midnight the exterior turns deep red for 1 hour. The colour refers to the former use of the silo as a container of energy. At 02:30 when the last ferry goes past to Suomenlinna lights go off. The interior gains importance as the area gets populated. Inside is painted deep red. Daylight seeps through the pattern derived from original rust patterns on the walls. North facing wall has no perforations. 450 steel mirrors moved by winds are fitted behind the holes. With sunlight the silo appears to glimmer and sparkle like surface of water.The warm white LED grid reflects light indirectly via the red walls into the space. The moving patterns read as halos racing across the walls. The Silo is a civic space for the citizens of Helsinki. Floor was added and rigging infrastructure, power, water and emergency & cleaning lighting. Light intervention has created a new space for people.

Conservation of Intimacy

Made of pine, latex, music wire, copper, nylon line, paper, pens and video surveillance. It measured 20′ x 35′ x 26′ at Southern Exposdure.
A couple rocking on the bench sends air pulses to another room causing balls to move and pens to transcribe their motions onto paper. The paper is moved by a third person on a stationary bike. The couple on the bench can watch the balls on a video monitor before them where the balls appear to bounce into the air. The motion is delayed and languid as though under water. Action is best when the couple is moving slowly together. As visitors work together to animate the mechanisms, they create a theatre for themselves and each other. By encouraging participation, and touch the pieces coax visitors to engage their bodies as well as their minds. The way that pieces move and feel and sound as you rock them, pedal, crank and press against them applies the kinesthetic comprehension’s of childhood to the tasks of philosophy. Bernie Lubell’s interactive installations have evolved from his studies in both psychology and engineering. As participants play with his whimsical wood machines, they become actors in a theater of their own imagining.

Артур Гансон художника
Machine with 22 Scraps of Paper

I often make a series of machines based on the same idea, exploring different mechanical solutions and designs. This was the second in the series and the first to use oscillating off-center wheels as cams to drive the control arms. Each scrap is activated in two places. The mind is very acute and recognizes instantly the manner in which energy flows through a system. Here, the center point always leads the peripheral point. This is vitally important in allowing the scrap to feel as if it is flying.

Que le cheval vive en moi
Marion Laval-Jeantet nous le montre. En février 2011, elle réalise une performance inédite : « Que le cheval vive en moi ». Devant public, elle se fait transfuser du sang de cheval. Puis ce sang ainsi mélangé est prélevé et lyophilisé, à partir duquel une collection de huit reliquaires est réalisée. La rencontre du sang des deux espèces a produit un objet d’art : le sang de centaure. La barrière entre les espèces a été levée, levé le noli tangere et abolies les catégories de la nature.

moving picture show

The current migration from analogue to digital film projection in cinemas across the globe is slowly rendering the medium of 35mm motion picture film obsolete, along with the technical equipment used to produce and screen such films.

In Moving Picture Show, a scenario of animated drawing and text production is created by reappropriating a process normally used by the film industry to etch subtitles into the emulsion layer of 35mm film using a high-powered precision laser. By etching away the emulsion, only the clear base of the film remains. Projected onto the screen, the lines appear bright and clear.

Changing the working range of the laser and replacing the software interface for such a machine leads to new possibilities: animations and full-frame drawings can be realised on top of film. The film can either consist of existing material, film created purely for this purpose, or black, non-developed film.

During the 23rd International Poster and Graphic Design Festival in Chaumont, the Jesuit chapel was transformed into a workshop, a scenario of conception, production and projection of a series of short films produced in this way.

Several contributing designers have been invited to engage with the production facility and collaborate on the contents of the show, producing films that were projected repeatedly during the festival. Meanwhile the laser machine, also present in the chapel, is slowly producing new films for future screenings.

Great Work of the Metal Lover

Magnum Opus, or The Great Work, is an Alchemical process that describes a personal, spiritual and chemical method for creating the Philosopher’s Stone, a mysterious red colored substance that was capable of transmuting base matter into the noble metal of gold. Discovering the principals of the Philosopher’s Stone was one of the defining and at the same time seemingly unobtainable objectives of Western Alchemy. The Great Work of the Metal Lover is an artwork that sits at the intersection of art, science and alchemy, re-examining the problem of transmutation through the use of modern microbiological practice and thus solving the ancient riddle.

سيدي العربي الشرقاوي
西迪·拉比·切考维
Сиди Ларби Шеркауи
Sutra

O coreógrafo belga Sidi Larbi Cherkaoui junto ao renomado artista Antony Gormley e 17 monges do templo chinês Shaolin apresentam a performance Sutra, que mescla artes marciais e dança contemporânea.
Sutra conta com o cenário elaborado por Antony Gormley, que consiste em 21 caixas de madeira manipuladas de diversas formas na narrativa criada por Cherkaoui, e ainda apresenta música especialmente comissionada pelo compositor polonês Szymon Brzoska para piano, percussão e cordas, que é tocada ao vivo.

cinematique
An invitation to journey, daydream and idle away, while rediscovering the childhood fantasies hidden in each one of us. An invitation to shake up the rational principles that guide us today in our modern existence. Afloat a raft voyaging across virtual materials and through landscapes. Lines, points, letters and digital objects projected on plain surfaces weave through poetic surfaces, marrying body and gesture.

Struct- Generative Realtime Audio-Visual Environment

The target of “Struct” was to create installation which could make immersive environment inside the space of public event dedicated to the opening of the office of an architectural company UNK Projects. It was planned to make this installation fully autonomic during the several hours as well as there was an idea to hold the public interested and immersed into the space of environment during the all period of time.

The main conception of the installation is to create the second alternative scale inside the internal space of the office. It was realized screen projection for this with the size of 18×4 meters and taken almost whole the length of the interior. The Animated surface was projected as the extension of the super-graphic situated on the facade of office`s building. The external graphic was created by Vladimir Garanin. The first one layer is the super-graphic onto the facade and another one layer is the real-time generative graphic inside the interior. The visual image and algorithmic sound of the whole structure are connected each other and are forming the whole organism.

Маги Марин
マギー・マラン
May B
May B, chorégraphié par Maguy Marin en 1981, n’en finit pas d’être. Plus de cinq cents représentations à ce jour. La pièce, étrange ballet-théâtre d’humains aux masques plâtreux fait le tour du monde depuis près de trente ans. Sans doute un fond de commerce pour la compagnie. Mais au-delà, cette pièce inspirée par l’oeuvre de Samuel Beckett est devenue un morceau culte d’anthologie de la danse contemporaine. May B est à nouveau en tournée à l’occasion du centenaire de la naissance de l’écrivain.“Ce travail sur l’œuvre de Samuel Beckett, dont la gestuelle et l’atmosphère théâtrale sont en contradiction avec la performance physique et esthétique du danseur, a été pour nous la base d’un déchiffrage secret de nos gestes les plus intimes, les plus cachés, les plus ignorés. Arriver à déceler ces gestes minuscules ou grandioses, de multitudes de vies à peine perceptibles, banales, où l’attente et l’immobilité “pas tout à fait” immobile laissent un vide, un rien immense, une plage de silences pleins d’hésitations. Quand les personnages de Beckett n’aspirent qu’à l’immobilité, ils ne peuvent s’empêcher de bouger, peu ou beaucoup, mais ils bougent. Dans ce travail, à priori théâtral, l’intérêt pour nous a été de développer non pas le mot ou la parole, mais le geste dans sa forme éclatée, cherchant ainsi le point de rencontre entre, d’une part la gestuelle rétrécie théâtrale et, d’autre part, la danse et le langage chorégraphique” explique Maguy Marin.

minamo
The MINAMO is a space which embodies TOTO’s concept of “cherishing water”. Created by TORAFU ARCHITECTS for Tokyo Designers Week 2011, it lets you feel the shimmer and beauty of water. It is an exhibition booth that uses no water yet interactively gives visitors the sense of the surface of water (minamo).

StarWars vs. StarTrek

Joshua Light Show

Nabaz’mob

100 Nabaztag smart rabbits play together an opera specially composed by Antoine Schmitt and Jean-Jacques Birgé.

Evoking John Cage, Steve Reich, Conlon Nancarrow and György Ligeti, this musical and choreographic score in three movements, transmitted via wi-fi, plays on the tension between the orchestral ensemble and the individual voices to create a strong and involved showpiece. This opera questions the issues of working together, organization, decision and control, which are increasingly central and difficult in our contemporary world.

Schmitt and Birgé have chosen to twist the industrial object into an artwork in which the choreography of the ears, the play of light and the hundred small loudspeakers hidden in the stomachs of each rabbit create a composition with three voices built on time delay and repetition, programming and disrespect for rules.

سيدي العربي الشرقاوي
西迪·拉比·切考维
Сиди Ларби Шеркауи
TeZukA

Het is een eer, een genoegen en een zegen om zijn wereld met die van mij te laten samenvloeien.” Dat zegt choreograaf Sidi Larbi Cherkaoui over Osamu Tezuka. Het universum van deze visionaire Japanse striptekenaar – een fascinerende mix van traditie, sciencefiction en hedendaagse werkelijkheid – vormt het materiaal voor Cherkaoui’s nieuwe dansvoorstelling. Met ‘TeZukA’ keert de choreograaf terug naar zijn eerste liefde, de tekenkunst. Maar de meester van de manga (Japanse striptekening) beïnvloedde de choreograaf op meer dan louter vormelijk vlak. Opgegroeid in het naoorlogse Japan behandelde Osamu Tezuka universele thema’s zonder enig taboe. Hij droeg mensenrechten, ethiek en tolerantie hoog in het vaandel. In ‘TeZukA’ maakt Sidi Larbi Cherkaoui het artistieke proces fysiek zichtbaar: hij zet zowel zijn dansers als kalligrafen in om het tekenproces op de scène te beschrijven. Van een leeg blad over één enkele Japanse kanji (letter) tot een volledig uitgewerkt mangapersonage. ‘TeZukA’ brengt hulde aan de tekeningen en de humaniteit in het werk van de ‘god van de manga’.

MOOM TENSEGRITIC MEMBRANCE STRUCTURE

This pavilion was created with a grant from the Nommura Foundation for the Promotion of Membrane Structure Technology in search of new possibilities for membrane structures. The tent membrane is Taiyo Kogyo’s Shadeasur. The membrane acts as a tensile material, creating unevenness, so that the aluminum pipes, which are compressive materials, do not touch each other and form a tensegrity structure.

Ombre

Après des études d’art classique en peinture (école des Beaux-Arts) et en architecture (génie civil), Christophe Luxereau se consacre à la photographie à partir de 1986. Il travaille l’image numérique dès 1995 pour développer le thème de la relation à la machine électronique.

Cette relation établit de nouveaux codes, d’autres comportements et de nouvelles icônes. Le photographe est un cinéphile, famillier de la cyberculture et des maîtres de science-fiction, base de son univers visuel. Le monde, la mode, qu’il côtoie de façon professionnelle lui inspire des hybridations entre design et haute-couture.

Son travail porte ainsi une réflexion sur l’idée de la beauté artificielle véhiculée par la publicité cosmétique et de luxe. La pratique du graphisme 2D et 3D accentue la réalité virtuelle de ses créations. Toujours en prospection, chaque série est une étape, une expérience technique et esthétique.

Chacune de ses expositions donne lieu à une mise en espace des oeuvres pour immerger le spectateur au coeur de ses visions. Ainsi il créé mobilier, ambiances sonores et lumineuses sous forme de sho-room pour société robotique ou chapelle dédiée au culte de ses madones.

I Just Don’t Know What To Do With Myself

I Just Don’t Know What to Do with Myself est une série d’appareils autour des empreintes digitales. L’empreinte digitale est une image que chacun d’entre nous porte en lui. Cette installation cherche à détourner son usage habituel et l’identification avec une transformation imprévisible. L’installation interactive permet au visiteur de scanner son empreinte et de voir l’image évoluer dans le temps. L’empreinte digitale dérive et se casse comme un iceberg sur un océan limité par l’écran.

Brief encounter
File Festival – Machinima

Lost in Couting, Susa Bubble
File Festival – Machinima

MooN

hidden in plain sight

“hidden in plain sight” é uma meditação sobre a natureza da programação de computador. Enquanto um game de computador roda, tanto o jogo quanto o compilador que transforma código legível de programa em código executável de máquina estão sendo compilados. Esse ciclo sem fim e recorrente cria uma miríade de ambientes em 3D de curta duração, que têm o emblema do processo inscrito em suas paredes. O trabalho é basicamente uma peça de software (Quake III Engine modificado, compilador) que roda por conta própria, compilando incessantemente e executando mundos virtuais. Este maquinema é um vídeo gravado de uma dessas interações.

Les Riches Douaniers
File Festival – Machinima

Dirigido em 2006 a partir de “Shadow of Colossus”, “Chevauchée Nocturne” (Passeio Noturno) mantém apenas as linhas de formas, usando duas cores, preto e amarelo, que permitem a customização extrema do trabalho. Este maquinema também refere-se à realidade, pelo aparecimento de duas reviravoltas silenciosas. A música e o som são muito importantes. Ambos participam do ritmo, criando expectativa, pois todo diálogo é deletado.

Тило Франк
the phonenix is closer than it appears

Thilo Frank (* 1978) lives and works in Berlin. His installations, sculptures and photo series lead the viewer into situations creating interactive physical dialogues. Physical phenomena and environments of our daily life are interpreted in a new context emphasizing our perception of light, space and motion in a poetic and playful way.

His works ask of a visitor to question one‘s relation to action in space and the consequences of one‘s action – an intimate experience.

The viewer functions as a coproducer of the work, perceiving his or her relational aspect as a instrument of measurement. The cognitive aspect in its work is enacted by the viewer, who through his physical reaction to the work, reflects himself to it. Through his physical interaction – the viewer completes the work.

Through the use of everyday technologies Thilo Frank explores the conventions of sight and movement and their visualization. Examination produces a type of measuring standard through which even seemingly random events are viewed equally. Through his works, an attempt is made to illustrate the optical coefficient and with this to analyse the space.

Flying People in New York City

vacuum

Pinokio Lamp

Pinokio is an exploration into the expressive and behavioural potentials of robotic computing. Customized computer code and electronic circuit design imbues Pinokio with the ability to be aware of its environment, especially people, and to expresses a dynamic range of behaviour. As it negotiates its world, we the human audience can see that Lamp shares many traits possessed by animals, generating a range of emotional sympathies. In the end we may ask: Is Pinokio only a lamp? – a useful machine? Perhaps we should put the book aside and meet a new friend.

Volavola

Danse Macabre

Esta obra se inspirou em diversas fontes, mas a música do quarteto “A Morte e a Donzela”, de Franz Schubert, foi especialmente útil: “A donzela: Ah, me deixe! Prithee, me deixe! Terrível homem de osso! Pois a vida é doce, é agradável. Vá! Deixe-me agora em paz! Vá! Deixe-me já em paz! A Morte: Dê-me tua mão, oh, donzela bela ao olhar, Pois eu sou um amigo, apesar de minha aparência aflitiva. Tenha coragem agora, e muito em breve Em meus braços tu deverás repousar suavemente!”

To Each One his Own Dreams

Ólafur Arnalds – Ljósið

This project was inspired by two things: the wonderful music of the neoclasical icelandic musician Ólafur Arnalds and the incredibly awesome Trapcode Particular 2 plugin by Peder Nordby.

It started as an experimental take on an organic music visualizer. I used two color palletes (helped by my talented friend Sol Valladares) to visually separate the piano and the strings; the blue tones representing the melancholic part of the song and the warmer colors representing the hope and the joy.

Frictions

Umbra

The Light of Life

Life is transparent, warm and swirls randomly like a soft light. And it constantly changes…

Life illuminates itself and then it begins to illuminates a new life.

A sprouted mass of innumerable lights become a flow before long, and then become the part of the life-throb of ages.

That ties life, this moment now.

Pixels

Spherikal

Dina Khuseyn, Patrick K.-H., Oleg Makarov

A multivarious result of visual representation of 3 non-identical structures (dance performance, sound art and animation) points at interactivity as the main possible axis of reference. Necessity of this axis derives from specific interpretations that can only appear by juxtaposing of several systems. It opposes to traditional “parallelism” of media, employed in theater that only imitates causality, but having it already done before performance is starting.
In Cinestetika, each element of each media works as separate PROCESS, but also serves a SIGNAL to other medias. This essential core makes Cinestetika rather an instrument to make a term “live performance” filled with its perfect sense.

The Precession 2011
via highlike submit

Judd Morrissey and Mark Jeffery are a collaboration merging live art and digital literary practices. The work, which is visual, textual and choreographic, evolves through context-specific research and practice and always considers the constraints of a given venue or occasion. Site responsive considerations include the performance/exhibition space as well as the local community and online textual activity happening within the locale. A given piece is a body of material that may have no singular fixed form but is alternately presented as internet art, durational live installation, an ongoing activity, or a performance of fixed length.

homage to calder

Fear of Choice
Rafaël Rozendaal 是荷兰裔巴西艺术家。自 2001 年以来，他一直将网站制作为艺术品。他曾在惠特尼博物馆、市立博物馆、蓬皮杜中心和时代广场展出。

waelice

“On ne peut pas laisser aux gens le simple rôle de payeurs” affirme Jean-Louis Frechin. Waelice en est une traduction, à mi-chemin entre l’œuvre d’art et l’objet interactif.

Ce système interactif de modules lumineux, reliés entre eux au sein d’un réseau informatique, forment une constellation au gré de la volonté de l’utilisateur. Les modules sont dotés d’une adresse IP, et l’utilisateur peut intervenir sur chacun d’eux afin d’en modifier l’intensité lumineuse et la couleur, et ainsi créer des combinaisons uniques et poétiques.

Cette action peut se faire à distance via un smartphone ou directement par une simple commande gestuelle, le luminaire étant équipé de capteurs permettant de lire les mouvements

Fluid in Blue