JEREMY LAFFON
Джереми Laffon
Ambera Wellmann
Ambera Wellmann maîtrise comme aucun autre la capacité à déformer la réalité et à produire de l’ absurdité et du ridicule dans les objets de tous les jours. Les réactions à ses œuvres se situent quelque part entre le dégoût et le rire. De manière habile elle change la perspective des objets dans un nouveau contexte et réussit à jouer avec la perception et les attentes de son public. Ses peintures se concentrent sur des questions importantes telles que la sexualité et la sensation de son corps avec des objets aussi simples que des bananes.
GOLAN LEVIN AND ZACHARY LIEBERMAN
Reface [Portrait Sequencer]
Reface [Portrait Sequencer] by Golan Levin and Zachary Lieberman (2007) is a surreal video mash-up that composes endless combinations of its visitors’ faces. Based on the Victorian “Exquisite Corpse” parlor game, the Reface installation records and dynamically remixes brief video slices of its viewers’ mouths, eyes and brows. Reface uses face-tracking techniques to allow automatic alignment and segmentation of its participants’ faces. As a result, visitors to the project can move around freely in front of the display without worrying about lining up their face for the system’s camera. The video clips recorded by the project are “edited” by the participants’ own eye blinks. Blinking also triggers the display to advance to the next set of face combinations. Through interactions with an image wholly constructed from its own history of being viewed, Reface makes possible a new form of inventive play with one’s own appearance and identity. The resulting kinetic portraiture blends the personalities and genetic traits of its visitors to create a “generative group portrait” of the people in the project’s locale.
ART+COM
Mobility
The installation spans a corridor of 7-metres width. On the left wall one hundred prosthetic hands arranged in a matrix revolve around their own vertical axis, the movements being controlled by motors. The mirrors they hold reflect the beam of a strong light across the space and onto the opposite wall. What initially seems like an asynchronous, chaotic pattern of movement soon reveals itself as a complex, computational choreography: at first the hundred light spots move around a central point, akin to the celestial dynamics of the planets or the flight pattern of a swarm of insects and creating the impression of a three-dimensional space. Then suddenly this organic oscillation converges to form a Chinese character denoting movement and action.
Stefan Bassing
Spacestream
The project uses generative computational strategies to generate series of special stream paths within 3D space frame, giving it structural stiffness and aesthetic values. The generative algorithm is based on use of multi-agent systems, shortest path calculation, lattice stigmergy and structural analysis. The goal is to create continuously thickened bundle paths within the fuzzy 3D space frame structure, where the bundles double as camouflage and reinforcement for the joints/seams between the welded components, allowing for fabrication of large scale structures, mediating between the discreet components and continuous system.Space Stream is a student project which aims to explore influence of rule-based design systems on low-tech fabrication technique of welding. The research concentrates on wireframe structures, which are strengthened through subdivision of basic geometrical units and bundling and reinforcing of the main structural strands. The custom software used for this project is centered on Dijkstra’s shortest path algorithm in combination with agent-based modeling techniques.
OPN Studio
Give my Creation… Life!
Give my creation… Life! Is a project which links Art, Science and Technology. It is based on the generation of energy through the heart beating, with the aim of granting autonomy to a machine. During the research of this subversive goal, multiple issues have been addressed, such as the extension of a removed organ´s life, its artificial feeding of nutrients and its use as a source of natural energy, among others.
KURT PERSCHKE
Курт Першке
Manfred Mohr
Artificiata II – parity
В 1969 году я опубликовал свою первую книгу визуального художника «Artificiata» в издании «Агентство» в Париже. Это была книга поэзии и визуальной поэзии, а также моя последняя работа, нарисованная от руки. В то время я предложил создать вторую Artificiata, основанную на алгоритмах, рассчитанную и нарисованную на компьютере. Поскольку мои визуальные исследования примерно в 2012 году развили прочную связь с визуальной музыкой в музыкальном потоке, похожем на Artificiata 1969 года, я решил назвать эту работу Artificiata II и в то же время создал визуальную книгу с тем же названием. . Я опубликовал Artificiata II в 2014 году с редактором OEI в Стокгольме 2, в точности так, как я представлял это 44 года назад.
KATSUYA TERADA
Terra’s Black Marker
Paul Cocksedge
Freeze Multi Circle Table
In Freeze, Cocksedge exploits freezing temperatures to create a seamless bond between metals that otherwise do not adhere in nature. The breakthrough in the series – a table of copper and aluminum – was made by first burying four copper legs in snow, leaving them to contract by 100th of a millimeter; second, excavating the legs and inserting them into holes cut into an aluminum slab where they were allowed to un-freeze back to ambient temperature thereby firmly locking into place in a strong, invisible join.
Hilary Lloyd
Bei Lloyds Verfahren werden zunächst einige einzelne Fotos ihres ausgewählten Motivs aufgenommen. Später fasst sie die Bilder zu einer Serie zusammen und zeigt sie nacheinander per Video- oder Folieninstallation an. Für Lloyd ist die Präsentation dieser sequentiellen Werke von größter Bedeutung. Lloyd’s Installationen achten genau auf die Ästhetik der Hardware (Monitore, Projektoren, Kabel und dergleichen) und orientieren sich an der minimalistischen Kunst. Die Ausrüstung informiert oder behindert die Erfahrung des Betrachters und diktiert häufig seine Bewegungen innerhalb des Installationsraums.
Robert Battle
Роберт битва
No Longer Silent
Robert Battle’s dramatic ensemble work No Longer Silent, set to Erwin Schulhoff’s percussive score “Ogelala,” features dancers evoking a complex and mysterious ritual. Originally created in 2007 for The Juilliard School, Battle’s alma mater, the work was part of a concert of choreography that brought to life long-forgotten scores by composers whose work the Nazis had banned. Powerful phrases stir the imagination with images of flight and fatigue, chaos and unity, and collectivity and individualism as dancers, clad in all black, travel in military rows.
Supersonyk
Every Video Game Sprite Ever In One Pict
pixel art
julia buntaine
for pollock
