CLAUDIO PARMIGGIANI
Клаудио Пармиджани
Daft Punk
Electroma
DAFT PUNK’S ELECTROMA IS THE EAGERLY ANTICIPATED DIRECTORIAL FEATURE FILM DEBUT FROM GUY-MANUEL DE HOMEM-CHRISTO AND THOMAS BANGALTER, BETTER KNOWN TOGETHER AS DAFT PUNK. A PSYCHEDELIC VISUAL AND MUSICAL ODYSSEY, ELECTROMA FOLLOWS THE JOURNEY OF TWO ROBOTS ON THEIR QUEST TO BECOME HUMAN. FEATURING A STUNNING SOUNDTRACK WITH MUSIC FROM TODD RUNDGREN, BRIAN ENO, CURTIS MAYFAIR, SEBASTIEN TELLIER AND CHOPIN, ELECTROMA PLAYS OUT BEAUTIFULLY ‘LIKE MUSIC FOR THE EYES’.
KLAUS WEBER
كلاوس ويبر
克劳斯·韦伯
클라우스 베버
Клаус Вебер
32 death masks
32 death masks grew out of Weber’s fascination with a practice traditionally performed in Western societies, whereby facial impressions of recently deceased persons are made in plaster. Prior to the invention of photography, the act of producing casts or “masks” from these molds was undoubtedly the most accurate way of preserving a particular person’s visage for viewing long after their death.
Tacit Group
61/6 haut-parleurs
Tacit Group est un groupe de performance audiovisuelle qui a été formé en 2008 pour créer une œuvre axée sur l’algorithmique et l’audiovisuel. Son art algorithmique se concentre sur le processus plutôt que sur le résultat. Ils créent du code mathématique, des systèmes utilisant des principes et des règles, et improvisent des performances scéniques à l’aide des systèmes. Pendant la représentation, les systèmes sont révélés visuellement et sonorement, afin que le public puisse entendre avec leurs yeux, comme on voit “Le Cri” d’Edvard Munch (Norvège, 1863-1944). Les images font partie intégrante du travail du Groupe Tacit en tant que compositeurs et artistes médiatiques. Ils espèrent qu’en montrant non seulement la pièce finie, mais le processus de discussion ou de jeu qui la génère, ils engageront plus intensément leurs téléspectateurs et briseront la division conventionnelle entre les interprètes et les membres du public. Aucun de ses travaux n’est jamais terminé. Ils mettent continuellement à jour les systèmes sous-jacents et s’inspirent de leur pratique de la programmation informatique. En tant qu’artistes de notre époque, Tacit Group découvre les possibilités artistiques de la technologie.
Will Van Dusen and Brenden Bjerke
T4T LAB
RADICAL RAUMPLAN
The real but withdrawn qualities of the raumplan of the Muller House can be understood as the unknown excess of the object. This is the space of the architectural project that exists beyond the limits of human cognition. Although this space is finite, it is vast and abundant. Any attempt to enter into this space must be somehow framed. As a metaphor, or a vehicle to frame the unknown excess, we take in part the idea of viewing, which is epistemologically important to the raumplan. Using this framework, our project attempts to go beyond our cognitive limitations and enter into the unknown space of the architectural project. From here, we can extract new spatial phenomena that can be notated into the known layer, to be understood by the architectural audience. For us, this means using a series of metaphors to frame our exploration of the unknown and attempt to extract new phenomena that engage the raumplan independent of its relationship to a human subject. This allows us to operate in a jective framework, allowing for an understanding of the object autonomously.
Boris Lafargue
nebula brackets
via highlike submit
Anna Ridler
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.
Ann Veronica Janssens
States of Mind
Brussels-based artist Ann Veronica Janssens’ practice is concerned primarily with light, colour, and perception. Janssens makes very few art objects. Instead, her work attempts to escape the ‘tyranny of objects’ and what she describes as their ‘overbearing materiality’. Since the late 1990s, Janssens has filled spaces with washes of coloured light or ‘haze sculptures’: dense, illuminated clouds of vapour that render surroundings unfamiliar and sensory perception altered.
Laura Jade
B R A I N L I G H T
“The catalyst for this research project was my flourishing intrigue and desire to harnesses my own Brain as the creator of an interactive art experience where no physical touch was required except the power of my own thoughts. To experience a unique visualisation of brain activity and to share it with others I have created a large freestanding brain sculpture that is made of laser cut Perspex hand etched with neural networks that glow when light is passed through them.” Laura Jade
NICK KNIGHT
ニックナイト
НИК НАЙТ
ניק נייט
닉 나이트
Nick Knight is one of the most sought after fashion and editorial photographers in the world today. His first photographs however were focused on an entirely different field. In the 1970s, he took a documentary approach in recording the Skinhead movement popular among youths at that time. He also has a keen interest in pressed flowers and plants
QUBIT AI: Valentin Rye
Space Odyssey 2002
FILE 2024 | Aesthetic Synthetics
International Electronic Language Festival
Valentin Rye – A Space Odyssey 2002 – Denmark
This video offers a surrealist take on futuristic sci-fi concepts from the 60s and 70s. Imagine a future colonization of Mars where interior design is given an avant-garde twist. It was created by brainstorming visual ideas, generating countless images, refining the best ones and assembling them into clips. After careful selection, these clips have been organized into a cohesive timeline, accompanied by atmospheric music to enhance the overall experience.
Bio
Valentin Rye is a self-taught machine whisperer based in Copenhagen, deeply passionate about art, composition and the possibilities of technology. He has been involved in AI and neural network image manipulation since starting DeepDream in 2015. While his IT work lacks creativity, he indulges in digital arts during his free time, exploring graphics, web design, video, animation and experimentation with images.
Christin Marczinzik & Thi Binh Minh Nguyen
摇摆
File Festival
“Swing”将这些感觉带回来，让梦想成真：飞翔的梦想。因此，秋千成为交互式装置的物理组件。 3D oculus的使用增强了虚拟现实的摇摆体验，创造了独特的沉浸式冒险 并将您带入精心制作的水彩世界。在挥杆的同时，您将日常生活的单调乏味抛诸脑后，找个地方放松心情，重获力量。您平稳地进入虚拟世界。飞行高度取决于您实际摆动的时间和高度。数字世界的起点与物理世界的起点相同：地面。这里的一切都是苍白而沉闷的。当你有勇气更密集地摆动时，你会飞得更高，色彩的活力也会增加。高潮在太空。到达它时，世界的颜色强度达到最大值。如果你想下去，你必须停止摆动，但你周围的颜色会保持鲜艳明亮。
Helene Steiner
Project Florence
Plants synthesize a very large amount of information via electrical and chemical signals and deliberately make changes to themselves, their neighbors and the land nearby for their benefit. This signals caused by cell depolarization through ions fluxes such as K + , Ca2 + , H + , Na + , and Cl alert the whole plant for localized stimuli, such as biotic and abiotic stress and are one of the most universal properties of living organisms. In project Florence we take advantage of the sensibility of plants to different light frequencies and use it to trigger a plant response through manipulation and compare the similarities between plants and natural language processes.
FUSE
Falin Mynd
Falin Mynd est une installation audiovisuelle dédiée à la ville de Milan qui s’inspire du concept de l’image latente dans le champ photographique: une empreinte invisible laissée par la lumière sur le film qui ne se révèle qu’après son développement. De même, les données générées par les habitants et les visiteurs de la ville de Milan produisent des paysages numériques abstraits, laissant une trace de leur analyse et interprétation en temps réel. De cette manière, le travail rend visible le lien indissoluble entre l’individu et la communauté, soulignant comment les deux entités s’influencent mutuellement en changeant la perception de la réalité qui nous entoure faite de lieux, de personnes, de couleurs et de sensations. Les données constituent ainsi une image invisible de la ville, une carte de ce qui n’est pas manifeste et qui se révèle dans Falin Mynd.
