[ME]morial – Memorial architecture for the individual
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ألكسندر سوكوروف
亚历山大·索科洛夫
Александр Сокуров
Russian Ark

“Alexander Sokurov’s desire to film The Russian Arch in one continuous take required extraordinary technical solutions. Since it is physically impossible to shoot more than twelve minutes of conventional film, we had to shoot on video. However, it was only the relatively recent arrival of 24p high definition compact cameras that offered the visual quality and the ability to make this film for theaters, including transferring the digital image to a 35mm negative.With the help of German specialists a complex portable platform was designed to meet the demands of the scenario which included precise architectural plans, highlighting the distance of 1300 meters covered by the course of the action. It was decided that the only way to move the camera would be to use a steadycam, although we could not be sure until after the final image that such a long steadycam shot would be possible, given the physical performance. extreme demanded from the German cinematographer, Tilman Büttner. After months of rehearsals, the 867 actors and extras, the three “live” orchestras all had to know their position and precise roles “. It’s just amazing.

cinema full

fungus

克里斯·弗雷泽
Крис Фрейзер
كريس فريزر
in passing

UP

Not Yet Titled

Юха Арвид Хелминен

安杰洛玛斯柯
アンジェロムスコ
sibille

违规
“观众沉浸在充满声音和音乐的图形银河中，他们可以用手臂的手势和凝视的方向进行控制：视觉，声音组成的不断创建，修改和破坏的过程”

Amanda in the Locker Room

Metropolis

EXO

EXO is Tabor Robak’s new project. Synthetic meditation that mixes Samsara’s like visuals with demoscene techniques, EXO is a visual feast. A first-person experience reaching transcendental levels, literally and metaphorically. Available for both PC and MAC. Born in Portland, Oregon, Robak lives in Brooklyn, New York.

吉尔伯特加尔辛
Гилберт Гарцин

Meet me halfway
Meet Me Halfway – это интерактивный опыт XR, основанный на местоположении, исследующий потенциал и значение архитектуры в разных реалиях. Микроперформативная гибридная среда исследует альтернативные коммуникативные стратегии внутри физического публичного пространства встреч.

Felice Varini est un grand maître dans l’art complexe de l’illusion d’optique. Depuis 1979, ce peintre suisse utilise l’architecture comme toile de fond. À partir de relevés, il définit un point de vue à partir duquel la forme, toujours géométrique, pourra être vue dans son ensemble par le spectateur. Lorsque l’on se déplace, une infinité d’autres points de vue se créent pour offrir de multiples lectures de la forme déconstruite.

张仁雅影像创作个展
イナ・ジャン

AION
AIŌN is inspired by an abstract notion of time and the journey between dimensions. In AIŌN Erna Ómarsdóttir choreographer and Anna Thorvaldsdóttir composer invite the audience on an otherworldly voyage where music and movement merge in a unique way. Concept and artistic direction: Erna Ómarsdóttir and Anna Thorvaldsdóttir Music: Anna Thorvaldsdóttir Choreography: Erna Ómarsdóttir Conductor: Anna-Maria Helsing Video art: Pierre-Alain Giraud and Valdimar Jóhannsson Light design: Valdimar Jóhannsson Assistant choreographer: Lovísa Ósk Gunnarsdóttir Costumes: Agnieszka Baranowska Dancers: Charmene Pang, Elín Signý Weywadt Ragnarsdóttir, Erna Gunnarsdóttir, Félix Urbina Alejandre, Inga Huld Hákonardóttir, Shota Inoue, Tilly Sordat and Una Björg Bjarnadóttir.

The Inner Life of the Cell
короткий фильм 3D-анимации, рассказывающий о различных биологических процессах в лейкоците, клетке человеческого тела. Фильм создали Дэвид Болинский (иллюстратор Йельского университета), ведущий аниматор Джон Либлер и Майк Астрахан из XVIVO для факультета Молекулярной и клеточной биологии Гарвардского университета. 8,5 минут анимации заняли 14 месяцев работы. Впервые фильм был продемонстрирован в 2006 на ежегодной конференции SIGGRAPH (short for Special Interest Group on GRAPHics and Interactive Techniques) в Бостоне.

Onion Skin

A Glorious Scenery I
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parenthesis
re-lying combines reclining and lying down, creating an anti-gravity posture with many health benefits

Dynamic Structure 1586

RADISH
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Life is Superman

كيت غيلمور
קייט גילמור
케이트 길모어
Кейт Гилмор
Like This, Before

Light painted trail dresses slide

Resonance
Resonance is an interactive audio-visual experience that encourages people to engage in a dialogue with water, whilst creating an intimate atmosphere of contemplation. The installation comes fully to life when people interact with it. We used sound and color to immerse the museum visitors and invite them to explore the role that technology and human intervention might play in harmonizing our environment.

dubiety

walking light

Gravity

Modules

Modules is a VR art experience, where architecture, sculpture, film, and music blend together to immerse viewers into Zhestkov’s world. A total work of art, it is a world that questions the established definitions of our reality. In digital space, we can abandon the logic of reality and are freed from its boundaries. New worlds with total freedom are possible, worlds only limited by our creativity and the potential of art.

Liminal Lands
Liminal Lands is an environmental multiplayer experience shared by four people at the same time. Each person transforms into the basic elements controlling life across the landscape: Algae, salt, water and mud. As they embark on a communal ritual experience, people morph and change throughout their journey, exploring each new world from a changed perspective of the landscape. Visitors move across different scales and global weather conditions, shedding their human perspective as they are pulled into six different realms inspired by the macro-landscape.

Interférences

AVA

Ava’ is Troika’s first sculptural manifestation of their exploration of algorithms. ‘Ava’ is the physical result of emergence and self organisation brought about by ‘growing’ a sculpture through the use of a computer algorithm that imitates the emergence of life by which complexity arises from the simplest of things. As such the sculpture probes at the nature of becoming, existence and our strive to understand and replicate the complexities of life.In a landscape where our personal data is a raw material, and where we, humans, have become subordinate spectators of algorithms and a computerised infrastructure, we ask the question how much or little are we capable of influencing our surrounding reality, how much is predetermined, how much is down to chance.