DATAFLUX

source: kitwebster
DATAFLUX investigates the possibilities of using live software patches to render synesthetic audio and visual installations. The piece uses a software counting mechanism to step between scenes and sequences. Projections are beamed onto a motorised mirror allowing for wider displacement which is also triggered via the same system. Size and locations for the reshaping white squares are changed on every beat, allowing for the movement streams that you can see, this relocation creates an internal message that allows the software to fluidly render these changes. It is this concept of a hidden working system that I aim to represent with this work. I want to visually represent the mechanics of the software program.
As of yet this installation will last one minute twenty before the viewer will be presented with a loop point, however with inclusions such as randomizers and out of phase oscillations there is the possibility of an artificially generated sequence with perpetual transformation. The sound is made up of four pre-rendered two channel linear streams that are re-triggered every 30 seconds, developed in a way to seem to be a more complex live point to point triggering system (the lack of a fully live soundscape was due to lack of developmental time). Heavy sub bass information was present and a strobe effect is also triggered once every 60 seconds. These extreme audiovisual elements were included to heighten the sensory effects the work has on the participant, and to attempt to draw a connection between virtual and physical/environmental intricacies. The installation aims to represent the notion of pushing capacities in order to assist in envisaging further developments. The layout of the pillars are based on the existence of a fixed large pillar located in the centre of the room.
I am planning for Engimatica in February to more dynamically represent a digitally choreographed environment. To my indiscretion and perhaps paradoxically, Enigmatica will be made up of a completely pre-rendered looping linear stream, there will be no live software elements.
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source: bellaarnotthoare

Ethereal visions plastered across the architectural facades of buildings have gained momentum in the art world, and one young Melbourne media art practitioner, Kit Webster, is leading the way.

The new media artist is responsible for installations at The Gertrude Street Projection Festival, Mars Gallery, Sugar Mountain, French festival Scopitone and more recently The Chamber Made Opera, but the man of vision shows no signs of slowing his invention. Like many creative souls he is restless, with endless reams of ideas and often without the means to facilitate them.
“I can have all these great ideas but then it’s a lot of negotiation about practically what’s possible. There’s always a balancing act between reality and illusion I guess, what you can actually achieve in reality,” he laments.

His sculptural mapping and projections resemble the innards of a computer, technological dreamscapes with neon refractions. In all its glory, his creations are quite unique and the signature geometric shapes have become increasingly recognisable.
His work with the Chamber Made Opera, Ophelia Doesn’t Live Here Anymore, was a new experiment in theatrical design for the artist, who was proposed the project by past lecturer Darrin Verhargen. He video mapped a suburban kitchen for the ensemble, adding elements of the supernatural by changing the colour of the room, projecting lifelike growing floral arrangements and blood dripping from the walls – a visual composition to counteract its sonic elements.

And possibilities continue to emerge as technology develops. He will head to Brazil next March to replicate his Enigmatica light sculpture, a viral video of neon light squares that fluctuate in colour and light to match audio, but meanwhile is also working in partnership with Luna Park to combine virtual reality and rollercoasters. Headsets will transport ride-goers into psychedelic wormholes and intricate virtual environments. Through his many engagements, he’s dipping his toes into an ever expanding medium.

“The demand is growing (for new media art) as people start to catch on, it depends what field you’re talking about. I’ve been contacted by Obscura Digital, and they want me to come to New York to work on a Nike campaign next year. That’s still in negotiation, and while I’m there they want me to set up a little Enigmatica installation for their clients.”
His discovery of the artform, Kit says, began as “a gradual digression from sound.” “It was just really seeing all these amazing things on the internet that people were doing, and going, there’s this whole world of new media that I had no idea existed. (At university) it didn’t really touch on immersive environments and LEDs and all these crazy concepts. So I went and discovered this crazy world on my own.”

One thing he discovered was the technical process of sculpture mapping. “You build a sculpture that is suitable for projecting onto. So it has to be white and the angles of the sculpture have to be lined up to the projector, and then you take the sculpture and illuminate it digitally. It usually involves mapping onto the various surfaces of the sculpture in different ways.”

Kit will feature some of these works at the upcoming Sugar Mountain Festival this January. “For sugar mountain, we’re thinking maybe a couple of pyramids or some mountains, or even some really abstract geometric suspended sculptures above the performers’ heads and scattered across the stage, and weird geometric things.” And he continues to imagine works that push the boundaries of possibility. An ongoing project of his has been an invention of projection created by refracting crystals. “My practice is shifting to the crystals a little at the moment. I’m still trying to work out how to create this piece, I’ve built the prototype but I’m looking for financial backers that can help me produce this really crazy intricate version in my head.”

It seems new media artists like Kit are burdened by their own creativity – and waiting for the rest of the world to catch up.
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source: vacioesformaformaesvacioblogspot

Kit Webster después de obtener en 2008 su BFA en Artes Media/Sound en la universidad RMIT de Melbourne, Australia, ha dedicado su tiempo a la creación de imágenes por ordenador y proyectándolas o transfiriéndolas sobre diferentes soportes. Desde el site-specific proyecciones hasta esculturas sinestéticas, el trabajo de Kit utiliza varias técnicas de programación y visualización para crear conceptos experimentales diseñados para exponer las posibilidades de una nueva estética audiovisual.

Enigmática Mars es una plataforma experimental para la combinación de luz, sonido y espacio.Una serie de fotogramas suspendidos disminuyen de tamaño a lo largo de la galería, actuando como un lienzo para la visualización de secuencias proyectadas en superficies específicas. Dentro de este inter-dimensionality construido y mediante el desarrollo de secuencias visuales y acústicos mi objetivo es crear un ambiente enigmático ilusorio demostrando el potencial de nuevas formas de escultura digital.