April 25, 2011
Performative Meshes

Two works concerning performative meshes.


Gravicells – Gravity and Resistance (image above) by Mikami Seiko and Ichikawa Sota is an interactive installation space:

The floor is covered with 225 panels with a regime of string-like lines. Stepping onto it, the surrounding lines deform as sensors underneath react to the your weight, tilt, or velocity. The entire space of this installation changes as the movements of multiple users are converted into a real-time dynamic interplay of image, sound and light. Within the space a virtual field of gravity and opposing force pull against one another. Elements that influence this interplay include the physical mass of the users sharing the space, the site’s location data as calculated by GPS, and algorithms that constantly calculate changes in the space. GPS data calculated from triangulated satellite points indicate that the site of the installation itself is a relative space, changing according to its internal shifts in gravity.

In encountering the piece, we users, as part of the installation, not only encounter the existence of gravity in ways not notable in ordinary life, but we also encounter how the world, our bodies, our senses, and our world views, are all intricately related to gravity. The title “gravicells” comes from the idea of the cell as a set of plural elements influencing each other by means of gravity.


Body Navigation (image above, video below) by the Recoil Performance Group is an interactive space for performers to perform with projected visuals.

Two dancers and their digital reproduction are the scenographic frame of this humorous and emotional portrait of human relations. based on rules and structured in a game like manner, the installation makes way for a playful dialog between the man, woman and the digital “footprints” they leave behind. The body navigation performance was originally part of a larger installation and modern dance performance in copenhagen, by tim rushton, danish dance theatre called labyrint.

For related work see Boundary Functions by Scott Snibbe.

Posted by: Garrett @ 11:30 am
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April 16, 2011

2067 is a net.art work which allows an email to become a time-capsule delivered at a chosen point in the future. The work:

focuses on its consequences : waiting, memory and correspondence but also on the aspect of relativity of our conscience towards time and Others.

It proposes an exploration of the web as a:

working model in process of our univers [sic] in which space, time and memory, as well as the dynamical process of evolution proper to any organism are forming all together a complex system of relations, that is, in fine something one could call an « intelligence ». This very special intelligence might be different from ours regarding to its capacity of organizing its time on a dynamical and parallels ways instead of a chronological one. Plunging into the entrails of an abstract form that possesses our secrets, our desires as well as our relations to the others and therefore is the more acute and useful witness of our social evolution might then be a way – de facto – of plunging into the unknown of our consciousness. We can therefore ask ourselves whether this intelligence would not be able to give us some clues regarding the fundamental questions of human being as a child building his identity reflects ours. The fact of playing with time and correspondence by sending a message in the future is a way of beginning some sort of correspondence in which desire and waiting will play their part and even may be the anguish of an Unknown out of ourselves and therefore out of control.

Via Frédérique Santune.

Posted by: Garrett @ 7:10 pm
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April 13, 2011
AR and the invasion of public and private spaces

Late last year there was a call for works for a Guerrilla art exhibition at the Museum of Modern Art, New York. The call was the brainchild of Sander Veenhof, an unofficial exhibition which had no ties to MoMa. The exhibition of works would be enabled by the use of Layar, an augmented reality browser for mobile devices which would with the aid of gps position and overlay art works within live videos of the space. The following is a selection of works by Sander employing augmented reality as a tactic to invade spaces well known, spaces which are the spaces of contemporary arts elite, public and highly controlled or spaces of power, private and highly secured.

Guerrilla exhibition, Museum of Modern Art, New York (images above and video below) is the exhibition mentioned above.

The show will test case Augmented Reality art within an appropriate critical context: the bastion of contemporary art. The organizers of the event…aim to address a contemporary issue caused by the rapid rise of Augmented Reality usage. What is the impact of AR on our public and private spaces? Is the distinction between the two fading, or are we approaching the contrary situation with an ever increasing fragmentation of realities all to be perceived individually? Being uninvited guest users of the MoMA space themselves, Veenhof and Skwarek call out any AR artist worldwide to place their artworks within the walls of the MoMA too on the 9th of October (Lat/lng: 40.761601, -73.977710). Since the exhibition happens in virtual space, there’s no reason not to host and endless amount of parallel virtual exhibitions.

Below is a video of Tamiko Thiel’s work Art Critic Matrix shown in the exhibition.

infiltr.AR (images above and video below) is a virtual infiltration into the White House and Pentagon in America.

two virtual (AR) Twitter balloons have been positioned inside the Oval Offica and inside the Pentagon press room. The balloons can be seen ‘for real’ inside these two locations, but elsewhere in the world, an ‘artist impression’ can be viewed…The balloon displays the latest tweet containing either the hashtag ‘#pentagonchat’ or ‘#ovalofficechat’.

Turbine Hall 3D Controller (image below) is currently showing as part of an exhibition Gradually Melt the Sky at the Devotion Gallery in Brooklyn New York. The work is part physical device at the gallery and part augmented reality work ‘placed’ in the Turbine Hall at the Tate Modern in London. Users at the exhibition can control the device which causes the augmented reality part, a giant disco ball, to react in real time.

Posted by: Garrett @ 11:46 pm
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April 10, 2011
L.S.D. – Light to Sound Device

L.S.D. (Light to Sound Device) by Benjamin Gaulon is a device for creating sound from imagery (light). Inverting the more traditional audio-visual relationship within live performance, i.e. sound generates visuals, here the performer is encouraged to create visuals which create sounds.

L.S.D feeds on light via two LDR (light depending resistor) mounted on a suction cup, allowing the sensors to be mounted on any screen surface. An analogue synthesizer converts the light input to sound waves. This device can be used in many different configurations and feeds from any light sources. Even if L.S.D can be controlled by any light source, its design is aimed at screen reading/listening.

For related works see Wovan Presents, Moody Mushroom Floor and Video Networks > Video Networks #1: Dialogues.

Posted by: Garrett @ 10:39 pm
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April 9, 2011
Two net works by Geert Mul

The following are two works by Geert Mul which source imagery from networks to create meaning.

Match Of The Day (image above, video below) scans thirty satellite TV channels to collect random imagery which it matches into visual pairs.

During the night, Image-Recognition software “looks” at the recorded images. The software compares every image with every other single image stored in the computer, checking 5000 specified characteristics in each image. After 1000.000.000 comparisons, the computer generates a list. Images that share the most characteristics appear in pairs at top of this list. The artist then selects a few pairs of images out of the hundreds of pairs of images, which according to the computer make a good visual match. The computer does not ‘understand’ the images, it just applies pixel statistics. For the human eye visual similarity is something else than pixel statistics. We attach ‘meaning’ to everything we see. This becomes especially evident when similar images appear to have a contrary meaning.

Demographics scans the web for imagery to build a database of source material to create meaning through composition.

The installation is connected to the Internet and every day it searches the Internet for images relating to demographic material in general and for images that concern Middelburg in particular. This search is based on pre-defined terms, such as: Middelburg, marriage, birth, portraits, moving, demographics, family, migration. Visitors of the City Hall make these images appear when they get in the vicinity of the art work. They are noticed by sensors in the ceiling.

Posted by: Garrett @ 11:11 am
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