tag:blogger.com,1999:blog-81309539423699837722024-02-20T20:34:38.417+00:00Free and Uncontrollable SoundFree and Uncontrollable SoundUnknownnoreply@blogger.comBlogger55125tag:blogger.com,1999:blog-8130953942369983772.post-8844708171312860752011-05-06T12:27:00.002+01:002011-05-06T12:28:26.568+01:00VÅLLÖ - CD out soon<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRxjW9UxV5hIf8kpB4ZkHiZmq2QAWghyphenhyphenHqkztduI9GakH5bPEcMzdGitIlrsicMUASbVGjuvYgTd1vKu67AVmeiMi-lKOPI4wOhmKe3PQz52b2YI0VC3u0t3EGIZh3bCo7S4xsAZY7l_A/s1600/Giuseppe_CardWallet.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="204" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiRxjW9UxV5hIf8kpB4ZkHiZmq2QAWghyphenhyphenHqkztduI9GakH5bPEcMzdGitIlrsicMUASbVGjuvYgTd1vKu67AVmeiMi-lKOPI4wOhmKe3PQz52b2YI0VC3u0t3EGIZh3bCo7S4xsAZY7l_A/s400/Giuseppe_CardWallet.jpg" width="400" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBcf7JQItHOhpjL1QbqX7EDphoBxMWVW-pei8_V5hSR9NYjlJoxPS3uYR6PpNPGo2TiPKBieFj90SaCX3m5_tXXNGP9r6o5z9sIYF4Kh0YkZlMH5OXz_HLbAYzgsN0srWSgJC9ouJ-Xew/s1600/Giuseppe_onBody.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBcf7JQItHOhpjL1QbqX7EDphoBxMWVW-pei8_V5hSR9NYjlJoxPS3uYR6PpNPGo2TiPKBieFj90SaCX3m5_tXXNGP9r6o5z9sIYF4Kh0YkZlMH5OXz_HLbAYzgsN0srWSgJC9ouJ-Xew/s320/Giuseppe_onBody.jpg" width="320" /></a></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-8012951621970002622011-05-06T11:25:00.000+01:002011-05-06T11:25:56.372+01:00The wolves will eat you (Improv)<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUBwJwpO491oW4hAXmYFIeMAKwK1s5FWC1MLHMqdGmN9cGGM9wUA0moHhQJK-9vlMNfsrFy65BpL-OQrNbo_v7KRE3fQeT0UxJlJCjXzfxf3TP_mT_CC4Go_cnX4KS33j_wivYxmGItGo/s1600/twwey.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgUBwJwpO491oW4hAXmYFIeMAKwK1s5FWC1MLHMqdGmN9cGGM9wUA0moHhQJK-9vlMNfsrFy65BpL-OQrNbo_v7KRE3fQeT0UxJlJCjXzfxf3TP_mT_CC4Go_cnX4KS33j_wivYxmGItGo/s320/twwey.jpg" width="296" /></a></div><br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<object height="81" width="100%"> <param name="movie" value="http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F14784154&show_comments=true&auto_play=false&color=ff0d00"></param><param name="allowscriptaccess" value="always"></param><embed allowscriptaccess="always" height="81" src="http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F14784154&show_comments=true&auto_play=false&color=ff0d00" type="application/x-shockwave-flash" width="100%"></embed> </object> <span><a href="http://soundcloud.com/ggiunta/twwey-thursday-blues">TWWEY - Thursday Blues</a> by <a href="http://soundcloud.com/ggiunta">ggiunta</a></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-58356572477178847692011-05-06T11:06:00.000+01:002011-05-06T11:06:04.414+01:00Osanyow - My Yellow Tracktor<div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLhdCo3wcpOxsuWQbX8B_RfEoRunAWXuJrpRLxxLnMD5TG1rXNCtgNmEeVDKXdeUrnU2b21krlcQrwHmL3LRYRXMuynZzxUUu1sBhoblh-cVq5bnPwozzfG3PyVcSpaBx8ksX_dAoiIAc/s1600/OsanyowPink.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="220" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgLhdCo3wcpOxsuWQbX8B_RfEoRunAWXuJrpRLxxLnMD5TG1rXNCtgNmEeVDKXdeUrnU2b21krlcQrwHmL3LRYRXMuynZzxUUu1sBhoblh-cVq5bnPwozzfG3PyVcSpaBx8ksX_dAoiIAc/s320/OsanyowPink.jpg" width="320" /></a></div><br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<br />
<object height="81" width="100%"> <param name="movie" value="http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F14783526&show_comments=true&auto_play=false&color=ffeb00"></param><param name="allowscriptaccess" value="always"></param><embed allowscriptaccess="always" height="81" src="http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F14783526&show_comments=true&auto_play=false&color=ffeb00" type="application/x-shockwave-flash" width="100%"></embed> </object> <span><a href="http://soundcloud.com/ggiunta/osanyow-my-yellow-tracktor">Osanyow - My Yellow Tracktor</a> by <a href="http://soundcloud.com/ggiunta">ggiunta</a></span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-89158806208103810642011-03-28T13:10:00.000+01:002011-03-28T13:10:40.789+01:00Jorinde Voigt - Grammatik<span class="mt-enclosure mt-enclosure-image" style="display: inline;"></span><br />
<span class="mt-enclosure mt-enclosure-image" style="display: inline;"></span><br />
<span class="mt-enclosure mt-enclosure-image" style="display: inline;"></span><br />
<span class="mt-enclosure mt-enclosure-image" style="display: inline;"></span><br />
<span class="mt-enclosure mt-enclosure-image" style="display: inline;"></span><br />
<span class="mt-enclosure mt-enclosure-image" style="display: inline;"><img alt="5lespalmescc3dfc9ba.jpg" class="mt-image-none" height="283" src="http://www.we-make-money-not-art.com/wow/5lespalmescc3dfc9ba.jpg" width="425" /> </span><br />
<br />
<span class="mt-enclosure mt-enclosure-image" style="display: inline;"><img alt="5plmes6032fe.jpg" class="mt-image-none" height="283" src="http://www.we-make-money-not-art.com/wow/5plmes6032fe.jpg" width="425" /></span><br />
<br />
<br />
<div style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.jorindevoigt.com/">Jorinde Voigt</a>'s Grammatik <em>combines several parameters, such as spinning aeroplane propellers, writing on the propellers (64 grammatical possibilities, declination of the personal pronouns, who loves who, who doesn't love who) and the size of the blades (the first person singular corresponds to the biggest blade. The third person plural corresponds to the smallest blade). Next to that, the installation defines the grammatical system even more precise by the declination of the rotation speed, 0 to maximum, individually controllable speed (the artist does not specify how fast each blade has to turn; every speed within the possible range is correct) and the declination of the direction of rotation: turning to the left or to the right. Technically, this corresponds to whether the blade turns away from or towards the observer. </em></div><div style="font-family: Arial,Helvetica,sans-serif;"><em>(<a href="http://www.we-make-money-not-art.com/">source</a>) </em></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-72729283608723698062011-03-28T13:04:00.000+01:002011-03-28T13:04:08.170+01:00Joyce Hinterding - Aura<table><tbody>
<tr><td style="padding-right: 10px;" valign="top" width="192"><span class="mt-enclosure mt-enclosure-image" style="display: inline;"><img alt="5ledore429221.jpg" class="mt-image-none" height="283" src="http://www.we-make-money-not-art.com/wow/5ledore429221.jpg" width="425" /> </span><br />
<br />
<span class="mt-enclosure mt-enclosure-image" style="display: inline;"><img alt="5noirdess_4a4fe36940.jpg" class="mt-image-none" height="283" src="http://www.we-make-money-not-art.com/wow/5noirdess_4a4fe36940.jpg" width="425" /> </span><br />
<span class="mt-enclosure mt-enclosure-image" style="display: inline;"> </span> <br />
<span class="mt-enclosure mt-enclosure-image" style="display: inline;"><img alt="5feuildorrr_a6d0709567.jpg" class="mt-image-none" height="283" src="http://www.we-make-money-not-art.com/wow/5feuildorrr_a6d0709567.jpg" width="425" /> </span><br />
<a href="http://www.breenspace.com/artists/9/works/94/joyce-hinterding-aura" style="font-family: Arial,Helvetica,sans-serif;">Aura</a><span style="font-family: Arial,Helvetica,sans-serif;"> is made of graphite and gold drawings which, when connected to a sound system, become fractal antennas. As soon as i took off my camera to take a picture, i realized that the drawings made audible the presence of electromagnetic fields within the gallery. A </span><a href="http://arttart.com.au/2009/11/06/joyce-hinterding/" style="font-family: Arial,Helvetica,sans-serif;">text</a><span style="font-family: Arial,Helvetica,sans-serif;"> about the work explains that tracing one's finger over Hinterding's lines produces electrical sounds akin to those emitted by a theremin. (<a href="http://www.we-make-money-not-art.com/">source</a>)</span></td> <td valign="top"><br />
</td><td valign="top"><br />
</td><td valign="top"><br />
</td><td valign="top"><br />
</td><td valign="top"><br />
</td></tr>
</tbody></table>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-39252236094143978912011-03-28T12:51:00.000+01:002011-03-28T12:51:36.114+01:00Fernando Orellana - Elevator Music<span class="mt-enclosure mt-enclosure-image" style="display: inline;"></span><br />
<span class="mt-enclosure mt-enclosure-image" style="display: inline;"><img alt="0aelelellevatooot.jpg" class="mt-image-none" height="319" src="http://www.we-make-money-not-art.com/wow/0aelelellevatooot.jpg" width="425" /></span> <br />
<br />
<span class="mt-enclosure mt-enclosure-image" style="display: inline;"><img alt="0aatrtroioii8848.jpg" class="mt-image-none" height="318" src="http://www.we-make-money-not-art.com/wow/0aatrtroioii8848.jpg" width="425" /></span><br />
<iframe frameborder="0" height="300" src="http://player.vimeo.com/video/14106515?byline=0&portrait=0&color=1089BE" width="400"></iframe><br />
<a href="http://vimeo.com/14106515">Elevator's Music by Fernando Orellana</a> from <a href="http://vimeo.com/jackadam">jackadam</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
<br />
<div style="font-family: Arial,Helvetica,sans-serif;">The site-specific installation “Elevator’s Music”, visits the topic of synthetic creatures becoming sentient. What if centuries from now, we had the technology to make any machine self-aware? In this distant future, if an elevator could be self-aware, what would it be like? What might an elevator think about, what might it dream about, what might it sing about.</div><div style="font-family: Arial,Helvetica,sans-serif;">Hidden within the translucent ceiling panels of an elevator are installed four servo-driven mechanisms. Controlled by microprocessors and networked together, each robot includes a small speaker for sound output, a microphone and sonic sensorial input, and is designed with three axes of rotational freedom. Through this design, the mechanisms act as the vocal cords, the eardrums, and the appendages of the elevator. Additionally, each robot can individually “emerge” from within the elevator’s interior by opening a sliding door in the ceiling.</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;">At times some robots will hide within the safety of the elevators ceiling, perhaps responding to passengers that are too loud or too active. During moments of relative inactivity, the robots might all come out of their shells, displaying emergent behavioral patterns driven by the echoes, whispers, murmurs, and motions of the elevator’s passengers.</div><div style="font-family: Arial,Helvetica,sans-serif;">This emergent behavior is also reflected in the sounds the robots produce, which are generated in “real-time” by the microprocessors. In this way, the resulting real-time soundscape can be said to be elevator music. More poignantly, one could say it was the Elevator’s Music.</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;">The images of “Elevator’s Music” on this site document the installation of it in 2007 at the Tang Teaching Museum at Skidmore College in Saratoga Spring, NY.</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-49402686794329844062011-02-03T12:39:00.003+00:002011-02-04T13:02:26.400+00:00Project 004: VÅLLÖ Installation<img alt="http://img46.imageshack.us/img46/1053/sany0052i.jpg" height="400" src="http://img46.imageshack.us/img46/1053/sany0052i.jpg" width="300" /><br />
<div style="color: #666666; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: #666666; font-family: Arial,Helvetica,sans-serif;"><object height="81" width="100%"> <param name="movie" value="http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F10016350&show_comments=true&auto_play=false&color=040005"></param><param name="allowscriptaccess" value="always"></param><embed allowscriptaccess="always" height="81" src="http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F10016350&show_comments=true&auto_play=false&color=040005" type="application/x-shockwave-flash" width="100%"></embed> </object> <a href="http://soundcloud.com/ggiunta/audio-excerpt-from-v-ll">Audio excerpt from VÅLLÖ Installation</a> by <a href="http://soundcloud.com/ggiunta">ggiunta</a> </div> <span style="color: #666666; font-family: Arial,Helvetica,sans-serif;"> </span><br />
<span style="color: #666666; font-family: Arial,Helvetica,sans-serif;">More info and thoughts on my piece coming soon.</span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-84708689352977225122011-01-29T20:10:00.003+00:002011-01-29T20:12:12.586+00:00RIP Rolf julius<div class="image" style="width: 460px;"><a href="http://www.thewire.co.uk/articles/5723/"><img alt="Image: Rolf Julius" height="213" src="http://www.thewire.co.uk/images/artists/julius__rolf/ROLF-Julius-web.jpg" width="320" /></a><span style="float: right; font-size: 0.8em; font-style: oblique; margin-top: 0pt; padding-bottom: 4px; padding-top: 0pt;"> </span><span style="float: right; font-size: 0.8em; font-style: oblique; margin-top: 0pt; padding-bottom: 4px; padding-top: 0pt;"> </span><span style="float: right; font-size: 0.8em; font-style: oblique; margin-top: 0pt; padding-bottom: 4px; padding-top: 0pt;"> </span><span style="float: right; font-size: 0.8em; font-style: oblique; margin-top: 0pt; padding-bottom: 4px; padding-top: 0pt;"> </span><span style="float: right; font-size: 0.8em; font-style: oblique; margin-top: 0pt; padding-bottom: 4px; padding-top: 0pt;">Photograph by <a href="http://www.thewire.co.uk/details/contributors/?contributor=672" title="Jens Schumann">Jens Schumann</a></span></div><div class="body"></div><div class="body"></div><div class="body" style="font-family: Arial,Helvetica,sans-serif;"><br />
<br />
The artist Rolf Julius has died. The Western Vinyl label, which is due to release a number of Julius’s sound works in the coming months, stated: “A beautiful human being and an extraordinary talent, Rolf Julius left the world on 21 January, 2011.”<br />
<br />
Julius was born in Germany in 1939 and studied fine art in Bremen. In the mid 1970s he began using sound alongside his visual practice. Later he moved to Berlin and became an important figure in that city’s budding sound art scene – participating in Für Augen Und Ohren (1980), one of Europe’s first major sound art exhibitions. Over the course of a 30 year career Julius’s performances and low-volume, minimal sonic sculptures and installations developed an approach highly influential on a younger generation of sound artists.</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-64249843405331448152011-01-29T14:25:00.001+00:002011-02-03T12:50:41.180+00:00Project 003: Rhythm with light<div style="font-family: Arial,Helvetica,sans-serif;"><object height="81" width="100%"> <param name="movie" value="http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F9784061&show_comments=true&auto_play=false&color=4700ff"></param><param name="allowscriptaccess" value="always"></param><embed allowscriptaccess="always" height="81" src="http://player.soundcloud.com/player.swf?url=http%3A%2F%2Fapi.soundcloud.com%2Ftracks%2F9784061&show_comments=true&auto_play=false&color=4700ff" type="application/x-shockwave-flash" width="100%"></embed> </object> <a href="http://soundcloud.com/ggiunta/osanyow-test02">Osanyow - Test02</a> by <a href="http://soundcloud.com/ggiunta">ggiunta</a></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: #666666; font-family: Arial,Helvetica,sans-serif;">This is a test improv using solar panel, strobe lights and delay pedal.</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-81511043864331047042011-01-29T12:41:00.005+00:002011-02-03T12:49:42.962+00:00Theo Kaccoufa<div style="font-family: Arial,Helvetica,sans-serif;"><img alt="http://www.theoland.com/_images/exhibitions/08-fe-domestic-appliance/1000/fe-domestic-appliance.jpg" height="267" src="http://www.theoland.com/_images/exhibitions/08-fe-domestic-appliance/1000/fe-domestic-appliance.jpg" width="400" /> </div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: x-small;">Kinetic sculpture employing electronics, mechanics, found objects, domestic appliances, furniture, water, living tree, wire, wood, steel, brass, aluminium, stainless steel, electric motors.</span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;">Consider <a href="http://www.theoland.com/art/text.htm">Theo Kaccoufa’s</a> objects constructed from old bits of furniture. The chair lying on its back, impotently wagging its legs in the air like an upturned tortoise, is animated in the true sense of the word: it has the presence of a Being. The viewer can empathise with its helpless predicament. At the same time, the spectacle is morbidly funny, and this collision of two normally distinct emotions creates a lingering sense of anxiety.</div><a href="http://www.theoland.com/_images/exhibitions/01-theoland-solo-show/1000/theoland-Norway08.jpg" rel="group" style="font-family: Arial,Helvetica,sans-serif;"><br />
</a> <br />
<div style="font-family: Arial,Helvetica,sans-serif;">In the same room is a small bed, and, like the chair, this object gives the impression of human presence. This is not simply due to the ghost, the absent user, that any ergonomically designed object suggests, but rather because of the sense of theatre that the sculpture creates. The edges of a slit in the blanket are peeled back, as if held by a speculum during surgery. This wound or eye-like aperture frames a body of water, exactly in the middle of which is a vortex. The shape of the opening, the damp patch that surrounds the whirlpool, and the slit’s position on the sheet create an unsettling impression of unruly, animal physicality, triumphant, abject, or both.<br />
<br />
<span style="color: #666666;">I remember seeing these kinetic sculptures a few years ago. The small bed sculpture was</span><br />
<span style="color: #666666;">really a powerful piece...</span> </div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-72654322161316959122011-01-28T14:47:00.004+00:002011-01-28T15:57:08.691+00:00Tetsuya Umeda & Kanta Horio<div style="font-family: Arial,Helvetica,sans-serif;"><img alt="http://www.dorkbot.org/dorkbotvienna/TetsuyaUmeda.jpg" src="http://www.dorkbot.org/dorkbotvienna/TetsuyaUmeda.jpg" /><br />
<br />
<iframe allowfullscreen="" class="youtube-player" frameborder="0" height="349" src="http://www.youtube.com/embed/esS9mYgBRdM" title="YouTube video player" type="text/html" width="425"></iframe></div><div style="font-family: Arial,Helvetica,sans-serif;"><h1 id="headline" style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"> </span></h1><h1 id="headline" style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">"<a href="http://search.japantimes.co.jp/cgi-bin/fa20090515b2.html">Tetsuya Umeda: Science of Superstition</a>"</span></h1><table align="right" border="0" id="photoright" style="font-family: Arial,Helvetica,sans-serif; width: 250px;"><tbody>
<tr> <td><br />
</td> </tr>
<tr> <td><span style="font-size: small;"><b> </b></span></td> </tr>
</tbody></table><div id="paragrah" style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">A bucket and a mop and a ramshackle assortment of fans and lights — all sprawled across the floor and ceiling of Ota Fine Arts in east Tokyo's Kachidoki area (<a href="http://www.ota.finearts.com/" target="_blank">www.ota.finearts.com</a>) — lie dormant. </span></div><div id="paragrah" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div id="paragrah" style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Flick several switches, though, and a chaotic performance ensues, pulleys plunging objects into water-filled trash cans, spinning rotors connecting dangling wires to complete electrical circuits that set off lights and explosions of sound.</span></div><div id="paragrah" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div id="paragrah" style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">Tetsuya Umeda's installations are as much about those sounds as they are about the arrangement of the everyday items he uses. Umeda's main work is the objects' performance, which he helps orchestrate but is never in control of. At Ota, he has assembled four electrical circuits that are connected and trigger one another with unpredictable results: Watch for a while and there is no regular pattern, rather a random escalation of noise, flashes and motion followed by silences.</span></div><div id="paragrah" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div id="paragrah" style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">The artist often performs in rundown buildings with installations that reflect the disorder around them. Ota Fine Arts is one of the smaller spaces that Umeda has used, as was Ota's room at the <a href="mailto:Art@Agnes">Art@Agnes</a> art fair in Tokyo this past January. In one of the best presentations in the hotel fair, a pile of feathers in a bedroom, looking as if it had been pulled out of a comforter, would burst into the air when a fan was turned on by an electrical circuit being completed when wires dipped into the tub in the bathroom.</span></div><div id="paragrah" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div id="paragrah" style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">You could attempt a meaningful statement about the unpredictability of these constructions representing the random nature of our existence in the world, but that would be as futile as assigning a particular meaning to life. Probably it's best to just sit back and enjoy the show.</span></div><div id="paragrah" style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div id="paragrah" style="color: #666666; font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">These two Japanese artist occasionally combine Installations with performance/intervention in some of their collaborations together. It's quite interesting and gives me a lot of ideas of how I can develop my sound sculpture/installations.</span><br />
<br />
</div></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><iframe allowfullscreen="" class="youtube-player" frameborder="0" height="349" src="http://www.youtube.com/embed/42MLNXqMGzA" title="YouTube video player" type="text/html" width="425"></iframe></span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><br />
<div style="color: #666666; font-family: Arial,Helvetica,sans-serif;"><br />
</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-48152543440486437512011-01-27T23:01:00.004+00:002011-01-27T23:08:59.323+00:00L'Ikea è un labirinto, per far spendere più soldi<div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><img alt="http://www.haisentito.it/img/ikea-soldi.jpg" height="320" src="http://www.haisentito.it/img/ikea-soldi.jpg" width="320" /> </span></div><h2 style="font-family: Arial,Helvetica,sans-serif; font-weight: normal;"><span style="font-size: small;"><b>«Arma psicologica per confondere i favorire gli acquisti». L'azienda: «Li mettiamo solo a loro agio» </b></span></h2><h2 style="font-family: Arial,Helvetica,sans-serif; font-weight: normal;"><span style="font-size: small;">MILANO - Non è stato costruito da re Minosse per rinchiudere il Minotauro, ma l'interno dell'Ikea è un vero e proprio labirinto. Lo afferma una ricerca scientifica condotta dal professor Allan Penn, direttore del Virtual Reality Centre for the Built Environment dell'UCL (University College London). In pratica, dice il professore, la struttura dell'Ikea è un'arma psicologica tesa a confondere e disorientare i clienti in modo da farli spendere sempre di più. «Il successo dell'Ikea si basa – dice Allan Penn- su una specie di imbarazzo dei clienti che perdono l'orientamento. Per raggiungere l'uscita bisogna girovagare in una serie infinita di svolte e giravolte. In questo infinito viaggio si mettono perciò nel carrello molte più cose di quelle preventivate». </span> </h2><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">SEDE DI LONDRA - Il professore, per la sua ricerca, si è basato sulla struttura dell'Ikea di Londra. «Ma i magazzini della società svedese sono più o meno uguali in tutto il mondo. Ovunque c'è un sentiero, segnato da strisce sul pavimento, lungo il quale il catalogo dei prodotti dell'azienda assume una forma fisica perché tutti gli oggetti sono esposti. Il concetto, insomma, è che restando nel labirinto si resta a contatto con mobili, seggiolini, lampade, padelle. Tutti prodotti a poco prezzo. Che vengono comprati». </span><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">SMENTITA - Ovviamente, un portavoce dell'Ikea ha smentito le tesi del professore londinese affermando che la struttura dell'Ikea è stata studiata solo per mettere a proprio agio i clienti, mostrando loro tutti i prodotti in vendita. </span><br />
</div><div class="right" id="rectangle right" style="font-family: Arial,Helvetica,sans-serif;"></div><div style="font-family: Arial,Helvetica,sans-serif;"></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">ORIGINI - L'Ikea ha 283 negozi in 26 differenti nazioni che hanno generato, nel 2010, 2,7 miliardi di euro di profitti. E' stata fondata nel 1943 dallo svedese Ingvar Kamprad, il quale già da piccolo aveva il la fissa degli affari: vendeva fiammiferi ai suoi vicini di casa. Poi si accorse che poteva pagarli meno acquistandoli da un grossista di Stoccolma. Dopo i fiammiferi si diede alla vendita di pesce, decorazioni per alberi di Natale, matite, sementi, penne a sfera e altri prodotti. A 17 anni, grazie ai soldi ricevuti da suo padre per i suoi eccellenti risultati scolastici, fondò il "labirinto", come lo chiama il professor Penn. Kamprad, che ha 84 anni, fino a poco tempo fa guidava un'auto vecchia di 15 anni, volava in classe economica e raccomandava ai suoi dipendenti di scrivere sempre su tutti e due i lati di un foglio per risparmiare la carta. </span></div><h2 style="color: #351c75; font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small; font-weight: normal;"> Similar article in English below</span><span style="font-size: small;"> </span></h2><h2 style="color: #351c75; font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><a href="http://www.dailymail.co.uk/femail/article-1349831/Ikea-design-stores-mazes-stop-shoppers-leaving-end-buying-more.html">Why shoppers find it so hard to escape from Ikea: Flatpack furniture stores are 'designed just like a maze</a></span><span style="font-size: small;"> </span></h2><h2 style="font-family: Arial,Helvetica,sans-serif;"><span style="font-family: Arial,Helvetica,sans-serif; font-size: small; font-weight: normal;"> </span></h2><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">I</span><span style="font-size: small;">f you've ever found yourself hopelessly lost in an Ikea store, you were probably not alone.</span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">The home furnishing chain’s mazy layouts are a psychological weapon to part shoppers from their cash, an expert in store design claims.</span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><br />
</span><br />
<span style="font-size: small;">The theory is that while following a zig-zag trail between displays of minimalist Swedish furniture, a disorientated Ikea customer feels compelled to pick up a few extra impulse purchases.</span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div class="clear" style="font-family: Arial,Helvetica,sans-serif;"></div><div class="artSplitter" style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><img alt="A-mazing: A route a customer took through a store. Professor Alan Penn said they are designed to stop customers leaving" class="blkBorder" height="392" src="http://i.dailymail.co.uk/i/pix/2011/01/23/article-1349831-0CE10D7A000005DC-558_634x623.jpg" width="400" /></span> <br />
<div class="imageCaption"><span style="font-size: x-small;"><br />
</span></div><div class="imageCaption"><span style="font-size: small;">A-mazing: A route a customer took through a store. Professor Alan Penn said they are designed to stop customers leaving...</span></div></div><div class="clear" style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"> </span></div><span style="font-family: Arial,Helvetica,sans-serif; font-size: small;"> </span><br />
<br />
<div style="font-family: Arial,Helvetica,sans-serif;"></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-79555416433436194072011-01-27T20:01:00.002+00:002011-01-27T21:08:47.949+00:00My hard drive is experiencing some strange noises<img alt="http://www.ethanham.com/blog/uploaded_images/2-720439.jpg" height="300" src="http://www.ethanham.com/blog/uploaded_images/2-720439.jpg" width="400" /><br />
<br />
<div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">The sound of a defective hard disk is picked up by a contact microphone. The acoustic wave is instantly processed by a software that repeats and amplifies sounds creating a resounding echo. </span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><a href="http://incident.net/users/gregory/">Gregory Chatonsky</a> is an artist born in Paris. He currently resides in Montreal and Paris.</span></div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;">He holds a philosophy master’s from the Sorbonne and a multimedia advanced degree from the Ecole nationale superieure des beaux-arts in Paris. He has worked on numerous solo and group projects in France, Canada, the United States, Italy, Australia, Germany, Finland and Spain. His works have been acquired by public collectors such as the Maison Europeenne de la Photographie.</span></div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;"><span style="font-size: small;"><span style="color: #666666;">I was told that my sound sculpture presented at the Containment project sounds like a defective hard disk. </span> </span></div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-87106572263607284782011-01-27T19:48:00.001+00:002011-01-27T21:07:11.282+00:00Henrik Menné<a href="http://www.tomchristoffersen.dk/artists/henrik_menne/works/machines_and_kinetic%20sculptures/5.jpg" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img alt="http://www.tomchristoffersen.dk/artists/henrik_menne/works/machines_and_kinetic%20sculptures/5.jpg" border="0" height="269" src="http://www.tomchristoffersen.dk/artists/henrik_menne/works/machines_and_kinetic%20sculptures/5.jpg" width="400" /></a><span style="font-family: Arial,Helvetica,sans-serif;">Whether they are dynamic or static; sculptures by <a href="http://www.tomchristoffersen.dk/artists/henrik_menne/henrik_menne.html">Henrik Menné</a> are basically </span><span style="color: #351c75; font-family: Arial,Helvetica,sans-serif;">about process, balance and about organizing matter through both <b>rigid systems</b> and <b>chance</b>.</span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"> The major part of Mennés production consists of large-scale machines or arrangements temporarily put at work when exhibited - <span style="color: #351c75;">all sculptures are ‘in the making’ so to say</span>. Their process is always silent, <span style="color: #351c75;">controlled and structured by repetitive movements</span> as the machines transform a single material - plastic, wax, metal or stone - into peculiar objects. These soft-formed elements are seldom regarded as autonomous art works and destroyed or recycled when no longer on show. </span><br />
<span style="font-family: Arial,Helvetica,sans-serif;"> Although closed and often self-referring, the system in which the process takes place both changes the environment and is sensible to changes in the environment. The instability of the physical context is therefore what causes important marginal variations in the shapes of the particular outcome.</span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"> The static sculptures by Menné contain the same immense effort and obsessive trait when it comes to putting forces such as gravity and well-known qualities ascribed to conventional materials into play. <span style="color: #351c75;">Another more conceptual approach is to be found in the few replicas of everyday objects, which are disturbed to the point where they loose the original function.</span></span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;"> <span style="color: #351c75;">The intriguing low tech and analogue character of all works by Henrik Menné</span> make visible the principle on which the individual system of the particular sculpture is organised. Despite this rational transparency works by Menné almost always <span style="color: #351c75;">appear as logically impossible and tremendously beautiful.</span></span><br />
<div style="color: #351c75;"><br />
</div><span style="font-family: Arial,Helvetica,sans-serif;"><span style="color: #666666;">I'm really impressed by these sculpture. I like the simplicity and fragility of some of these structures. I'm particularly interested in the piece called 'Container' (2005 polystyrene balls, fan diameter 210 cm).</span></span><br />
<div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><table border="0" cellpadding="0" cellspacing="0"><tbody>
<tr><td rowspan="2" valign="top" width="532"><img height="294" src="http://www.tomchristoffersen.dk/artists/henrik_menne/works/machines_and_kinetic%20sculptures/1.jpg" width="400" /></td> <td valign="bottom"></td> <td align="right" valign="top"><br />
</td> </tr>
<tr> <td valign="bottom" width="20"></td> <td class="billedtekst" valign="bottom"><br />
</td> </tr>
<tr> <td valign="bottom"><br />
<img height="222" src="http://www.tomchristoffersen.dk/artists/henrik_menne/works/machines_and_kinetic%20sculptures/2.jpg" width="400" /></td> <td valign="bottom"></td> <td class="billedtekst" valign="bottom"><br />
</td> </tr>
<tr> <td valign="bottom"><br />
<img height="296" src="http://www.tomchristoffersen.dk/artists/henrik_menne/works/machines_and_kinetic%20sculptures/3.jpg" width="400" /></td> <td valign="bottom"></td> <td class="billedtekst" valign="bottom"><br />
</td> </tr>
<tr> <td valign="bottom"><br />
<img height="244" src="http://www.tomchristoffersen.dk/artists/henrik_menne/works/machines_and_kinetic%20sculptures/4.jpg" width="532" /></td> <td valign="bottom"></td> <td class="billedtekst" valign="bottom"><br />
</td> </tr>
<tr> <td valign="bottom"><br />
<br />
<br />
<br />
</td> <td valign="bottom"></td> <td class="billedtekst" valign="bottom"><br />
</td> </tr>
<tr> <td valign="bottom"><br />
<img height="361" src="http://www.tomchristoffersen.dk/artists/henrik_menne/works/machines_and_kinetic%20sculptures/6.jpg" width="532" /></td> <td valign="bottom"></td> <td class="billedtekst" valign="bottom"><br />
</td> </tr>
<tr> <td valign="bottom"><br />
<br />
<br />
<br />
<img height="275" src="http://www.tomchristoffersen.dk/artists/henrik_menne/works/machines_and_kinetic%20sculptures/7.jpg" width="532" /></td> <td valign="bottom"></td> <td class="billedtekst" valign="bottom"><br />
</td> </tr>
<tr> <td valign="bottom"><br />
<img height="235" src="http://www.tomchristoffersen.dk/artists/henrik_menne/works/machines_and_kinetic%20sculptures/8.jpg" width="320" /></td> <td valign="bottom"></td> <td class="billedtekst" valign="bottom"><br />
</td><td class="billedtekst" valign="bottom"><br />
</td><td class="billedtekst" valign="bottom"><br />
</td><td class="billedtekst" valign="bottom"><br />
</td><td class="billedtekst" valign="bottom"><br />
</td><td class="billedtekst" valign="bottom"><br />
</td><td class="billedtekst" valign="bottom"><br />
</td><td class="billedtekst" valign="bottom"><br />
</td><td class="billedtekst" valign="bottom"><br />
</td><td class="billedtekst" valign="bottom"><br />
</td><td class="billedtekst" valign="bottom"><br />
</td><td class="billedtekst" valign="bottom"><br />
</td><td class="billedtekst" valign="bottom"><br />
</td><td class="billedtekst" valign="bottom"><br />
</td><td class="billedtekst" valign="bottom"><br />
</td><td class="billedtekst" valign="bottom"><br />
</td><td class="billedtekst" valign="bottom"><br />
</td><td class="billedtekst" valign="bottom"></td><td class="billedtekst" valign="bottom"><br />
</td><td class="billedtekst" valign="bottom"><br />
</td><td class="billedtekst" valign="bottom"><br />
</td><td class="billedtekst" valign="bottom"><br />
</td> </tr>
</tbody></table>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-64531288551484322732010-12-20T00:02:00.000+00:002010-12-20T00:02:13.108+00:00Michael Landy's Art Bin<object height="340" width="560"><param name="movie" value="http://www.youtube.com/v/60vDolVQqlg?fs=1&hl=it_IT"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/60vDolVQqlg?fs=1&hl=it_IT" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="560" height="340"></embed></object>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-47009206412572161992010-12-15T17:23:00.004+00:002010-12-15T17:35:48.290+00:00Project NADAL<div style="font-family: Arial,Helvetica,sans-serif; text-align: center;"> <img alt="http://www.we-make-money-not-art.com/wow/5hautb45761b61c9_b.jpg" height="400" src="http://www.we-make-money-not-art.com/wow/5hautb45761b61c9_b.jpg" width="262" /><span class="boldy"> </span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span class="boldy">NADAL Beta 2009</span><span class="french"><br />
canon ball, walls, zinc, tennis balls</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span class="french"></span>The project NADAL is an attempt to get close to a geometrical fantasy. By facing the limits of performance and failure, by challenging borders between a champion and a machine, it can be seen as one of the constant love & hate story (interaction) which shapes our relationship with technologies. </div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span class="boldy"></span> <span class="eng">The installation NADAL Beta consists in a purview which is meant to insert and to deploy itself within an architectural in order to animate it. The installation proposes a degenerated form of tennis loaded by a canon ball. The machine propels balls on a meticulously calibrated trajectory in order to generate a space emulation.<br />
The installation develops a kind of clinical juggling generated by a radical and mecanical purview... Among this perspective, the intervention questions notions of shifting process and network in order to produce an innovative plastic concretisation of circulation within a steady space.</span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span class="eng">http://www.pauldestieu.com/nadal1.php </span></div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif; text-align: left;"><span style="color: #666666;">I had a similar idea. My installation idea consists of a </span><span style="color: #666666;">tennis ball machine (many) that shoot out tennis</span><span style="color: #666666;"> balls at the audience/visitor/viewer. Off course no one would get hurt as there would be a glass wall or netting as protection. </span></div><br />
<iframe frameborder="0" height="300" src="http://player.vimeo.com/video/14777036" width="400"></iframe><br />
<a href="http://vimeo.com/14777036">NADAL in KIBLA by PAUL DESTIEU 2010</a> from <a href="http://vimeo.com/user758577">paul destieu</a> on <a href="http://vimeo.com/">Vimeo</a>.Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-25255666710128207772010-12-09T03:22:00.007+00:002010-12-09T15:37:39.752+00:00Without Records<h1 id="watch-headline-title" style="font-family: Arial,Helvetica,sans-serif; font-weight: normal; padding-bottom: 8px;"><span style="font-size: small;"><object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/n4TclxEtQ20?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/n4TclxEtQ20?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object> </span></h1><h1 id="watch-headline-title" style="font-family: Arial,Helvetica,sans-serif; font-weight: normal; padding-bottom: 8px;"><span style="font-size: small;"> "without records" Otomo Yoshihide+Yasutomo Aoyama </span></h1><h1 id="watch-headline-title" style="font-family: Arial,Helvetica,sans-serif; font-weight: normal; padding-bottom: 8px;"><span style="font-size: small;">In this installation, there are about over a hundred portable record players without records. In the space, turntables scattered everywhere, high and low, right and left, produce noises by the rotating friction, resonating in multilayer. Quiet, low-fi sounds form groups and change the entire image of sounds. This works provide people with an opportunity to reconsider the meaning, possibilities, and historical significance of sound art composed of records and turntables, which are being consigned to oblivion in the digital age. </span></h1><h1 id="watch-headline-title" style="font-family: Arial,Helvetica,sans-serif; font-weight: normal; padding-bottom: 8px;"><span style="font-size: small;"><span style="color: #666666;">Otomo Yoshihide is an artist I really appreciate. He has a huge influence on my work and ideas. Today I was talking to a fellow classmate about an idea I have for a project using CD/DVD players (although different to Otomo's colab I see a connection). I realized that I've had this idea stored away in a hidden (forgotten) compartment of my brain. I should write everything down and then develop them at a later stage (or discard them).</span></span></h1>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-62895679370715757062010-12-09T03:06:00.001+00:002010-12-09T03:06:33.137+00:00Hum<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/s4Jt5kYr7EI?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/s4Jt5kYr7EI?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br />
<div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;">Mounted on each ceiling fan is one speaker and audio equipment. Sound is activated with a tilt switch (movement activated switch) when a fan starts spinning. The sound consists of a simple, hummed melody. Each 2 minute recording is endlessly looped while the fan spins six fans spinning six melodies to create a chorus. The spinning speakers give the audio a tremolo effect (like the spinning speakers of the Hammond organ) which varies based on the fans speed. Each fan is moving in the same pattern (controlled by a computer) but the staggered start time of each fan results in an ever-changing pattern.<br />
<br />
Exhibition History:<br />
2003 York Quay Gallery (Toronto); 2005 Toronto Convention Centre (in conjunction with Toronto International Art Fair)</div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><span style="font-family: Arial,Helvetica,sans-serif;">www.marlahlady.com</span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-38378910768424840592010-12-09T03:01:00.000+00:002010-12-09T03:01:22.386+00:00MUAC installation<object height="240" width="400"><param name="allowfullscreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=6575387&server=vimeo.com&show_title=1&show_byline=1&show_portrait=1&color=&fullscreen=1&autoplay=0&loop=0" /><embed src="http://vimeo.com/moogaloop.swf?clip_id=6575387&server=vimeo.com&show_title=1&show_byline=1&show_portrait=1&color=&fullscreen=1&autoplay=0&loop=0" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="400" height="240"></embed></object><br />
<a href="http://vimeo.com/6575387">Instalación de Cildo Meireless</a> from <a href="http://vimeo.com/ismartlo">Ismael</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
<div style="font-family: Arial,Helvetica,sans-serif;">Cildo Meireles is one of Brazil’s most respected and international artists. He is known as a conceptual installation artist. He is noted especially for his installations, many of which express resistance to political oppression in Brazil. These works, often large and dense, encourage the viewer’s interaction. This is a piece he showed at the MUAC museum in Mexico City.</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-18630262550655179782010-12-09T02:57:00.000+00:002010-12-09T02:57:39.882+00:00Still no guides<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/HPYyPkjq8qs?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/HPYyPkjq8qs?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br />
<br />
<div style="font-family: Arial,Helvetica,sans-serif;"><a href="http://www.emmanuellagarrigue.com/" target="_blank">Emmanuel Lagarrigue</a> is a young French artist who works with sound as a material rather than as a medium. He uses it in sculptures and installations. This video features the piece Still no guides from 2008, an atmospheric combination of neon lights and buffer sound.</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-36404521706028846792010-12-09T02:54:00.000+00:002010-12-09T02:54:47.402+00:00Command Line Wave<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/VIjBrmCnGiU?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/VIjBrmCnGiU?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">'Command Line Wave' is a work combining live performances and installations that use light cubes with built-in handheld microphones and sounds for controlling the patterns of the light. What you hear from a fax or a modem when they are connecting is the information transformed into sound under a certain rule and it somehow sounds cool. I came up with an idea of making sound for my live performances by generating sound under a certain rule. (Not a musical rule, but a rule that derives from a technical reason for communication.) </span><br />
<br />
<span style="font-family: Arial,Helvetica,sans-serif;">The plan of commands to control the patterns of light on the cube becomes the rule and the sequences of those commands generated under the rule becomes music. Also, the connection of the cube has an uncertainty depending on the position and angle at which it would be placed. This is not a simple interactivity on a one-on-one level, but a work that generates not only micro rules but also macro and spatial rules by selecting commands according to the information received previously such as by how many percent the object is unreactive. The cube not only glows in response to sound , but also blinks and glows in a curve sometimes, regardless of the sound. How the cube glows can be controlled by sending sound commands. For example, in one scene, the cube blinks regardless of the sound, in the next scene, the cube reacts to low pitch sound and glows red. After that, the cube reacts to low pitch sound by glowing blue, middle pitch sound by glowing green, and high pitch sound by glowing red. Creating the cube object and designing the plan of commands is merely making a platform. There are many possibilities for which this can be presented. If one wants to enjoy such a media work using those commands and exchanging data, usually one needs a computer or a special interface device. However this work only requires speakers、and one can enjoy the results to the full extent. For example, you can input commands to an audio CD and the cube would respond fully to the sound. This work can be played using existing infrastructures.</span><br />
<br />
<span style="color: #666666; font-family: Arial,Helvetica,sans-serif;">This time we have light and sound working together.</span> <span style="color: #666666; font-family: Arial,Helvetica,sans-serif;">This is obviously work in progress.</span>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-5907924545995180392010-12-09T02:49:00.000+00:002010-12-09T02:49:09.368+00:00Kinetic Light Installation<object height="225" width="400"><param name="allowfullscreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=2934812&server=vimeo.com&show_title=1&show_byline=1&show_portrait=1&color=&fullscreen=1&autoplay=0&loop=0" /><embed src="http://vimeo.com/moogaloop.swf?clip_id=2934812&server=vimeo.com&show_title=1&show_byline=1&show_portrait=1&color=&fullscreen=1&autoplay=0&loop=0" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="400" height="225"></embed></object><br />
<a href="http://vimeo.com/2934812">Beacon at Lightwave 2009</a> from <a href="http://vimeo.com/cinimodandoshea">Cinimod Studio & Chris O'Shea</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<div style="color: #666666; font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: #666666; font-family: Arial,Helvetica,sans-serif;">Lately I have been interested in exploring light (with sound). Yes I'm aware there is no sound in this particular piece. </div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-60438000522751366872010-12-09T02:42:00.000+00:002010-12-09T02:42:30.359+00:00Interactive wall<object height="344" width="425"><param name="movie" value="http://www.youtube.com/v/4QZ2WzCrCpk?fs=1&hl=en_US"></param><param name="allowFullScreen" value="true"></param><param name="allowscriptaccess" value="always"></param><embed src="http://www.youtube.com/v/4QZ2WzCrCpk?fs=1&hl=en_US" type="application/x-shockwave-flash" allowscriptaccess="always" allowfullscreen="true" width="425" height="344"></embed></object><br />
<br />
<div style="font-family: Arial,Helvetica,sans-serif;">The idea was to create the wall which in case approach any person to its surface will change the visibility and make impossible to look inside into the private space of the inhabitant. The wall consist of modular cells with the dimensions 30×30 cm. In each cell three fans are located which are connected to the motion sensor. Person entering to the sensor active zone [1,5 m from the wall surface] by his motion actuate the sensor which actuate fans. Fans by their movement make the foamed polystyrene balls flying. Movement of the balls block off the view and change transparency of the wall. Active sensors actuate also stripes of leds located in the cells creating sensual scene of flying balls similar to water motion. The wall can be programmed in several different behaviors and give different impressions. It was created as a modular object and can be implementet in many different scenarios.<br />
The cell construction.<br />
The cell has a internal closed space filled by foamed polystyrene balls and external open space in which all wiring system was placed. Internal surface in the lowest and highest parts is filled by small holes which enable natural air movement. Back part of the cell [internal surface of the wall] impenetrable the air at all, front part of the cell [external surface of the wall] is filled by small holes and make possible to flow natural air from the atmosphere. All parts are made from transparent plexiglass. </div><div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="color: #666666; font-family: Arial,Helvetica,sans-serif;">Very interesting. This is useful for my polystyrene ball sound sculpture/objects ideas. </div><div style="color: #666666; font-family: Arial,Helvetica,sans-serif;"><br />
</div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-33869421069229370292010-12-09T02:29:00.000+00:002010-12-09T02:29:44.497+00:00Floating Forecaster<object height="226" width="400"><param name="allowfullscreen" value="true" /><param name="allowscriptaccess" value="always" /><param name="movie" value="http://vimeo.com/moogaloop.swf?clip_id=13059978&server=vimeo.com&show_title=1&show_byline=1&show_portrait=1&color=&fullscreen=1&autoplay=0&loop=0" /><embed src="http://vimeo.com/moogaloop.swf?clip_id=13059978&server=vimeo.com&show_title=1&show_byline=1&show_portrait=1&color=&fullscreen=1&autoplay=0&loop=0" type="application/x-shockwave-flash" allowfullscreen="true" allowscriptaccess="always" width="400" height="226"></embed></object><br />
<a href="http://vimeo.com/13059978">Floating Forecaster</a> from <a href="http://vimeo.com/richharvey">Richard Harvey</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<br />
<div style="font-family: Arial,Helvetica,sans-serif;">A floating display that reinterprets weather information via hovering patterns and flowing movements. The user is invited to create patterns and sequences using either an iPhone interface or a sequencing program<br />
<br />
Made with: 30 airbed pumps, a lightuino, max msp, c74 app </div>Unknownnoreply@blogger.comtag:blogger.com,1999:blog-8130953942369983772.post-73271436477199744472010-12-09T02:26:00.000+00:002010-12-09T02:26:31.946+00:00Adaptive Bloom<iframe frameborder="0" height="300" src="http://player.vimeo.com/video/13849070" width="400"></iframe><br />
<a href="http://vimeo.com/13849070">Justin Goodyer: Adaptive Bloom - Bartlett School of Architecture</a> from <a href="http://vimeo.com/user1321824">Ruairi Glynn</a> on <a href="http://vimeo.com/">Vimeo</a>.<br />
<div style="font-family: Arial,Helvetica,sans-serif;"><br />
</div><div style="font-family: Arial,Helvetica,sans-serif;">Justin’s work is a prototype responsive screen proposed as a speculative stage set. Blooming mechanical flowers are used as pixels in a grid formation responding to movement. It draws on the balletic tradition of a choreographic poem combining narrative, choreography and score.</div>The piece is conceived as the backdrop to a holistic improvised performance featuring an aleatoric score, with the dreamlike behaviour of the screen responding to the interplay of a male/female dance pair. It is framed from a narrative taken from the song “Busby Berkeley dreams”... <span style="font-family: Arial,Helvetica,sans-serif;">http://www.constructingrealities.com/?p=5</span>Unknownnoreply@blogger.com