Subscribe: Cluster21 : la communauté du digital, des médias à la e-démocratie... - photo
http://www.cluster21.com/taxonomy/term/33/0/feed
Added By: Feedage Forager Feedage Grade B rated
Language: French
Tags:
allowfullscreen frameborder  art  digital  eacute  human  installation  lsquo  new  player vimeo  video  vimeo video  virtual  work 
Rate this Feed
Rate this feedRate this feedRate this feedRate this feedRate this feed
Rate this feed 1 starRate this feed 2 starRate this feed 3 starRate this feed 4 starRate this feed 5 star

Comments (0)

Feed Details and Statistics Feed Statistics
Preview: Cluster21 : la communauté du digital, des médias à la e-démocratie... - photo

digitalarti.com - Interactive





 



Liam Young - "I don't think there's anything new or radical about VR"

Mon, 13 Nov 2017 11:54:13 +0000

This November, renown speculative architect Liam Young honored the Impakt festival: haunted machines and wicked problems with one of his atypical video performance, depicting a brave new world of digital myths and natural catastrophies. Internationally acclaimed architect, his works plays of the thin line between design, fiction and futures. He is at the origin of the think tank Tomorrow’s Thoughts Today and also co-runs the nomadic research studio Unknown Fields Division. From the death of VR to the designers duty of critical thinking, here’s what we talked about. You were educated as an architect, what made you take this radical shift into speculative design throughout fictional story telling? Liam Young: I was trained quite traditionally since in Australia the dominant form of architecture is based around genius local place specificity. It inquires the meaning of designing something on a particular site or context. Yet, as the conditions of that context are now mediated through technologies, it's no longer sufficient to use the skills of traditional architecture. To understand these new relationships I moved toward forms of speculation, of story telling and future making. In order to apprehend the room we’re sitting in we need to think about the shadows casted by the iPad you are reading your question on, the landscape that produced it and the mines which were hollowed out in order to make those things. And that's really what I do, telling stories about this messy present and how we might start to engage with it in ways that are productive. "New City: The Edgelands" (vidéo) Would you say that there is a disparity emerging between storytellers and traditional designers? L.Y: No, I just think designers need to open up their forms of practice to include methods that allows sufficient engagements with the complexity of our reality. We are at a time where Facebook is a new kind of public space, and it is not managed by an elected government but by a dude in sneakers and hoodie. And if a designer confines himself within the realm of its own discipline, based on what he expect the public space used to be, then he denies this kind of mediated reality that we all occupy. You know, we use words like “virtual” and “real” and describe them as being different but those terms are just outmoded. Our modern context is just a contradictory reality formed of all kinds of influences, some of which have a physical footprint, some of which don't. "Rare Earthenware: Radioactive Ceramics by Unknown Fields"; Film Still © Toby Smith/Unknown Fields Your projects are deeply involved in revealing the new victims of modern industries and by that dealing with urgent topics such as mass surveillance, technology everywhere… Is being a speculative architect a form of political activism? L.Y: Telling stories is a primarily political act, I mean, fiction is an extraordinary shared medium, it is how cultures have always disseminated ideas and that is the way I seek to operate. Within the film we make and stories we tell, I encode important critical ideas about what it means to exist today… And hopefully they will operate like Trojan horses in these mediums of fiction and popular culture. We are in this urgent reality where we desperately need to change our relationships to computers, to technologies and this is not going to happen with small, incremental steps since it needs to be, and will be, a cultural change. Therefore, storytellers, film makers, game designers are on the front line of this battle for a preferable future. How do you deal with the paradoxe of using the the technology you/we are ethically questioning? L.Y: I am a techno optimist actually! This claim for a return to the hills to live off the lands and grow carrots is not a reality I believe in. I see localism as a myth especially since we are not going to retrieve from this glittering luminous world we have created for ourselves. What I'm trying to c[...]



Phygitalide - Restitution

Sat, 26 Aug 2017 21:23:10 +0000

Video of the premiere of "Phygitalide" (or in plain english Phygitalide), created during a residency at the Laboratory in Spokane (USA).
The public restitution of "Phygitalis" took place the 17 th august 2017, at the Saranac Art Project of Spokane.
 
Phygitalis is a Chrysalis where the Physical and the Digital realms merge. This stage space tracks the movements of its performers and generate visuals from them. For this show, Phygitalis has used the movements of tango to immerge its dancers into a new digitally augmented world. Then, a contemporary dance has been performed. To finish, the audience has been invited to play with the installation during an "open stage"
 
When we say it was a premiere, we could not use a more accurate word. We started working on that device from scratch three weeks before the show, when we came to participate in the Laboratory’s summer residency. We were new to most of those technologies. It’s the first time we worked with the Internet of Things. The laboratory residency gave us the possibility and all the help we needed to learn and experiment. Eventually it already enables us to think forward to several new art and entertainment devices, installations, performances and shows. Indeed, Phygitalis is not intended to work only with dance : our goal is to design a platform to help all professionals involved in performing arts working together. We hope our device allow choreographers, composers and visual artists to work together and create new pieces of performing arts in a totally collaborative way.
 
CREDITS:
Video of the performance by Deirdre O'Toole
Concept, scenography and creative code : L:EDigitalab
Tango dancers : Anna Czoski and Matt Doval
Contemporary dancer: Mackenzie Fagras
Music: MulaCreativa - Tangoelectrominimo
 
This work made possible in part by funding from Spokane Arts' SAGA program.
 
Special thanks to Alan Chatham.
 
More here : www.ledigitalab.com
 

allowfullscreen="allowfullscreen" frameborder="0" height="360" src="https://player.vimeo.com/video/231215395?color=c9ff23" width="640">

 

Phygitalide is a new approach to the digitization of space.
This creation goes against the negative perceptions of digitization and moreover digitized places. Digital tools are said to invade our lives, isolate people and control the world around us without us realizing. Novelty rightly scares people who can feel concerned about “over digitization”.
 
This installation aims to remind that digital is only a technology after all and which also has a great oneiric potential. Thus, Phygitalide sublimates its digitized space by materializing the movements of its performer in a sensitive, vivid and poetic way. To do so, this installation transforms the space in such a way that it reacts to the presence of the bodies. They become sensitive surfaces that control their environment. These augmented bodies become interactive instruments which shape the audiovisual evolution of the space they temporarily inhabit.
 
(image)



Robotic: Do androids dream about media art? (2/2)

Mon, 07 Aug 2017 14:11:39 +0000

We are not facing a "complete replacement" just yet, but robots have never been as present as they are right now: they integrated the presidential campaign 2017; there is a French union for professional robotics (Syrobo); a moratorium on killer robots is being explored by the UN; in Japan the first funeral rites for robotic toys have taken place, as is right and proper, in a temple, with a Buddhist monk, incense and prayer wheels, etc.  Read first part The aim of certain choreographers who have created performances with robots is to find a body language to minimise this menacing appearance. In Robot (2013-) by Blanca Li, eight dancers share the stage with strange musical machines by Maywa Denki and seven Nao (small humanoid robots created by Aldebaran Robotics). It is quite moving to see these high-tech mechanical dolls adopt contemporary dance moves. The choreographer Éric Minh Cuong Castaing also uses Nao robots, two dancers and children invited to participate in the performance space, for his piece School Of Moon (2016) created like a metaphor for post-humanity awakening. With Link Human/Robot (2012-15), Emmanuelle Grangier also engages with a small Nao, but she initiates a more intimate dialogue, establishing a link between humans and machines. allowfullscreen="" frameborder="0" height="343" src="https://www.youtube.com/embed/sspkGNgihvo?ecver=2" width="610"> Robot, Blanca Li allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="https://player.vimeo.com/video/121976999" webkitallowfullscreen="" width="610"> Link Human/Robot - Emmanuelle Grangier 20.02.2015  This approach is more apparent when the robot has a more obvious humanoid shape. We are not then far from the famous "uncanny valley", the stage when according to the roboticist Masahiro Mori "geminoids" resembling human beings, with the technical imperfections that exist in the current state of scientific progress, cause feelings of unease. Until this gap, this valley, is overcome this feeling is no doubt also prevalent when watching Oriza Hirata’s theatrical performances. With this stage director, the robots "play" with the actors and are part of the cast, but it is above all their "being" — the texture of their "skin", the clothes, their posture, presence and facial expressions— that disconcerts the audience. It is especially evident in the play called The Three Sisters Android version, a story in which one of the dead sisters has been replaced by an android by her father, a robotics researcher. Also in Sayonara ver.2 presenting the everyday dreariness of a young patient assisted by a humanoid robot reciting poetry to them... In his theatre adaptation of The Metamorphosis by Kafka, the character transforms into a robot of course and not into a cockroach!    Sayonara ver.2, Oriza Hirata La Métamorphose, Oriza Hirata In another genre, the "cyber-dolls" by France Cadet, who also produced performance installation with robot dogs, are equally disconcerting with their soft erotic charge; even if they are ensconced in a virtual world of 3D and holographic projections. The common feature of these different robotic creations is therefore the humanoid form, but other options are possible. For his installation called Sans Objet/No Object (2014), the choreographer Aurélien Bory (Cie 111) has chosen to conceal his robot under black tarpaulin. As a result, any movement causes circumstantial folds in the plastic material that become a moving sculpture. Aurélien Bory, Sans Objet    For his mechanical ballets,Peter William Holden chose to structure his devices around several central components, and not a complete robot: mannequin arms and legs for Arabesque, shoes and mechanical feet for Solenoid, hands and metal armatures for Vicious Circle, hats and articulated tubing for The Invisib[...]



Teaser : Datasmog

Thu, 23 Feb 2017 22:50:12 +0000

L:ED introduces its new creation: Datasmog .

 

Datasmog illustrates the immersivity of nowadays digital practices and its impact on mankind.

 

allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/204966173?color=c9ff23" webkitallowfullscreen="" width="640">

 

 

Lately, human beings seemed to reach the maximum amount of information they can process, their attention constantly drained by advertisement, social networks or e-mail notifications. Because of this information overload, mankind seems on the verge of a massive cognitive dissonance : too much information leads to overchoice, too much sollicitations leads to continuous partial attention which both leads to poor choices or analysis paralysis. But on the other hand, it seems that people are already evolving to integrate these constant datastreams into their lives: nomophobia, Fear Of Missing Out (FOMO) are signs that our brains are reconfiguring to filter this data glut with a poor signal to noise ratio into something valuable.

 

allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/175699748?color=c9ff23" webkitallowfullscreen="" width="640">

 

 

Datasmog aims to illustrate this current change by depicting the immersivity of nowadays digital practices by, on the one hand, drowning a living being into digital streams of images and sounds, and, on the other hand showing the permanence of the immersed self and the way it reacts and integrates that streams. To do so, Datasmog is blending together several techniques like contorsionism, contact juggling, live visuals and live music into a new kind of performance. Datasmog, using music and VJing to represent datastreams and contorsionism to represent the inner self, shows how a human being necessarily evolves to take into account its surroundings now including digital and data streams. Contorsionism represents the plasticity required to apprehend the information as well as the tensions born by the gigantism of the data streams.

 

(image)




BRAIN MUSIC - Audiovisual performance made with an EEG and Processing.

Wed, 30 Nov 2016 11:54:07 +0000

(image)

The raw data of a Neurosky Mindwave EEG is used here to play generative music.
Incoming raw data from the EEG is divided into 512 samples covering brain waves from 1 to 50Hz.
These 512 samples trigger piano notes when their values are beyond the decided limit.
As the performer enters into meditation, his brain waves cool down and thereby, he's able to increase their amplification.
The musical score and its rhythm are certainly depending on his mood and on the environment, but the performer's real challenge is to focus his mind entirely on the registered sounds, in order to enter into a closed musical loop where his brain waves - translated into sound waves - become the reflection of the registered notes and so on.
 
allowfullscreen="" frameborder="0" height="360px" mozallowfullscreen="" src="https://player.vimeo.com/video/195164113" webkitallowfullscreen="" width="640px">

BRAIN MUSIC V3 from Jean-Michel Rolland on Vimeo.

 




Living Matters

Wed, 12 Oct 2016 21:35:40 +0000

Living matters seeks to reinitiate a symbiosis between humanity and its environment by highlighting the impact of human presence in a controlled space.
 
The whole installation consists of three areas corresponding to three metaphors of natural areas (a jungle, a garden and a waterfall) where the presence and actions of the participants build, order and recompose an harmonious environment to illustrate the possibility that the action of mankind can be positive and beneficial to nature.
(image)
 
 
The jungle consists in vines falling from the ceiling which produce music by the touch of the participants..
 
At the heart of the garden is a raised sandbox that vibrates. The vibrations generates geometric patterns on the sand which will evolve according to the participants’ move and position..
 
The waterfall consists of an endless mirror, a mist screen on the ground and a set of stones. Aquatic textures are projected onto the mirror and on the ground. Those textures evolve and change while the participants manipulate the stones.
 
allowfullscreen="" frameborder="0" height="360" mozallowfullscreen="" src="https://player.vimeo.com/video/186187191" webkitallowfullscreen="" width="640">

 

The concept:

The first things that come to mind when it comes to the consequences of human activity on the environment are negative: depletion of natural resources, mass extinction, climate change ... But this point of view stems from the principle that human beings are purely cultural and therefore essentially unnatural. Indeed, focusing on the current environmental situation is to forget the past 10,000 years of human history in which humanity and nature evolved together in harmony. The nature of today is not natural: even in the heart of the countryside or in the depths of a forest, the landscape has been shaped by humans. The location of the fields, meadows, forests and plant and animal species are the result of choices of human societies.
The current perception of environmental risk stems from the very same bias. Indeed, nature is changing: the landscape changes due to droughts and floods, crop boundaries change and so on. But nature in itself does not disappear. The true wild nature persists. The domesticated one disappears. And this because human beings perceived themselves unnatural mentally allowing them to consider the environment as a commodity and not as a living space.
Living matters seeks to reinitiate a symbiosis between humanity and its environment by highlighting the impact of human presence in a controlled space. The whole installation consists of three areas corresponding to three metaphors of natural areas where the presence and actions of the participants build, order and recompose an harmonious environment to illustrate the possibility that the action of mankind can be positive and beneficial to nature. Living Matters wants to regain the paradigm lost: human nature.
 
With the support of le Château ephémère



Hard Drives Music

Wed, 07 Sep 2016 08:04:20 +0000

Installation : hard drives, arduino. S.Bissières, 2016

 

allowfullscreen="" frameborder="0" height="315px" src="https://www.youtube.com/embed/9C2RZ1Rsr_M" width="560px">

 

Six hard Drives are controled via arduino to make an autonomous musical system. The piece refers to Steve Reich's "Clapping Music". It uses a similar rythmical structure. The upper row of hard drives plays a 12/8 rythmic pattern for the entirety of the piece. The second row plays the same pattern, but after every 4 bars shifts by one eighth note to the right. The two rows continue this until the second row has shifted 12 eighth notes and is hence playing the pattern in unison with the first row again (as at the beginning), 48 bars later.

Like a counterpoint to Steve Reich's piece, for which he wanted to use the human body as sole sound source, the recycled mechanical hard drives are here the only (acoustic) sound sources.

http://www.stephanebissieres.com/hdmusic

 

Project supported by Le Cube, Centre de création numérique




Virtual Reality’s Impact on People with Depression

Mon, 11 Jul 2016 06:09:08 +0000

In a study done by The Royal College of Psychiatrists, it was indicated that immersive intervention from virtual reality could have a positive clinical effect, especially to those who are patients of depression. The results are further supported by studies from UCL and ICREA (University of Barcelona).

What is depression?

Depression is a serious mood disorder with severe symptoms which affect the way a person thinks, feels, and handles daily activities. Some signs of depression include irritability, fatigue, weigh changes, feelings of guilt or helplessness, consistent sad mood, thoughts of death, etc.  Because of the highly competitive world of the 21st century, depression has become one of the most common disorders in America.

What causes depression?

Not all physicians and scientists agree on the exact causes of depression. However, it’s commonly believed that it’s affected by genetics, environmental factors, substance abuse, stress, medical illness, and grief.

How does virtual reality help?

A professor at University College London states that self compassion is essential in calming any feeling of distress a person is feeling; thus, stopping the negative emotion from escalating. It’s a fact that a lot of those with depression can easily show compassion towards others but not towards themselves.

If those with depression are given a chance to boost their confidence up a notch by listening to the compassionate side of themselves, then there might just be a chance that they can prevent, if not treat, being depressed. The same concept is explored by Caroline J. Falconer and her team in their study.

Fifteen patients, ranging from the ages 23 to 61, volunteered to be on the project. For one month, the patients are required to wear a virtual reality headset for 8 minutes and put themselves in the shoes of another virtual body or avatar, which they can see on a mirror strategically positioned in from of them. Then, they are tasked to make a virtual child stop crying. In the mirror, they could see their own gestures and listen to their own compassionate words. The process is repeated three times every week.

Will virtual reality really help?

After one month, nine out of fifteen patients confess that they have reduced symptoms of depression, four of which shows significant decrease in the severity of their depression. The sessions are said to have taught them how to show compassion towards themselves.

The results are considered really promising. However, since the sample is considerably small, further research needs to be issued. Nonetheless, it might be worth it for physicians to use virtual reality in their practice.

It can’t be denied that virtual reality is greatly affecting several fields and industries. Its impact on the clinical status of those with depression is so significant that one can’t ignore it. In fact, the possibility of virtual reality becoming a part of homes is strong, especially since recent markets are offering the innovation at a low cost. It’s high time that depression is addressed and virtual reality might just be the solution people have been waiting for.




INTERACTIVE VJING : Jim Rolland vs MediCament

Fri, 08 Jul 2016 14:38:32 +0000

(image)

Following a call for applications, I was selected by the French Institute in Morocco for a two-week creative residency at the French Institute of Agadir in June 2016.

The aim was to achieve a set of interactive Vjing on traditional southern Moroccan music.

The group with which I was led to work is called MediCament.

Their charismatic leader, Mehdi Qamoum, plays guembri (traditional instrument of the Gnawa music) and sings beautifully.

His seven musicians are on drums, guitar, bass, keyboard, percussion and the last two play qraqebs.

They make Gnawa fusion music of their own composition, contemporary extension of their traditional music from southern Morocco.

(image)

For two weeks, I impregnated in their particular rhythms (triple rhythms superimposed on binary rhythms) from the countries of the Gulf of Guinea.

I also listened avidly to Raouf’s explanations on Gnawa culture, percussionist of Agadir Gnawas and owner of Jazzawiya, an intimate concert hall of the street of Meknes where MediCament repated.

Each song invokes the traditional repertoire of spirits (mlouks) which are represented by a very particular color.

To name a few, the moussaouiyin, spirits of the sea, in light blue, the samaouiyin, spirits of heaven, in navy, the spirits of the African forest in black, al Houmar, blood, in red, the female spirit Lala Mira in yellow and purple, white and green being reserved for saints.

(image)

My job was to develop an interactive program with the software Processing to perform a live performance where improvisation would have a significant share.

I created thirteen different forms that I call (one or more at a time) with my computer keyboard and I change the appearance, movement and color using a MIDI control surface.

Interactivity is sound: my external sound card is connected directly to a stereo output of the engineer's console and the decibels received give their volume and their gloss shades to the projected shapes.

The culmination of this work, where we can see excerpts on this video capture, was a great moment of encounter between two cultures, traditional Gnawa culture and Western digital culture.

The concert, organized by the French Institute of Agadir in Agadir Théâtre de Verdure (an outdoor amphitheater that can accommodate nearly 4,000 spectators), took place on the night of June 26, 2016 to an audience excited by the festive music of MediCament.

 

allowfullscreen="" frameborder="0" height="360px" mozallowfullscreen="" src="https://player.vimeo.com/video/173015914" webkitallowfullscreen="" width="640px">

MediCament vs Jim Rolland / interactive vjing from Jean-Michel Rolland on Vimeo.

 

 




Antique and chromatic Machines

Tue, 07 Jun 2016 15:27:04 +0000

Antique and chromatic Machines
by Jean-Robert Sédano & Solveig de Ory

(image)
 

In this kinetic and participative installation your legs as well as your head are in the spotlight. The antique and chromatic Machines associate the elegant mechanics  "Modern style"  with digital art in a green version disconnected from the electric mains.

The installation consists of four old sewing machines, which we have kept the pedal to animate a luminous disc changing images according to the rotation.

Forging links with the history of art and techniques, reviving the Rotary Glass Plates of Marcel Duchamp, colorful theories of Bauhaus and the early days of cinema, the four pedals activate four different image series: yellow and green triangular shapes, circular blue and cyan, magenta and red square, lines and dots in black and white.

 Connecting human energy to the collective creativity, in the vibration pulleys and rotors, alternately actors and spectators visitors will create the color and light performance.

Playful and autonomous, antique and chromatic Machines by Jean-Robert Sedano and Solveig Ory propose a new pedal stroke in interactive art: consume the art that you produce !

Composition: 4 pedal machines, with drive pulley of a dynamo hub, 56cm diameter Plexiglass disc, programmable LED strip, 72 images in memory, 140cm height, length 90cm, width 70cm, 4 stools.

Presentation: Ground flat and level, any type of place (except rain - about 20m² minimum) , day in the shade or night. Standalone device: no technical requirements, no hardware to provide, no electrical connection. Setting up 15 minutes.
 
https://www.youtube.com/watch?v=vG-7zsnBoAM
 

 




Device_Art // Triennial : 5th International Art Triennial of Robotics, Gadgets and Devices

Mon, 09 May 2016 15:10:31 +0000

First initiated in 2004 by Croatian organization KONTEJNER | bureau of contemporary art praxis, Device_art is a triennial international festival exploring the relationship between technology, art, and utility. The project is focused on exploring and communicating an artistic medium, which takes the shape of a technological device in a critical, provocative, or playful manner. It aims at contextualizing and presenting works that are the result of creative tendencies located at the crossroads of art-design, gadget-hack, and hybrid technologies. The fifth edition of the Device_art triennial will be presented at Eastern Bloc in Montreal, Quebec, featuring an exhibition and performances by Croatian, Slovene and Japanese artists: Martina Mezak, Vitar Drinković, Davor Sanvincenti, Margareta Lekić, Lightune.G, Marko Batista, Robertina Šebjanič, Ida Hiršenfelder & Aleš Hieng-Zergon, Saša Spačal, Takeshi Oozu, and Hiroo Iwata. Opening : May 12, 6 PM Duration : May 12 - June 1 2016 Gallery hours : Tuesday – Sunday | 12 PM – 5 PM Free*   Martina Mezak (Croatia) Vitar Drinković (Croatia) Davor Sanvincenti (Croatia) Margareta Lekić (Croatia) Lightune.G (Croatia) x2 Hiroo Iwata (Japan) Marko Batista (Slovenia) Robertina Šebjanič, Ida Hiršenfelder & Aleš Hieng-Zergon (Slovenia) Takeshi Oozu (Japan) Saša Spačal (Slovenia)   MARTINA MEZAK (Croatia): Urania Urania (Martina Mezak) is a cloud-making device that allows the control of a cloud's density by blowing on it. This installation deals with the technological simulation of nature through the means of an interactive visual imagery that allows the user to participate in the creation of a virtual sky. By blowing into a long velvet tube, clouds can either be created or dispersed from the sky. The participant lies on a soft mattress beneath computer-generated clouds on the ceiling. www.martinamezak.hr VITAR DRINKOVIĆ (Croatia): Breathing time This work consists of a belt that contains a pressure sensor which is connected to an apparatus and nine reflectors. The user puts the belt around their belly, pushes a red button and starts breathing deeply, with the lower part of their lungs, from the abdomen. The reflectors follow the breathing of the user, with the inhalation making the light become more intense. It is a response to an accelerated and stressful way of life, in which one is constantly thinking and multi-tasking, always in the past or the future, never the present. This work forces the viewer, through a single action, breathing, to embrace the "here and now". http://vitardrinkovic.blogspot.hr/   DAVOR SANVINCENTI (Croatia): Ø The interactive sound installation Ø is a continuation of an earlier exploration of the relationship between the Universe and man, sound and space, the materialization of noise and the localization of the infinity of sounds in the expanse of space. The work consists of a trunk of an old Istrian olive tree, brought down by the forces of nature, polished using the Japanese technique of revealing the growth rings. The visitor is invited to gently touch the time of the tree and activate the sounds, noises and harmonies. The object becomes a musical instrument with a multitude of combination. www.messmatik.net MARGARETA LEKIĆ (Croatia): Under the hammer Viewed from the perspective of mythology, "egg" means life, life being energy. According to the law of conservation energy, it is indestructible. So if energy is indestructible, it would follow that life is indestructible too, leading to the assumption that the egg is indestructible as well, or in the case of Under the hammer, apparently resistant to the forces of gravity, impact, and[...]



"Noor A Brain Opera" premiers in 360 degree immersive theatre

Wed, 04 May 2016 15:31:34 +0000

  Noor – A Brain Opera by Ellen Pearlman A fully immersive brain opera premiers in 360-degree theatre, with a performer launching video, audio and a libretto through brainwaves and audience interaction. The world premier will be at ISEA 2016 Hong Kong on May 18th. It will have a second run at the Microwave Festival in Hong Kong on May 27th. Noor (which translates as ‘light’ in Arabic) is a brain opera that asks, though metaphor, analogy, sound, text, light, movement, brain sensors and audience interaction with an ‘actor’ wearing an Emotiv EEG brainwave headset just one simple question – “Is there a place in human consciousness where surveillance cannot go?” Noor will be an original ‘brain opera’.  Though artists have been working with EEGs producing musical events no one has ever created a full audio visual brain opera. This will be a first. Using an EEG enabled headset, the performer’s emotional states will, at various times, launch digital databanks of video, audio and text enabled events while simultaneously displaying the performer’s brainwaves live-time for audience viewing.  Story Noor is loosely based on the true story of Noor Inayat Khan, a Russian born, European raised Sufi Muslim Princess whose father Hazrat Inayat Khan brought Sufism to the West. During WWII Noor became a covert wireless operator for British Intelligence by parachuting deep inside occupied Vichy ruled France. For a period of three months Noor (code name “Nora”) was the only communications link transmitting critical information back to the Allies. Caught by the Gestapo, who were unable to break her to find out any information about her transmission cell, Noor was shot inside the infamous Dachau prison shortly before the end of the war. Noor will be used as metaphor to work with issues of surveillance, privacy and faith.   Production team: Ellen Pearlman – Director, Producer, Video artist, Saba Arat – Performer, Taras Mashtalir – Sonic Artist, Choreographer – David Leung, Videographer – Vincent Mak, Librettist – Natali Fedorova, William Wong – Technical Director, Tommy Martinez – Programmer Technology Using an Emotiv headset , a databank of images, sounds and text has been created calibrated to launch according to different emotional states of the ‘actor’. Those states and databases are keyed to the following mental states: 1. Relaxation 2. Engagement (attention) 3. Interest (enjoyment) 4. Stress 5. - A fifth screen displays the ‘actor’s live-time brainwaves Interactive Components – A Continuous, Live-Time Feedback Loop The performer moves through the audience. The audience either stands, or sits depending on the venue. The spoken word libretto based on the life of Noor is played, as is a live time recounting of key moments from the life of Noor. The performer’s brainwaves are displayed live-time for the audience to see as they interact with them, and the story. As the performer’s emotional states change, different videos, audios, and parts of the libretto are triggered on four different screens. This in turn changes the performer’s emotional state, which changes the mood and responses of the audience. Only the screen displaying the performer’s brainwaves will be active all the time. The other four emotional states will cause the displayed images and sound to ebb and flow, depending on the live-time interaction between the audience and the performer. [...]



L:ED introduced its showreel

Mon, 18 Apr 2016 15:57:16 +0000

(image)

 

L:ED introduced its showreel ! Here’s what happened in 2015 / 2016 ! Interactive installations, audiovisual shows, video mapping, scenography, VJing and entertainment, sound and motion design...

allowfullscreen="allowfullscreen" frameborder="0" height="281" src="https://player.vimeo.com/video/160779115?byline=0&portrait=0" width="500">

L:ED turn your digital experience wishes into reality by designing and realising your projects with you or by proposing ready to use installations.

(Re)discover our work and feel free to contact us !

Facebook

Twitter

Instagram




Prix Cube 2016: Saša Spačal, Mirjan Svagelj and Anil Podgornik

Thu, 07 Apr 2016 10:47:31 +0000

Reference center for digital creation in France, Le Cube continues with this 3rd edition of the Prix Cube (International Digital Art Prize for Emerging Artists) to promote and support emerging artists and innovative practices in today’s art. This international award for young designers in digital art distinguishes a digital artwork under 2 years performed by artists under 36 years in the fields of interactivity, generativity, network, the Internet or mobility. A selection committee met to choose the six works nominated for the Prix Cube 2016. The 6 shortlisted artworks will be exhibited during the Prix Cube from 13 to 17 April 2016 in the exceptional setting of the Espace Saint-Sauveur, a desacralized 19th century chapel in Issy-les-Moulineaux A jury of personalities from the cultural, institutional and media finally nominate the winner of the 2016 Cube at the official evening awards ceremony, Tuesday, April 12, 2016. Digitalarti Media, partner of the Prix Cube 2016 has meet the nominated digital artists. We discover now Myconnect, the interactive installation designed by Saša Spacal, Mirjan Svagelj and Anil Podgornik. SAŠA SPACAL, MIRJAN ŠVAGELJ, ANIL PODGORNIK Myconnect From a distance, it looks like the latest IRM platform or a high-tech sarcophagus straight out of a science-fiction film, to slide into lethargy and endure the constraints of a long-term voyage in outer space… This installation proposes in fact, a journey in the mind, to the heart of our perceptions and feelings, interacting this "alien" environment. Like for a scan, the spectator lies down in this oval-shaped cocoon, with headphones over the ears and sensors to measure the heart rate. It is easy to see why this device designed by Saša Spacal, Mirjan Svagelj and Anil Podgornik, is called Myconnect. The data gathered interacts with a mycelium culture that will "oscillate" according to the information received. In return, "these variations in turn generate signals, sent back to the person in the form of vibration, sound and light. Each cycle may be different depending on whether the experience is stimulating or soothing". This interactive installation "proposes experiencing a symbiotic connection between human beings, the biological and technological.”    Put in a situation of sensory isolation, only enduring and responding to signals that are sent, the viewer is introduced to a symbiotic relationship with this laboratory culture. The objective of Myconnect is to show the ability of human beings to go beyond, if not infringed, their own condition to connect to/with other species. De facto, it is definitely a hybrid work, in every sense of the term: neither bio art, nor multimedia, but borrowing a little from both. Presented at the Ars Electronica festival, where it was awarded in 2015, Myconnect was nominated for Prix Cube 2016 (International Digital Art Prize for Emerging Artists). A complex project if ever there was one, implementing the fruit of the knowledge and expertise of its creators who were all born at the start of the 80s. Multimedia artist and graphic designer Saša Spačal is interested in bio art, real-time interactivity, technological development (in the bio-logical sense of the term) and posthumanism. Mirjan Švagelj, the scientifist of the trio, has a doctorate in biomedicine from the University of Ljubljana. He has also worked with Polona Tratnik (Nomadology) on art /science projects. Anil Podgornik, the technician, is a mechanics, electronics and physics enthusiast. Together, they have also worked on the series Mycophone_Genus and Mycophone_Emergenc[...]



OPEN CALL InShadow 2016 | Deadline > May 31st

Wed, 23 Mar 2016 13:24:43 +0000

InShadow - International Festival of Video, Performance and Technologies is an initiative of Vo'Arte, in co-production with São Luiz Teatro Municipal, which has established itself as a reference in contemporary artistic creation and programming, with emphasis on the convergence of language between body and image, based on technology.
It has obtained the  prestigious recognition of EFFE – Europe for Festivals, Festivals for Europe, 2015-2016 label.
 
The period for submissions to the 8th edition is oficially open!
 

Submit your work in the areas of Video Dance, Documentary, Animation, Performance, Installation and Exhibition until the 31st of May.

Apply and have the chance of winning one of InShadow's awards and have your work recognized internationally.


All the information here: http://www.voarte.com/en/festvoarte/inshadow/candidaturas

Spot: https://vimeo.com/158346012


Follow your Shadow!

 




Daito Manabe & Motoi Ishibashi glorify the invisible at the MCJP

Tue, 15 Mar 2016 14:24:57 +0000

  Transphère, a series of installations presenting the work of contemporary Japanese artists, is on the programme at the Japanese Cultural Centre in Paris in 2016. While waiting for creations by the Atelier Bow-Wow & Didier Faustino to be exhibited this summer, followed by Rei Naito this autumn, the famous Datoi Manabe & Motoi Ishibashi, exceptional artist/programmers, unveil Rate-shadow. This is a new digital work, halfway between real and virtual, on view until the 7th May 2016. You may have read that the Transphère series at the Japanese Cultural Centre in Paris aims to question the meaning of art through experimentation. This is a recurring theme regularly proclaimed by cultural structures, yet sometimes leaving visitors disappointed. However in this particular case, fans will pay particular attention to this declaration. Anyhow, it’s already a feat to see the Japanese Cultural Centre in Paris decompartmentalise contemporary creation and present digital works of art. All the more so, this concerns key figures on the digital scene and brilliant computer researchers, Daito Manabe & Motoi Ishibashi, invited to exhibit a new piece. Daito Manabe has already made a name for himself by publishing his stunning performance Face Visualizer on YouTube in 2008. Just like Ryoji Ikeda, famous for his avant-garde installations or Masaki Fujihata in the field of computer graphics and network art, Daito Manabe and his Japanese accomplice have since made a name for themselves in research and development. Aomi Okabe, artistic director of exhibitions at the Japanese Cultural Centre in Paris states that, “Daito Manabe and Motoi Ishibashi, who belong to a generation that grew up on video games, refer to themselves first of all as programmers, developing the programmes and hardware which they use themselves.”   Experimentation-led methodology   Collaborating as directors of Rhizomatiks Research, one of the most innovative Japanese structures with regard to digital creation, the artists, and programmers therefore gain from each other’s respective area of expertise. “As a general rule, Motoi Ishibashi is responsible for engineering, that is all the equipment and mechanics, while for my part I work on the software and electromagnetic waves, such as sound and light”, explains Daito Manabe. The work of the duo is based on continuous experimentation. For them, computer and mechanical research is just as important as the visual result, enough to make it the main requirement for any creative activity. Motoi Ishibashi explains this approach in detail: “The tools used are constantly evolving. We make use of them again and from this point on we imagine what work of art can be produced. It would be complicated to separate research and artistic achievement in our business. They are the two faces of the same coin and indispensable to carry out our work”   Halfway between real and virtual Finally myoelectric sensors, mapping (see Pulse) or lasers (see Robot x Dancers x Lasers), pushed to a high technological standard, become simple tools enabling a tangible area to be created between real and virtual. Their creations come in many forms. Also, choreographed performances directed by Mikiko and performed by the company elevenplay are all magnificent. allowfullscreen="" frameborder="0" height="343" src="https://www.youtube.com/embed/hX2TneyE41Q" width="610"> drone x spotlight _ elevenplay x rhizomatiks "Shadow"  3 dancers and 24 [...]



DADA'S NOT DEAD

Sun, 14 Feb 2016 15:19:37 +0000

(image)

 

Audiovisual generative app tribute to Dadaism.

Dada artists liked to produce artworks where chance played a major role (Hans Arp for example).

Generative art, almost always requiring random numbers, is somehow in the continuity of this movement.

"Dada's not Dead" is an evolutive app, new pages will be added all through 2016.

With audiovisual creations inspired by Hugo Ball, Kurt Schwitters, Hans Arp, Hans Richter, Walter Serner, Raoul Hausmann and new ones going forward.

Free app for Androïd to be downloaded on :

https://play.google.com/store/apps/details?id=processing.test.dadasnotdead

Project website : http://franetjim.free.fr/dada.html

 

(image)

 

(image)

 

(image)

 

(image)

 

(image)

 

(image)




Miguel Chevalier’s virtual environments

Thu, 15 Oct 2015 11:55:38 +0000

With his virtual gardens and other organic and generative environments, Miguel Chevalier asserts his role as artist- demiurge at the core of hybrid links between nature and technology. ‘Fractal Flowers’ by Miguel Chevalier are symbolic forms of unusual art aesthetics. These huge, both generative and interactive flowers adorning immersive multimedia spaces that their creator enjoys introducing to different venues, were recently installed in Hong Kong with the exhibition "Digital Paradise" at Galerie Puerta Roja once again with renewed modeling. ‘Each garden that I present is original and unique,’ explains Miguel Chevalier.  ‘For my first solo exhibition in Hong Kong, the choice was to create a garden composed entirely of white flowers against a red background. New species were therefore specifically created for the event, to complete the existing herbarium. In addition, if the first ‘Fractal Flowers’ were mainly made of cubes, they now have other geometrical shapes: spheres, cones.  Thus a more complex garden is created.’   Imaginary plants This reflection around the notion of work of art in the digital era and hybrid links between nature and technology defines Miguel Chevalier’s work. ‘The theme of nature has always been a recurring theme in the history of art; it is in my work too,’ claims Miguel Chevalier. ‘We have entered an era where artificial life is very real. Today, we increasingly model and simulate in laboratories the living conditions of beings whether animal or plant. I was inspired by this research to apply it to the imaginary plants ‘Sur-Natures’ (2004), ‘Fractal Flowers’ (2008) and ‘Trans-Natures’ (2012). The life processes of each of these works are based on scientific models developed by the INRA (French National Institute of Research for Agriculture). My virtual gardens use genetic algorithms borrowed from biology, allowing me to create artificial living universes, effects of growth, proliferation and extinction.’ allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="//player.vimeo.com/video/92161673" webkitallowfullscreen="" width="610"> Personal exhibition at Ceret Modern Art Museum from March to June 2014  Over the course of his artistic career, different environments of digital flowers evolved according to the ‘biological’ modification of their elements, as reflected again in the new versions of the devices ‘Sur-Natures’ and ‘Trans-Natures’ presented at the Centre d’Arts et de Nature in Chaumont Sur Loire and at the Musée des Arts Décoratifs in Paris.  Public interaction is also specific to each of these environments. allowfullscreen="" frameborder="0" height="343" mozallowfullscreen="" src="//player.vimeo.com/video/92720603" webkitallowfullscreen="" width="610"> Trans-Natures – Exhibition from 12th April to 2nd November 2014 at the Centre d’Arts et de Nature (Domaine de Chaumont-sur-Loire) "Thanks to presence sensors, the ‘Sur-Natures’ gardens react to visitors walking past,’ Miguel Chevalier points out. ‘The plants sway from right to left as if being blown by the wind and undulate to form “baroque” lacework and original plant ballets. The ‘Fractal Flowers’ bend more towards visitors as if to bow down before them. Lastly the ‘Trans-Natures’ diverge and rotate on the spot." Timeless picture With th[...]



Digital lovers

Sat, 12 Sep 2015 13:12:34 +0000

(image)

 

Let us please introduce you our "digital lovers": 

 

allowfullscreen="" frameborder="0" height="338" mozallowfullscreen="" src="https://player.vimeo.com/video/138737969" webkitallowfullscreen="" width="600">

 

This is a new experimental video from L:ED (Laboratory of Experiments in digital) , an edition of a live capture (no After Effects or post prod'...)

 

Music by Exomène, available on available on WEATNU records : weatnu.bandcamp.com/album/trinity

Video by Dorianne Wotton

"Twilight bounded with a kiss, two lovers delighted in bliss, the ethereal high becoming more intense.

The eternal fireworks of the good deeds recognized and magnified a yet glorified within the boundary of images digitized"

Thank you to our lovers, Jean Francois B and Louise Dumont

 

Watch and let yourself go. 




Thomas Cimolaï’s reflections at cross-purposes

Tue, 01 Sep 2015 13:54:56 +0000

Through his pieces connecting screens and objects, Thomas Cimolaï makes the spectator look at themselves differently, offering another experience of our relationship back and forth between physical reality and its representation. In his recent Miroir Fuyant (Elusive Mirror) this experience of ‘reflection’ at cross-purposes transpires again. What happens when the narcissist function of the mirror no longer works, and your reflection seems to escape you when you approach it? This interesting reflection is driven by the piece Miroir Fuyant (Elusive Mirror) by Thomas Cimolaï, produced in coproduction with Digitalarti and notably exhibited at La Laiterie in Vern-sur-Seiche as part of the Bouillants Festival, or more recently at the Pavillon Carré de Baudouin as part of the exhibition Miroir, Ȏ Mon Miroir (Mirror Mirror on the Wall) put forward by the city council of the 20th arrondissement in Paris and L’Extension. Small version of Miroir Fuyant exhibited at the pavillon Carré de Baudouin in Paris Situated at a crossroads between object, sculpture and media technology, the piece testifies to artist Thomas Cimolaï’s continuing interest in this relationship between screens and frames situating the spectator on the brink of a new form of exploration. This principal of creative hybridisation between a plastic form and a more technological screen medium is fairly typical of his very individual approach, favouring a form of offbeat humour. ‘At the beginning, my approach questioned our relationship with images and their production due to dissatisfaction or incomprehension,’ explains Thomas Cimolaï. ‘What is presented and how is it made? This is semiology. Then, given that today we experience more screens and means of browsing dynamic content, I stopped to think of the repercussions that a certain type of object intended to give access to content may have on its user.’ In his career that led him from the Beaux-Arts in Rennes to the Centre de créations pour l’enfance, from decorative arts to producing a dissertation on La Jetée by Chris Marker and a post-graduate course in multimedia, Thomas Cimolaï has brought his various areas of interest into play, focusing for example on some philosophical works like those by Vilém Flusser about design and photography techniques. This intellectual stance has led him to address certain principles in his work, such as mnemonics.  ‘It is a subject that I have been very involved in,’ he says. ‘It is the history of storage techniques, a very interesting point from the point of view of the relationship with ‘data’, its organisation and use. In this history, there are recording methods as well as transmission methods and methodologies for invention before the advent of the printing press. For that I studied the writing of Frances A. Yates. Today, these questions are the background to my work. This has allowed me to locate changing motivations and methods for recording and transmitting. Technology and systems are very informative regarding understanding all kinds of interfaces. They are the ‘code’ that enable a flow of audio-visual events that are just the tip of the iceberg.’ Trophées du Sixième Continent This rigorous and methodological approach has not prevented Thomas Cimolaï from positioning his sculptural work on objects in often elliptical, or even symbolic dimensions, as is the case in h[...]