http://www.kinetica-artfair.com/
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Kinetica Art Fair is produced by Kinetica Museum and is the first of its kind in the UK. It brings together galleries, art organisations and curatorial groups from around the world who focus on kinetic, electronic, robotic, sound, light, time-based and multi-disciplinary new media art, science and technology.
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http://itunes.apple.com/gb/app/altered-earth/id470658082?mt=8
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Created by the artist Doug Aitken, the ALTERED EARTH App takes the viewer on a surreal and hallucinogenic journey. ALTERED EARTH was created entirely in one region, the desolate Camargue area in Southern France. ALTERED EARTH creates a distinctly modern exploration of landscape and the space between man, nature, and technology.
The Camargue’s mysterious quality is the setting for ALTERED EARTH : a naturally sculpted land emitting a rough beauty and unique individuality. This is a setting where German bunkers are being re-claimed by migratory birds and African winds spread the Mediterranean Sea over shallow lagoons revealing salt mines that appear like crystal landscapes from another world.
This is a landscape in transition, one that feels deeply natural and simultaneously futuristic, in a way distantly connected to the films of Andrei Tarkovsky
or the writings of J.G. Ballard.
ALTERED EARTH uses this unique landscape to explore a new expression of the physical world. This artwork reflects on our relation to local and global geography in the digital age and creates a new kind of map. It expands the concept of “place” into a limitless digital universe while opening windows to our understanding of landscape.
Within this App you are empowered to create your own journey through a bizarre and ever-changing landscape utilizing different forms of media. By changing the structure of imagery and seeing it in different configurations, you are able to project your own story and plot.
ALTERED EARTH allows you to explore multi-channel film, literature, and three-dimensional installation space.
“There is no hierarchy to how images and sequences can be strung together. It’s a open experience that will change every time and be unique for every viewer.” – Doug Aitken
App artwork by Doug Aitken, commissioned and produced by the Luma Foundation for the Parc des Ateliers, Arles France, and developed by Meri Media.
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Ståle Stenslie started the day with an overview of ideas around making the invisible visible. This involved tracing the history of light painting with it’s early roots in the work of Man Ray signing his name using a light stick and followed through to more industrial documentary photographic processes.
The baton was picked up by Timo Arnall (http://www.elasticspace.com/) who described projects that made use of tablet typography in public spaces. Further research projects involved visual mapping of RFID and wifi networks and overlaying this data with the overall aim of informing design processes.
Stig Skjelvik’s Dobpler which is on permanent exhibition at the school has developed into a range of incarnations internationally (http://nullohm.com/). The core of this responsive system is a simple circuit comprised of a light sensor and LED which, when constructed into mirroring grids, have been used to illuminate public spaces to create work that is driven by human presence.
Anthony Rowe and Chris Bennewith of Squid Soup (http://squidsoup.org/) took the audience on a retrospective journey of their trans-national working processes. From the Glowing Pathfinder Bugs project that started as a sandpit project with virtual bugs integrating of virtual and physical spaces, we were introduced to the Ocean of Light reactive audio-visual sculpture with it’s 3500 pairs of sound and motion sensitive circuits.
The Senseable City Lab at MIT was represented by Adam Pruden (http://senseable.mit.edu/) who introduced the concept of “detached” messages, defined as a message that is floating in the air and removed from a substrate such as smoke signals, fireworks, aerial advertisements and 3D cinema This was by way of introducing his current project that utilizes bespoke firefly micro helicopters fitted with an led in ping pong sized capsule in order to create swarms of remotely controlled flying pixels
United Visual Artists (www.uva.co.uk) provided the first keynote address courtesy of Ben Kreukniet who took the audience on a tour of projects that used light to communicate – from their partnership with Massive Attack which used projected concert projections to draw the audience in to fashion shows that used light to create a wall between the catwalk and the audience. The presentation also touched on the d3 software used – written in house to control lighting design and commercially available for bands to create their own concert lighting.
H C Gilje (http://www.bek.no/~hc/switchboard.html) presented documentation of his theatre and installation work which makes use of sequenced single light sources to create the illusion of movement along with synchronized sound in order to enhance sense of solidity to light. An interesting by-product of his creative work is the dynamic projection shareware software VPT for theatre and installation created in MaxMsp/Jjitter (Downloadable here http://hcgilje.wordpress.com/VPT/ )
Birger Sevaldson (http://www.birger-sevaldson.no/) and Natasha Barrett (http://www.natashabarrett.org/), curator and freelance musician, explored the development of their low budget, low tech immersive sound and light installation Barely. The piece explored the split between high frequent and low frequency and different refractive properties to mimic the effect of light moving through space and made effective use of black paint and UV paint on polycarbonate sheeting to create an impressive looking piece.
Marius Watz (http://www.generatorx.no/) for his presentation “some quick thoughts on images light and pixels” traced the history of multimedia from its roots in painting and sculpture through to the dynamic screens of Times Square (more pixels at bottom than at top using perceptual difference and budget – similar to trompe l’oeil of frescoed chapel ceilings).
For the second and final keynote address Antivj (http://www.antivj.com/), Joshua Lemercier and Simon Geifus described the development of audio-visual work created under their label from early experiments projecting onto mosquito netting to their more recent work that incorporates state of the art projection mapping.
Images from accompanying exhibition:
Dobpler – Stig Skjelvik
- Marius Watz
- AntiVJ
- HC Gilje
Grand Lantern Finale!
Launch project here:
Videojack website:
http://www.videojackstudios.com/
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AV Clash is a Web-based project by Video Jack (André Carrilho and Nuno Correia, with Gokce Taskan), which allows for the creation of audiovisual compositions, consisting of combinations of sound and audio-reactive animation loops.
AV (AudioVisual) Clash is composed of 4 audiovisual “objects”, which enable playback and manipulation of four different loops of sound and audio-reactive visuals. Objects can be dragged and thrown, creating interactions (clashes) between them.
The sounds in AV Clash are retrieved from Freesound.org, an online sound database. Users can change which 4 sound and animation loops are contained in each of the objects, from a large variety of options.
On an initial level, AV Clash facilitates playfulness, discovery and randomness. But it also offers the possibility of going deeper into each object, customizing its sounds and animations.
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10th to 14th November 2010
http://www.onedotzero.com/onedotzero-adventures-in-motion-festival-2010-free-installations/event/
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AntiVJ: Eyjafjallajokull
Inspired by the Icelandic volcano, which wreaked travel havoc across Europe earlier this year, AntiVJ present the latest incarnation of their audiovisual mapping project for the first time in London. Painted directly onto a large wall, a wire framed scenery is slowly revealed by gentle light effects. The audience’s senses are progressively challenged as optical illusions question their perception of space.
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Hellicar & Lewis and Todd Vanderlin: Feedback
Feedback is an interactive installation, which aims to encourage playful performance from members of the public. Using the familiar form of a mirror, the installation uses cutting-edge computer vision techniques to allow users to remix their bodies in real time.
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