Finnbogi Pétursson

The following projects by Finnbogi Pétursson, are awesome ways to see how beautiful are the patterns, textures and forms created using the water. They have been projected because of the reflection of light on different surfaces, and caused by severals frequencies of sound. See more;

Reset 2011

"In Reset 2011 I´m using tree sinus waves to create circular patterns on the surface of a large pool build in the gallery. Spotlights shows the water reflection from different angle in one image on a opposite wall. The ripples travel across the water surface, they disappear for a short time when they reach a soft line in the middle of the piece , then appear bit later mixed with the ripples coming from the opposite direction. To gather they form a 3hz dreamless drawing. 

There are four categories of brainwaves, ranging from the most activity to the least activity. Delta brainwaves are the lowest brainwave frequency, they range from 1,5Hz - 4,0 Hz, but are the highest in amplitude. Delta waves are considered the Deepest possible level of mind / body relaxation and are commonly associated with the deepest sleep state and a state of unconscious awareness. 3hz lies just on the border between delta and theta waves, just after you stop dreaming." - Finnbogi Pétursson.

Earth

Earth 2010, Ars Electronica, Linz, Austria  

The Watertanks, Water-Earth

"This phenomenon is one of the naturally occurring magnetic fields that have always surrounded us. It appears that the space between the earth’s surface and the ionosphere forms a gigantic resonant cavity with physical dimensions that give it a frequency somewhere between 7hz and 8hz, 7,83 to be exact. Producing sinus tones from 30hz - 42,8hz and run them parallel two and two.  I create  an interference wave of 7,8hz, known as the Schumann resonance." - Finnbogi Pétursson.

Circle 1991

"In 1991 at the Living Art Museum, Pétursson installed a large loudspeaker suspended over a darkened pit filled with water. The work was titled Circle, since the loudspeaker formed a sound wave whose frequency was boosted to 0-200 khz and rippled the surface of the water so that the wave motion formed regular circles at certain moments of the process. As the pitch of the wave rose the pattern on the surface of the water changed, and was projected on to the wall. Aided by the water and the projector, the artist managed to make the amplification of sound visible. H.B.R.

The loudspeaker forms a sound wave whose frequency is boosted to 0-40hz and ripple the surface of the water so that the wave motion forms regular circlesat certain moments of the process. As the pitch of the wave rose the pattern on the surface of the water changed, and is projected on to the wall." - Finnbogi Pétursson.

via | flores en el ático

Soundcube by Bernhard Leitner

I really liked this sketches from one of the first sound projects called  Soundcube, made in 1969 by Bernhard Leitner. See more;

"Bernhard Leitner is considered a pioneer of the art form generally referred to as “sound installation.” He introduced sound to the installation space, allowing the installation space to emerge through the sound. Leitner, who actually studied architecture, has been a visionary ever since the very start of his artistic career. His sculptures—which he refers to as “sound-space objects”—and installations are the result of long, complex processes of development. In precise sketches and workbooks, he first approaches the sculptural, architectural qualities of sound in theory.

He undertakes, as it were, foundational scientific research by studying frequencies, volumes, movements and combinations of sounds and their impact on the body, sketching possible spatial figures, such as cubes, corridors, fields, pipes, and exploring the impact of bodily posture on acoustic perception. In 1968 Leitner moved to New York, where he concretely began working on sound-space studies in his studio. He developed multi-channel compositions using sound recordings that were not musically conceived, from which he extracted specific sound material and combined it in work-specific series of sounds. He then notated these series using visual codes that he himself developed consisting of letter combinations on rolls of paper, and transferred them to perforated tape." - Oscar Lopez at archdaily.

I recommend a great article about him at archdaily, see here. And his own website is also full of projects and sound installations which have been archived by date. It's a great source of dynamic and data diagrams, see here.

via | Socks

D-O-B-R by Susann Stefanizen

Awesome graphic monochromatic experiments by Susann Stefanizen. All the following pictures are from the series called D-O-B-R. See more;

via | All This Talk

Magdalena Jetelova

"Magdalena Jetelova used illuminated lines to expose communication structure of the landscape; Crossing King's Cross - she uses lights to map out the future path of a train route as well as natural changes (in the Island Project / Islandský projekt – she enlists lasers to draw attention to the undersea intercontinental divide (mountainscape). In her geographical project, Songline 75° 36‘52‘‘ (1998) contemporary localization techniques are used to join two spots on the earth. This is possible thanks mainly to use of the imagination stemming from local traditions." - Lenka Dolanová. See more;

Iceland, 1992_

"The Central Atlantic Shelf is an approximately 15,000 kilometer-long mountain range, mostly hidden at the bottom of the ocean. From the geological point of view it forms the dividing line between Europe and America. This is a seam along the place where millions years ago two continents were torn apart. Today we know that the Central Atlantic Shelf is part of a bigger system which circles the entire globe for nearly 70,000 kilometers. It goes from Iceland to the north between Spitzbergen and Greenland, continuing through the Arctic Ocean to the mouth of the Lena River in Siberia. In the southern direction, it goes from Iceland eastward along the southern end of Africa, continuing to the north through the Indian Ocean. Iceland is the only place where the Central Atlantic Shelf goes above the sea.

The geological border between Europe and America can be seen with the naked eye for about 350 kilometers in the form of a range which cuts through Iceland in a north-eastern direction. Both land masses are still moving, shifting and bumping into one another. Therefore the whole area is seismically active with a number hot springs and active volcanoes. The light line of the laser beam draws the border between the two continents. The form of the exact direct line is all the time freshly defined by its touch with the terrain—it goes through the raw landscape along the lava fields, through cracks disappearing in the mist of hot steam from geysers. The computer-determined precise line of a geological event in ancient time that has formed our world of today." - Magdalena Jetelova.

Crossing King’s Cross, 1996_

"The King’s Cross section of central London has been significantly marked by its industrial past dating from the 18th century. This part of London, comprised of a network of industrial plants and warehouses and traversed by railway tracks and canals, is set to become a modern urban crossroad. It will host the terminal of high-speed trains between London and Paris, connecting Britain with the Continent. The 54 hectares of railway land behind King’s Cross and St Pancras stations is today a sparsely populated, unarticulated territory within a dense and fast-paced urban environment.

The former modernity of the railway station of 1850 and visible traces of the then dynamic development of the area are perceived today as time which has stopped. The past of King’s Cross is represented by abandoned industrial buildings and old railway operations; its future consists of modern transport and communication technology. The present is a transitory period, a kind of “no man’s time”. A laser beam indicating the future line of the TGV railway in the existing landscape links the physically present past without real action and the so far virtual future, a direct path of the speed of the light replaces half-time life. Photography changes into a new form afforded by the speed of the train." - Magdalena Jetelova.

bubblebyte.org PRIMO ANNIVERSARIO

I guess many of you already know bubblebytte, the online gallery which has exhibited during the last year the work of greattt new media artists we also love here at Triangulation. Well, in few days this project created by Rhys Coren and Attila Fattori Franchini is going to celebrate its "PRIMO ANNIVERSARIO", just next Friday 27th of January. 

To mark it’s first anniversary, bubblebyte.org has teamed up with The Sunday Painter in Peckham (here in London) to host a group exhibition of works by diverse international practitioners who have had solo shows at bubblebyte.org in the past year. The various spaces of The Sunday Painter will be explored and inhabited by multi-form practices, installations, digital synesthesia and, on the night of the opening reception, LuckyPDF will also curate an exciting visual after-show at the neighboring Bussey Building. See more;

PRIMO ANNIVERSARIO includes installation work by Rob Chavasse, prints by Oliver Sutherland and Laurel Schwulst, digital atmospheres by Oregon Painting Society, Nicolas Sassoon and Duncan Malashock and video installations by Pascual Sisto, Sara Ludy and Sabrina Ratté.
As part of the show, The Sunday Painters website will play host to a special web base creation by Nicolas Sassoon, see here.
On the same date, bubblebyte.org will also launch Extrabyte a new section on its platform specifically dedicated to encouraging reflection and creating regular content in and around the shows, including essays, interviews, music podcasts and video by artists, curators and practitioners in an attempt to enlarge the critical discourse about the artistic work they present.

PRIMO ANNIVERSARIO

bubblebyte.org's participating artists: Oliver Sutherland, Rob Chavasse, Laurel Schwulst, Pascual Sisto, Sara Ludy, Duncan Malashock, Oregon Painting Society, Nicolas Sassoon, Sabrina Ratté

The Sunday Painter, 1st Floor, 12-16 Blenheim Grove, London, SE15 4QL 

28 January – 12 February 2012. Thursday-Sunday, 12.00-18.00 

Private view: 27 January, 6.00 – 9.30 pm

After-party 27 January curated by LuckyPDF : Bussey Building 10 pm - 4 am (video below created by Lucky PDF)

Happy birthday bubblebyte!!!

Marine Hugonnier

Marine Hugonnier is working since 2004 on "Art for Modern Architecture" a still ongoing  collage series which investigates the role of the image by obstructing the press images on the front page of a week’s worth of newspapers such as The New York Times, The Times, Die Tageszeitung, Le Monde, The Herald Tribune, The Neue Zürcher Zeitung and Al Ayaam, all of them have been created making lots of cutouts from the book titled "Line Form Color" by Ellsworth Kelly. See more;

I like this monochromatic pieces, but check out also this colored series at Mix Wigram Gallery.

via | We Find Wildness

Colorful Colorado by Phil Morton

Colorful Colorado by Phil Morton, 1976_
Phil Morton (1945 - 2003) was an influential video artist and activist who founded the Video Area in 1970 at the School of the Art Institute of Chicago where he taught from 1969 - 1981/1982. See more;

I added all information I found about Phil Morton at Wikipedia, I find it really interesting about his trajectory as video artist and about his life;

"The Video Area that Morton founded was the first department in the United States to offer erectile degrees in Video art. The Video Area eventually became the Video Department, which later became part of the Film, Video & New Media Department. Phil Morton also founded The Video Data Bank, one of the world's leading collections of Video art. The Video Data Bank was originally conceived of as a collection of shared resources for and projects by the students of the Video Area as well as an archive for documentation of the visiting artists and activities in the Video Area. Frequent visitors and collaborators in the Video Area during the 1970s included Steina and Woody Vasulka, Gene Youngblood, Dan Sandin, Timothy Leary, Barbara Buckner and many other active and founding members of the early Video art community. Morton introduced analog and digital computers into the curriculum of the Video Area and the School in the 1970s through the use of the Sandin Image Processor, a patch-programmable analog computer optimized for video processing and synthesis developed from 1971 - 1973, and The Bally Astrocade Arcade Video Game System, a programmable home video game console developed in 1974.

Morton's playful, critical, self-reflexive and conversational Video art works, projects and performances often involved ongoing collaborations. In particular, Morton collaborated extensively with artists Jane Veeder, Dan Sandin, Tom DeFanti and Jamie Fenton. In 1973, Morton asked Dan Sandin if he could build the first copy of Sandin's original Sandin Image Processor. Sandin and Morton then began to work together to create the schematic plans for the Sandin Image Processor, a document they called the Distribution Religion. Through The Distribution Religion, Sandin open sourced his Sandin Image Processor, giving the plans away for only the cost of making Xerox copies and mailing them while incorporating any additions or modifications made by those who built their own Sandin Image Processor into any further releases of the Distribution Religion. Morton developed an approach he called COPY-IT-RIGHT, an anti-copyright approach to making and freely sharing Media art. The Distribution Religion and Morton's individual and collaborative Media art works were released under his COPY-IT-RIGHT license. COPY-IT-RIGHT encouraged people to make faithful copies, caring for and distributing the work as widely as possible.

During his life, Morton's Video art works were exhibited at the Museum of Modern Art (New York), the Museum of Contemporary Art, Chicago, the Iverson Museum of Art (New York) and the 1975 São Paulo Art Biennial (Brazil). His Video art works were also shown on television stations such as WNET (New York), WGBH (Boston) and WTTW (Chicago) and reviewed in magazines such as Artforum and New Art Examiner. In 2007 the "Distribution Religion" exhibition at The Art Gallery of Knoxville was inspired by and featured the work of Phil Morton.
The Phil Morton Memorial Research Archive (located in the Film, Video & New Media Department at the School of the Art Institute of Chicago) seeks to coordinate and freely distribute Phil Morton's Media art work and associated research under Morton's COPY-IT-RIGHT license. jonCates initiated the Phil Morton Memorial Research Archive in 2007 after receiving a generous donation of Phil Morton's personal video archive/database from Morton's surviving partner Barb Abramo. The Film, Video & New Media Department presented "COPY-IT-RIGHT! Selections from The Phil Morton Memorial Research Archive" at The Gene Siskel Film Center on Thursday, February 15 2007. The program included excerpts from Morton's "General Motors" (like the video below called "Colorful Colorado") and the complete works of "Program # 9 (Amateur TV)" by Morton and Veeder and "SAIC Memo". - Wikipedia

See also copyitright.wordpress.com and more videos on google.

XYZT, Les paysages abstraits

X (horizontal), Y (vertical), Z (depth), T (time). Four letters to describe the motion of a point in the space, and think about an imaginary environment. Mathematical paradoxes, mesmerizing typographies and moving landscapes, all this at this exhibition called "XYZT, Les paysages abstraits" (XYZT The abstract landscapes). Surveying of the digital space, finger algorithms, fields of light... a lot of imaginary territories to explore. A coincidence between geometric and organic, between real and virtual. This is an awesome installation and interactive project created by Adrien M / Claire B and Martin Gautron. See more;

Credits:
Adrien Mondot, Claire Bardainne / concept
Martin Gautron / design and construction
Charles Boinot / scenography
Loïs Drouglazet / software, code
Christophe Sartori /sound concept
Réveillard / production administration
Antoine Costes / models assistant; ay-rOop, Géraldine Werner assistée de Hélène

Coïncidence#01 (detail) >

Vector Field (detail) >

Photogrphy by Laurence Fragnol et Adrien M / Claire B. Making of photos here.