PRINT FICTION

Today is the launching of Print Fiction, an online virtual exhibition curated by Michael Alfred who has created this virtual space as part of his graduation at school of visual arts (HGB) in Leipzig, Germany. 

Print Fiction shows printed based works from different well known artists and graphic designers into a digital environment. The space was built using Unity engine and presents a minimalist architecture, a simple cube divided itself in 8 rooms, all connected through a hole in the edge on the middle of the cube. The walls are semitransparent allowing the visitor to see the other artworks through the walls. The navigation is really simple and intuitive by using the arrow keys or [w, a, s, d] and the direction is contolled by the mouse. By clicking on each work it's possible to read about their information and credits.  Also in one of the rooms there is another hole on the corner, to scape to the awesome "Aurora" universe where the viewer can see the "gallery" from outside. See more;

See the exhibition here: http://printfiction.net/exhibition.html

"Artists and graphic designers present printed matter – such as books, posters or magazines – in the digital environment of web-portfolios. There are a few examples of printed matter which pretend their physical dasein throughout the web without ever getting produced or even being published in the "real world". Thereby the digital presentation of those fictive products is guided by their analogue realizability. Actually there are no limitations to the enactment of fictive printed-products in the net. Therefore the exhibition "Print Fiction" wants to encourage artists and graphic designers to ask how utopias of printed matter can look like.

The display of fictive printed-matter on computer-screens is certainly not new. There have been folders or imitations of paper in writing programs that seem to be analogue since the beginning of desktop-publishing. Old analogue structures are upheld to ease the orientation within a graphical user interface. But the display of fictive printed-matter is herein extended by the expression of artistic examination.

Paper necessitates a completed work. The digital intercommunication replaces the completed and written corpus of information with a continuous process. This transformation is in full progress – will it come to an end after all? "Print Fiction" is about developing new figures and forms of expression for existing models within a process. The examination should be primarily artistic to create – independent from economic purposes – visions and reflexions of these new figures of fictive products. What conditions make reality shapeable? Which design elements are imaginable?

The form of the "Print Fiction" exhibits shall be understood in the widest sense: Poster, paper-spreads, 3D-sculptures or utterly different. The exhibition-space will be a 3D-environment, accessible via web browser. All visitors will be able to navigate within the exhibition in a first-person perspective similar to a computer-game. "Print Fiction" will take place end of May 2012 at printfiction.net"

Print Fiction 

Curated by Michael Alfred

http://printfiction.net/exhibition.html

Alexander Lis, Claudia Klat, Dan Solbach, Hanna Nilsson, Joel Evey, Jonas Wandeler, Kim Asendorf, Lauren Francescone, Lisa Pepita Weiss, Marek Jung, Martin Cole, Martin Kohout, Michael Alfred, Pinar Viola, Rasmus Svensson, Tim Heiler, Travess Smalley.

Michael Alfred

Kim Asendorf

< Martin Cole, Pinar Viola >

Martin Kohout

Schwarm by Andreas Nicolas Fischer

Andreas Nicolas Fischer has created a series of prints which present beautiful abstract generative forms. The series is called Schwarm and has been made using a custom software called "Swarm" which works in real time (see video into the post). It consists in a uniformly moving collection of particles moving over a surface leave behind overlapping traces which create an abstract composition. This results in a series of unique images, whose development is unpredictable. Made with Processing. See more;

The software uses a swarm of particles to gradually create an abstract composition based on a series of photographs. The drawing agents behave according to a set of rules, but have a degree of autonomy. Each time the software is being run it produces an infinite sequence of unique images over time.

Click images to enlarge. All the series is 90 × 60 cm; Lambda-print.

Humming, Fast and Slow by Rainer Kohlberger

I would like to see some video where I could appreciate how these great digital surfaces move. I like the variety of textures and forms Rainer Kohlberger has created for one of his latest works called Humming, Fast and Slow. It consists in a panoramic projection presenting some glitchy compositions, monochromatic moire effects, colored blurs.. Humming, Fast and Slow was exhibited at sound:frame 2012. Festival which describes; "Rainer Kohlberger’s projection shows algorithmically generated abstract imagery, which challenges the viewer’s gaze, to thereby provide a high level of immersion. Due to blurring and wavering surfaces, the artist makes it impossible to focus the eye on one motif. One’s own perceptual field is irritated. The projected areas and patterns evolve in constant modulation. Humming, Fast and Slow is subtle in its details and at the same time energetic and puristic in its spatial experience. Rainer Kohlberger presents a fusion of abstraction and the digital, creating individual visual aesthetics. The constant drift of forms is associated with the nuanced movements in his sound – an interlude between the audio and the digital-graphics emerges." See more;

Event Horizon by Matthew Biederman

Event Horizon (2012) by Matthew Biederman_
"The work metaphorically explores the phenomenon of the ‘event horizon’. Understood scientifically, the term refers to the space-time beyond which events cannot affect an observer. The most common situation where this occurs naturally are the edges of a black hole, where beyond the event horizon, no light escapes and can therefore not be observed. Taken metaphorically, the event horizon can be understood as the point of perception itself."  See more;

"Event Horizon reflects on the current discourse around ‘embodied perception’ where the act of perception cannot be separated based on sense (See Noë, Alva. Out of Our Heads). We see, hear, and feel with all of our body, simultaneously as we navigate space. Following this line, the idea of the event horizon is the point at which we perceive phenomenon, and we can place ourselves at our own individual event horizons. The architecture itself has it own event horizon, the plane of scrims that not only delimit the space, but also serve as a projection plane that it both solid and porous allowing the projection to be caught and pass through, again reflection a point of contact, or horizon."

Event Horizon (2012) by Matthew Biederman

Comisioned for the 1st Biennial of Digital Art, Montreal.

Presented at Salle McLaren, Cinematheque Quebecqoise May 3 through June 10, 2012.

via | Creative Applications

Cycloïd-E

Cycloïd-E is a sound/kinetic sculpture created by the brothers Andre and Michel Decosterd in 2009. The sculpture consists in five metallic tubes equipped with sound sources and with measuring instruments capable of making them resonate according to their rotations, creating an hypnotic dance. See more;

"We started experimenting with the pendulum, which is at the basis of mechanical oscillating circuits. Because of its constant period, it represents in a way the harmony in the exchanges between kinetical and potential energies. A pendulum only consists in a mass at the end of an arm. To increase the diversity of the movement and obtain an object with more visual and sound attractiveness, we linked number of pendulums with each other so that they would move in the same plane. In order to cancel the effect of gravity, the end of this chain was fixed to a vertical axis, with the chain moving in a horizontal plane. The arm segments of the arm were slightly staggered to allow them to superimpose each other while rotating so that the chain may cover the complete surface of a circle. Since gravity has no longer an effect on the movement, a central engine gives impulsions, which produce the global movement. As a consequence, we obtain a system that does no longer move in a determined fashion, but in a chaotic, unforeseeable way. Its behaviour is fascinating because of the constant variations of the trajectory of its arm and the constant changes in speed. Slow motions of the arm can transform itself in a rapid rotation of one of the segments. These variations come in part from the random impulsions given by the engine, but mostly from quick transfer of kinetic energy between the different segments of the arm, transfer due to the rigidity of the segments in this aggregate of masses, each carried away by its inertia. In order to conveniently associate the perception of sound and movement of the object, each segment is equipped with a loudspeaker. Each of them emits a sound directly related to its speed and its position, but also in relation to the state of unfolding of the whole structure and finally directly related to the density of the fluctuations. Since this structure has a diameter of about ten meters and important speeds of displacements, additional sound effects are generated, such as resonances, beats, Doppler effects … 

The music - The articulated arm of cycloïd produces music. The quicker its movements, the louder, enriched and brilliant the spectral tone becomes. The music expresses the mood of the machine, for example with an orchestral scream. Each part of the arm is an instrument which produces its own sounds depending on its activity. These tones come from orchestral instruments like the piano, cello, violin, clarinet, and various percussions. The tones are in perpetual evolution. The interpolation of their spectres produces all sorts of hybrid resonances. From these spatial movements an evaluative harmony is born, a kind of topology of tones which integrates the idea of tone trajectory." - Andre and Michel Decosterd

"Structure and measuring device - The technical realisation of the structure is complex. The random dynamic of the structure generates a number of forces with a wide variety of amplitudes and directions, which are very difficult to calculate. Centrifuge forces exerted on the arm during a rapid extension of the system generate shocks followed by oscillations which, given the importance of the mass of the structure, can enter into resonance and compromise the fluidity of the movements. The articulations must have a great rigidity to withheld eventual shocks. The choice of material for the arm was dictated not only by factors of static and dynamic resistance but also by the material’s vibratory characteristics since the segments play a role as sound interface. The structure was constructed using high resistance aluminium and all the joints were welded. The rotation axes are made of steel and are held in roller bearings with conical rollers. The interior of the tubes is partially covered with polyurethane foam for an optimal management of resonances. The interior of the axes is equipped with incremental encoders and gyrating connectors connected to the central computer. A hydraulic pump with radial pistons operates the sculpture."

via | We find wildness

Claudia Maté

Claudia Maté is a spanish web developer working on a large area of online based projects. As she tells us; "I like to experiment with different structures and languages, I have recently started to spend much time learning 3D softwares. I want to find the perfect fusion between the web world and 3 dimensions."  Claudia has designed some cool tumblr themes, and created interesting interactive websites using HTML5. See more;

h-ttp.net

http://h-ttp.net/

Retarded

http://www.claudiamate.com/trial/retarded/

The Red Revolution

http://www.claudiamate.com/2012/i_trial.php#redgb

Tridimensional based landscapes and animated GIFs, see more at her tumblr, http://h-elloworld.net/.

Hans Kotter

Hans Kotter_

"Hans Kotter's artistic practice moves between technological installations and luminous materials. The visual language of the artist is strictly connected on the light and not with the material surface. Light draws shapes, it carves images and becomes a necessary and primary tool. Kotter doesn’t use light to define shapes, he changes light in shape. His artistic research is based on the optical process as a medium to get the work and also to represent the final point of his research. The tunnel views are hypnotic work, the viewer is captured into this tunnel, made by light and led. In a luminous world where sensorial alteration and luminous perception interact together in a different way." - Studio d'Arte Pino Casagrande. See more;

via | minimal exposition