DAYDREAM by NONOTAK STUDIO

"DAYDREAM by Nonotak Studio is an audiovisual installation that generates space distortions. Relationship between space and time, accelerations, contractions, shifts and metamorphosis have been the lexical field of the project. This installation aimed at establishing a physical connection between the virtual space and the real space, blurring the limits and submerging the audience into a short detachment from reality. Lights generate abstract spaces while sounds define the echoes of virtual spaces. Daydream is an invitation to contemplation. The frontality of the installation leads the visitors to a passive position."

This project reminds me of some other installations by Kit Webster who also has been exploring projected light and visuals through space using different layers of geometric structures. But there is something fascinating in DAYDREAM too, I like the interactivity with the user and the light and the feedback the shadow leaves on the layers behind of, it remind me of the feeling while performing with video feedback, of course here there's not delay but there is also an interesting project called X-RAY TRAIN by Shimurabros where they got delay projecting over a frontal layered straight structure, have a look here. See more;

Onion Skin by Olivier Ratsi

"Onion Skin is a new immersive installation by Olivier Ratsi, an artist on the AntiVJ visual label. The first stage in the Echolyse project, which will give birth to several variations around the same concept, Onion Skin is made up of a physical dimension - a module of two walls, positioned at right angles - augmented by a projection and a 5.1 sound broadcast. 

Onion Skin is a graphical work about the re-composition of time and space through a game of perspectives, both of the exhibition space itself and that of the projection canvas. Built around a progressive structure, made up of 4 parts lasting 14 minutes in total, the piece plays on the principle of repetition and scale to create a physical and hypnotic experience that opens doors onto the hidden and untouchable. 

The whole experience of the installation is based on a very specific point of view. A precise position from which a new dimension is revealed to the audience by anamorphosis. The simple geometric elements ("peelings") that seemed to be flat at first suddenly start delimiting a new space. The illusion of a new dimension within the installation slowly appears as the onion skins seem to be leaving their physical surface behind." - AntiVJ. See more;

Liquid Vehicle Transmitter by Brenna Murphy

Liquid transistor resonancy valley, 2013 - Archival pigment print mounted to Dibond

Brenna Murphy's new exhibition "Liquid Vehicle Transmitter" will be at YBCA (San Francisco) till next September 8, a show curated by Ceci Moss.

"Brenna Murphy begins each new work with a digital image file and proceeds to manipulate it across multiple applications—Photoshop, Blender, After Effects, and more—to create a unique, artificial aesthetic. Patterns recur at various scales, imbuing her structures and environments with a mesmerizing, hallucinatory effect. We are invited to negotiate our own place within this realm, and sync in." - Ceci Moss. See more;

"Recalling the kinds of interactions with digital screens that have now become second nature—zooming, clicking, scrolling—Murphy’s video games, mindbending prints, websites, and intricate installations require us to physically, mentally, and visually navigate a terrain. The artist often refers to the structure of the labyrinth as a central concept across her multidisciplinary output, and its logic is a major factor in dictating the viewer’s orientation within a work. […]

Murphy’s YBCA exhibition, Liquid Vehicle Transmitter, seems to offer up yet another form, the emergent labyrinth. It transports the visitor to an alien universe where obsessively detailed compositions morph and slide into one another. Like the strange, shifting interiors found in the video game exhibited in this show, Nightscape Navigator, new things appear as you move forward. The path is never set, but seems to reconstitute itself afresh as you take each next step. […]

Like all of Murphy’s work, her new installation emergent entity chant array seeks an attunement with the viewer. Dizzyingly intricate, it permits multiple entry points on the visual, physical, and sonic registers. Murphy’s interest in audience engagement also informs her involvement in two different art collectives, MSHR and Oregon Painting Society. These groups use unique handmade electronic instruments to experiment with performance, sound, sculpture, and installation. They transform the surrounding environment into another domain, bringing about transcendent happenings that test the audience’s sense of reality." - Ceci Moss, Assistant Curator of Visual Arts

Liquid Vehicle Transmitter digital prints
Archival pigment prints mounted to dibond

Images courtesy American Medium

Opal twins, 2013

Sky lattice, 2013

Insect vehicle, 2013

Nightscape Navigator

download for Mac and PC
Nightscape Navigator is part of MSHR, a collaborative project by Brenna Murphy and Birch Cooper.

Emergent entity chant array

Installation

Evolution Of Silence by Matthias Lohscheidt

Evolution Of Silence, 2013, an interactive sound-installation by Matthias Lohscheidt.

"The work »Evolution Of Silence« portrays a virtual world populated by artificial creatures. Each creature creates a tone defined by its DNA, and is visually represented by a ray of light inside a holographic projection. The population of these creatures evolves steadily in an evolutionary algorithm. The virtual world provides an inaudible key as an environmental condition. The more the tone of a creature fits the key, the louder its tone sounds, the stronger and broader its ray of light is, the more attractive it is to the other creatures and the longer it lives. Thus, it can produce many offspring by mating other creatures. Deviant tones however are quiet, have a very thin ray of light and die relatively quickly.

This way, the population inside the world evolves from a disharmonic and chaotic soundscape to a harmonic structure, fitting more and more to the key provided by the environment. After two to three minutes the environment key changes randomly, and the soundscape immediately becomes chaotic again. The population will adapt to this new environment over the period of several generations." - Matthias Lohscheidt. See more;

"The visitor can influence the evolutionary process by touching the rays of lights belonging to the creatures and thus “feeding” them. If the weak, quiet creatures with deviant, disharmonic tones, a thin ray of light and imminent death are touched or “fed”, they immediately become strong and loud. Thus, they are much more attractive to the other creatures and can produce many offspring. So the process of harmonising controlled by the evolutionary algorithm will slow down and be complemented with disharmonies.

»Evolution Of Silence« is the result of a series of experiments where I applied evolutionary algorithms to the emergent generation of sounds. Following JOHN CAGE, »Silence« is interpreted as the occurrence of all sounds that arise inside an environment by the very existence of all beings and elements – without any intention associated with those sounds: The artificial beings of the virtual world don’t sound to fulfill a musical purpose, they just sound because they exist. Only the environment with its progressing evolutionary process judges every tone and sets it into a harmonic context. This context attributes an intention to every tone, that is however, only valid within this context." - Matthias Lohscheidt.

Technical Information

All software is written in Java based on the Processing-library. The sound is generated with SuperCollider, which is controlled by the java-application through the great SUPERCOLLIDER-CLIENT for Processing by Daniel Jones. The tracking has been realized with a Kinect and Daniel Shiffman’s OPENKINECT-LIBRARY.

List of all used libraries: TOXICLIBS by Karsten “toxi” Schmidt, DNA by André Sier, OPENKINECT by Daniel Shiffman, PROCESSING-SC by Daniel Jones, OSCP5 and CONTROLP5 by Andreas Schlegel, ANI by Benedikt Groß

THIRTY THREE by Nils Völker

Thirty Three, 2013 by Nils Völker_

"The intensity and direction of the waves are determined by the actual tides at the harbor of Le Havre which is the subject of Claude Monet's painting "Impression, soleil levant" from 1872 and which gave rise to the name of the Impressionist movement.

Approximately every six hours, when the water level reaches its highest or lowest point, the wavelike movement of the installation slows down until it restarts towards the opposite direction. Also the intensity of the waves changes from day to day, according to the height of the tides at that time." - Nils Völker. See more;

Thirty Three is a site specific installation for a solo exhibition inside the Eglise du Vieux St-Sauveur in Caen curated by David Dronet, Station Mir within the frame of "Festival Normandie Impressionniste". The exhibition runs until 1st September 2013 and is open from Wednesday until Sunday, 15:00 till 19:00.

Making of

mylar, cooling fans, pvc, wood, custom made electronics and programming - approx. 17 x 1.5 x 2 m 

Shift by Media Lab

Shift, an interactive audio visual installation created by Media Lab in 2011. 

"Shift is an array of machines shifting bits and bytes informed by simple and highly repetitive algorithms. Shift pays attention to its environment through the ever-watchful eye of a built-in camera and responds to movement. Changes in state are expressed through audio and visual abstractions." See more;

"During the exhibition, the audience was able to interact with Shift through the build in web-camera of each individual computer. Activity sensed by the camera would result in visual and audible changes animating the audience to further explore the underlying system of the work through different forms of gestures. 

How did the software work? To get started, Andreas prepared a software template, a sketch, that would be used by each individual member of the project. By tweaking and changing parameters and the structure of the software code, new and different mutations of the initial program would emerge. We ended u choosing 20 variations to be displayed. In the next step interactivity was added to the sketches. Since each computer that we were using was equipped with a web camera, we added a code that would allow us to capture, analyze and translate the camera feed into an additional parameter for our sketches."

The algorithms are shaped by Andreas Schlegel, Benson Chong, Darrick Ma, Dhiya Md, Felix Sng, Marvin Liang, Mike Chen, Sid Lim.

Jennifer Steinkamp

Glimpse - Single Channel DVD - 1997

Jennifer Steinkamp is an installation artist who works with video and new media in order to explore ideas about architectural space, motion, and perception.

These are some installations from late 90's and beginning 2000's where Jennifer Steinkamp projected different spaces with her abstract and colorful animated art works. It's very interesting and inspiring to see all the different kind of textures and forms she has animated along her carrier even three-dimensional based environments from early 90's.
I couldn't link each work because her website doesn't provide individual url for each piece but I highly recommend to visit Jennifer Steinkamp's website as she has almost all the works documented through video (quicktime) check out them here, and also another animated small works like the still image above can be seen here. See more;

Cornering, 1997

Smoke Screen, 1995

SWELL, 1995

Bender, 1995

Untitled, 1993

The TV Room, 1998

sin(time), 2001

Loom, 2003

Left Humerus, 2008

The Wreck of the Dumaru, 2004

via | Nick Faust