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 

LAb [au]

m0za1que and Particle synthesis, two projects by LAb [au]

"m0za1que is a permanent artwork for ‘La Maison Mécatronique’ in Annecy-Le-Vieux, France. The main wall of the entrance hall 3.4m x 6m is divided in 26x15 squares. Each of the 390 tiles is motorised by a linear actuator with a range of 10cm. The individual control of the motion creates different three-dimensional reliefs of geometric patterns evolving following the logics of cellular automata.

During day these programmed motifs draw black shadows whereas in the evening they draw coloured shadows: The illumination by three light-projectors in primary colours of red, green, and blue leads to a global white illumination of the wall but the tiles’ shadows appear in the secondary colours of light. These coloured surfaces appear and disappear according to the tiles’ movement.The artwork relates motion with colour through the phenomena of light; while it’s mechanic and electronic system is exemplary for the very function of the building." See more;

m0za1que, 2012

Video here.

"The resulting mosaic can be compared to the electro-magnetic functioning of a memory slot in computation logics. The-so called 'place holder', having here the size of the matrix of tiles, can be filled with binary data and where this magnetic action leads in the installation also to physical motion. Information emerges not only out of the binary state but out of the relative position of the tile in the matrix. What in terms of computer logics is referred to as sequential data becomes here spatial data.


When no data activates a tile, the rigorous absolutely white surface is nothing but emptiness: zero is flat and white or pure light. When tiles are activated shadows outline their sharp-edged square shape, one is dark or no light. This transposition of the operating modes of the installation to the binary logic of computer memory is the origin of the project name 'm0za1que'. In this manner the installation gives the inherent computation logics a proper esthetic both on the level of its physical realisation and on its kinetic behavior." - LAb [au]

Particle synthesis, 2011

Video here.

"The project ‘particle synthesis’ started from the idea of combining 3D particle engines with granular sound synthesis, a research mainly motivated by the possible convergence of visual, sonic and spatial parameters processed in real time within electronic space. Both technologies are considering a shape, a form or a sound as the result of many combined elementary particles which would be individually neither visible nor audible. In computer graphics the tiny graphic elements are named ‘particles’ whereas in granular synthesis many names exist for the sonic ones such as ‘sonel’, ‘sonic quanta’... The very broad notion of particle as it can be applied to sonic and visual elements has been retained for the project name as ‘synthesis’ in reference to the way sound is processed. 

The hexagonal shape of the installation translates these sonic and spatial specificities: six networked computers, each rendering 60 degrees of the 3d scene, are boxed in a transparent Plexiglas case also including a speaker. These boxes have the shape of a stage monitor and are placed next to each other on the ground to constitute the hexagonal ring. The speakers and screens are oriented towards the center of the installation offering the visitor inside the ring an immersive and ‘spatialised’ experience whereas the ‘external’ view rather gives a complete vision, an overview, of the setting. This principle is also present in the design of the hardware, from outside the spectator see through the transparent box the ‘stripped’ electronics whereas from the inside only the screen image remains visible. In this manner the specific shape and design of the installation initializes the viewer to the project specific spatial, sonic and technological setting and invites him to enter the installation. Once the spectator has taken the engagement to enter the installation he takes part of the visual and sonic space and as such the spectators’ ‘act’ shifts the statue of the installation from an object (external perception) to a space (internal perception)." - LAb [au]    

 

Fovea by Florence to

Fovea by Florence To

"Working on the positioning and distance of light, sectioned on multiple reflective surfaces, the installation is focused on the idea of dark adaptation and how the contrast with light movements and illumination can heighten our senses. Sound will reflect on the repositioning of light on each reflected panel to create an intensified live performance." - Florence To. See more;

Installation inspired by the research of Dark Adaptation by Biophysics Professor Selig Hecht with sounds designed by Alex Smoke. Photography by Gordon Burniston.

via | minimal exposition

Impacts by Alexandre Burton

Impacts, 2012 by Alexandre Burton_

"Tesla coils each fitted with a glass pane and suspended from the ceiling of the exhibition space make up the components of this “live” sculptural installation. The presence of the visitor before each sculptural device activates an audio and visual experience. The visitor’s proximity to the works engages arcs of electricity of variable intensities as well as a rhythmic articulation, generated by the impact of the electrical arc on the glass pane."  See more;

"As a symbolic and sonic source, the Tesla coil’s ability to throw electric arcs has been employed by a wide spectrum of artists. With this new work, Alexandre Burton proposes the use of plasma (loosely defined as an electrically neutral medium of positive and negative particles) as matter and medium itself, circumscribed by a defined frame and articulated through unique programming. In this way, IMPACTS serves as a reminder of the danger and muscle of this marvel while capturing its sublime beauty and rhythmic potential."

Black Zenith

"Black Zenith are Darren Moore & Brian O’Reilly. The duo performs using analog modular synthesizers & moving images. They produce dense sonic textures that generate live visuals through the transformation of audio signals into images. Black Zenith draws as much influence from noise music & the electroacoustic music tradition as they do from the foundations of abstract video art." - See more;

via | Video Circuits 

Simone Giordano

The oil paintings by Simone Giordano are highly inspired by the digital field and electronic devices. Simone works focused on this digital aesthetic recreating some ones from the digital interfaces such as the transparent background and the selection tool both from Photoshop, texts zoom in, pixelate images and even his painting present some great glitches and errors.

"Ideas, images that evolve and out from my laptop, grainy, fragmented, transformed in a graphic editing program and then finally transferred to canvas; belong to my memory, found them recognized in that extension of our own consciousness, but which 'collective well' that is 'the network, objects that acquire a new value in my representations, the one of medium between us and our deeper self, the root on which to build a just ethical, technological develop consciousness on which our the future. '' - Simone Giordano. See more;

Check out the dimensions of each painting on Sime's site. All of them are oil painting on canvas.

Irrational Computing by Ralf Baecker

Irrational Computing by Ralf Baecker, 2011, is an artistic test of material, esthetics and potentials of digital processes. The installation is based on semiconductor crystals – the basic commodity of information technology. The installation consists of five interlinked modules that use the varied electrical and mechanical particularities and characteristics of crystals and minerals and, through their networking, form a kind of primitive macroscopic signal processor. “Irrational Computing” is not supposed to “function” – its aim is to search for the poetic elements on the border between “accuracy” and “chaos” amplifying the mystic and magic side of these materials. See more;

“Irrational Computing” investigates material, aethetics and potential of digital processes. The basic raw materials of our surrounding information technology are semiconductor crystals such as silicon, quartz or silicon carbide, which, thanks to today’s advanced microtechnology and extremely sophisticated procedures, are processed into transistors or integrated circuits (IC), with the materiality of modern microprocessors having long since ceased to be graspable. The extreme miniaturization and the black-box set-up elude visual interpretation. The Installations circuit runs counter to the developments in information technology, representing the system in a dimension that is enlarged many times over. The project thus corresponds to an extreme zooming-in on the smallest “physical” units of digital processes.

The installation consists of five interlinked modules that use the varied electrical and mechanical particularities and characteristics of crystals and minerals and, through their networking, form a kind of primitive macroscopic signal processor. The crystals used for the purpose are either taken directly from nature, industrial waste products or have been especially cultivated for the purpose. A silicon carbide crystal, for example, is made to light up at numerous points with the help of electrodes (LED). On the crystal piece, there appears a kind of display, which is targeted by the data flows generated by other modules. At the same time, the crystal functions as a sound generator, since the electrical impulses change the surface of the crystal, causing it to vibrate. Via loudspeakers, these microscopic reverberations are made audible for visitors.

Digital systems, in their function, are conceived logically and rationally. The lowest physical or electro-technical level (crystals with semiconductor properties) are based, however, on quantum mechanical, i.e. statistical or unpredictable processes. Modern computer technology has thus tamed and domesticated the chaotic, so to speak. In his work, Ralf Baecker comments on this paradox by examining the aesthetics of the materials from which has developed a global digital network. “Irrational Computing” is not supposed to “function” – its aim is to search for the poetic elements on the border between “accuracy” and “chaos.”

Irrational Computing by Ralf Baecker, produced by DOCK e.V. with support of the Schering Stiftung.

Ruins in the distance by Daniel Karlsson

"Ruins in the distance" is a visual performance series made by composer and musician Daniel Karlsson. The following videos have been recorded in real time meanwhile Daniel played the visuals using physical controllers, changing the parameters of the audio and video synthesis. 

Daniel describes the audio is made by means of digital feedback in a computer and the video is the result of analysis of the audio. The visuals show some multiplied basic geometric shapes such as spheres and cylinders which take the analysis data from the audio. See more;

All of the following videos are real time performances.

World Domination took place the last 19th January 2012 at Fylkingen. Performed by Jonatan Liljedahl using SuperCollider, Mattias Petersson using SuperCollider and modular synthesizers, and on the right is  Daniel Karlsson using SuperCollider, Audiomulch and projection.

Ryoji Ikeda DB

"Japanese composer and visual artist Ryoji Ikeda has conceived an exhibition for the Hamburger Bahnhof that, for the first time, compositionally unites the two symmetrical halls on the upper level of the museum’s east and west wings. The exhibition’s title db (short for decibel) refers to this symmetry while simultaneously indicating the complementary relationship between the two exhibition spaces. Ikeda has designed the white room and the black room as counterparts, not only physically (brightness, color), but also conceptually and perceptually. The project is a composition in which time and space are shaped through minimal use of sound, light and visual elements. The exhibition db is the artist’s first solo exhibition in Germany." - Hamburger Bahnhof. See more;

I think Ryoji Ikeda is not featuring any new work on here, it is a mix of projects from 2007 till now (I didn't find where I've read this) anyway the installation is stunning, I wish to see it in live. Btw the video below made by ikono is really cool and the edition of is so good. It follows the Ikeda's same calm but intense rhythm. Full screen recommended. 

RYOJI IKEDA. DB

28 January - 9 April 2012

Nationalgalerie im Hamburger Bahnhof Museum für Gegenwart – Berlin

3Destruct 2011 by AntiVJ

Last October has taken place the Scopitone Festival at Le Lieu Unique in Nantes, France, where AntiVJ has featured a new great installation based on its 3Destruct project. 

Four years ago, in 2007 AntiVJ created its first 3Destruct audiovisual installation for the Biennale d'Art contemporain, in Louvain, Belgium, see here.

3Destruct is an immersive installation, a large semi transparent cube that generates light and sound, and as the visitor walks through, he loses his landmarks in this non-linear universe that destroys any spacial coherence. See more;

Visuals: Yannick Jacquet and Jeremie Peeters
Music: Thomas Vaquie