FutureEverything

“Luzes relacionais” (Relational Lights)

Ernesto — Wed, 10 Nov 2010 12:18:47 +0000

"Luzes relacionais" (Relational Lights) is an interactive audio-visual installation that explores our relationship with the expressional-organic character of space. The installation uses light, sound, haze, and a custom-software system to create a morphing, three-dimensional light-space in which spectators actively participate, manipulating it with their presence and movements. "Luzes relacionais" is a hommáge to the work and aesthetic inquiry of Brazilian artist Lygia Clark. The installation has been conceived for an exhibition space of 8X4 meters and ceiling height of 4.60 meters. Two ceiling-mounted DLP projectors beam towards the floor and create a continuous matrix of synchronized projections. A hazer machine fills the gallery space with ambient mist that renders visible the three-dimensional beams of light. The custom-software system uses two desktop computers and two infrared digital video cameras mounted on the ceiling to track the movements of spectators in the gallery space. It analyses their activity and morphs the projected light forms, allowing the viewers to stretch and warp the light-space in real-time. The software also sonifies the continuous metamorphoses of the light-space, creating an immersive audio-visual experience. The sound element is spatialized within an eight-channel ambisonic sound system installed around the gallery space. "Luzes relacionais" functions as a living organism with or without the presence and interactions of spectators. When viewers step outside the projected light-space, the system begins its own dialogue with space by means of extruding and morphing sequences of geometric light forms. And when viewers penetrate and interact with the projected light-space, a collective and participatory expression of space unfolds. "Luzes relacionais" amplifies the three-dimensional fabric of space by making it visible, audible, and tangible to participants. The resulting aesthetic experience encourages an unending relational process of shaping space among participants. Continue reading →

Sonnectivity

Naomi — Thu, 04 Nov 2010 12:31:19 +0000

“Always and ever differently the bridge escorts the lingering and hastening ways of men to and fro, so that they may get to other banks...The bridge gathers as a passage that crosses. (…) Thus the bridge does not first come to a location to stand in it; rather, a location comes into existence only by virtue of the bridge.” - M. Heidegger, “Building, Dwelling, Thinking” [1951], pp. 152-153 Sonnectivity, an interactive sound installation, figuratively bridges distant locations, extending the notion of bridge from the physical to the metaphorical. The fruit of an ongoing collaboration between Naomi Kaly, an Israeli New Media artist, and Alyssa Casey, an American painter and paper maker, Sonnectivity explores ways in which technology fosters new forms of communication, meant to bridge cultural and economic gaps. Homage to the histories of communication, the installation consists of multiple poles between which conductive threads are horizontally suspended. The threads act as a “roadway”, symbolically connecting the remote sites. The innovative fibers, which look and feel like conventional threads, yet conduct electricity, replace standard phone and electric wires. Sliding the bead along the threads, participants trigger a program that scans and deciphers encoded audio tracks: linear gesture is translated into a non-linear sonic narrative unfolding an intricate web of urbanism. In accordance with the concept of the rhizome, designed specifically for the Manchester FutureEverything festival, and inspired by the Core Cities Group, the installation consists of eight poles connected by sonic lines. Each pole represents one city, an economic driver of its region: Birmingham, Bristol, Leeds, Liverpool, Manchester, Newcastle, Nottingham and Sheffield. Aimed at promoting economic awareness and development, Sonnectivity consists of portions of documentary audio. The audio is recorded during interviews with pedestrians at each city. Bridging the space, a physical gesture in Manchester revives portions of audio from Bristol, Leeds, or Nottingham. The conductive thread is mapped into sections, each encoding a pair of audio tracks. The audio pairs are carefully crafted according to various criteria, such as identity of the speaker, content, rhythm or voice intonation in order to create a visceral dialogue between the locations. The illusorily continuous audio offers points of transition; hardware and software allow users to explore and manipulate the usually inaccessible intersections between two tongues: unfamiliar sounds emerge, new language is born. Ever geared toward higher efficiency, technology elevated the computer as the main arena for communication. Virtual human interaction is instant and immediate: to ‘chat’, ‘share’, and ‘meet’ occurs over the network, predominantly remaining, however, within familiar social and cultural boundaries (i.e. online communities). Combining original technology and craft, Sonnectivity makes room for a “thought bridge” that brings forth a psychic space: a productive platform from which freedom, tolerance, and mutual exchange present a new hybrid conversational space. Local visitors bring to life distant people and remote locations, challenging notions of community, proximity, connection, and interaction. Sonnectivity is an expansion Oporto-Brooklyn Bridge, an award winning installation that bridges the cultural life of Brooklyn with that of Oporto, Portugal. http://futureplaces.up.pt/2009/doku.php?id=exhibition:naomi_kaly_alyssa_casey Continue reading →

Algas Verdes 2.X

Hamilton — Mon, 01 Nov 2010 10:24:09 +0000

Algas Verdes 2.x (AV-2.x) works around reflections about our future environments, urban algaculturing, 'symbiotic technologies", local recourse supply and bio-cities. We are imagining places where we would simultaneously interact with technologies and nature, and "life" is an essential part of technology and human everyday life. AV-2.x is also a platform of research and critics that involves many ideas from the fields of science, arts, engineering and design. Prototypes have been based on the idea of local use of recourses, “I generate it, so I use it”, and ways in which to generate food, energy and products in the near future. The platform is a medium for experimenting with concepts as sustainability and self-management of recourses. Tecnoparque Bogotá is the scenario where algas verdes 2.x has been growing. Through a multidisciplinary group, integrated by researchers, students, amateurs and anybody interested in the topics of the project. Our aim is not only to develop and experiment with prototypes. We also want to create places for sharing knowledge like labs, workshops, brainstorming sessions, lectures, innovation jams; activities that have been designed to increase the development of the proposal in practice and theory. The first prototype (version 2.0) was built thinking of usage by architecture, both urban and domestic. How to integrate “alga culture” in everyday life. With some old neon bulbs, we made vertical photobioreactors that could be placed in windows and on roofs, on building facades and in urban spaces. Algas Verdes 2.0 clears the air around it, an electronic circuit controls the time when it pumps and an air-compressor provokes air to go into photobioreactors creating random behaviors from device. Algae use CO2 from air for its metabolism and return O2 as result. We thought of possibilities where algae (or other organisms) could clean other kind of gasses and atmospheres. The gas output could be used by other systems or organisms. Therefore Algas Verdes 2.x explains a symbiotic system, in which environment, human, organisms and the Green Algae affect and benefit from each other. Prototype 2.1 raises possibilities for generating electricity from biochemical processes in green algae clorofita and hydrogen fuel cells. We have researched how to separate and isolate 2H from green algae. Storing hydrogen will be used by fuel cells for a generated electric current. For next months we will create a bank of green algae from around Bogotá, and finish to build Algas Verdes 2.1, we will experiment with DIY prototypes using in facades (Tecnoparque ), and develop home and urban models. We are interesting to generate creative interpretations of possible worlds where many “organic devices” will be alive around us affecting our environment, and impacting in the economic, and social-culture. Through workshops, labs, and networking, we have been sharing creative experiences around Algas Verdes, where anybody could participate to generate new ways of the project. Continue reading →

Algas Verdes 2.X

Hamilton — Mon, 01 Nov 2010 10:24:09 +0000

The Rockefellerian Design Hypothesis (HDR)

Romain — Mon, 01 Nov 2010 10:24:09 +0000

Name of Entrant: Romain di Vozzo

Contact email of Entrant: romaindivozzo@hotmail.com

Project URL Including http:// if online: http://romaindivozzo.wordpress.com/project-vault/

Duration, Format, Space and Technical Requirements: > In this project/experience of futurologic art prototyping, I propose to dive in the hypermodernity era to formulate a report of the oil history through a set of key dates organised so as to create a vertical historical plank engraved on a tubular plastic structure.The plank starts with the first oil drillings made in Pensylvannia/usa in 1859, and ends in 2037, the year known as the PEAK OIL as it was defined by the geologist Marion.K.Hubbert.

> For this project of sculpture/installation titled HDR, I concretely propose to combine polymers to carbon nanotubes so as to obtain a mass of very low light refraction plastic (less than 0,01% light reflectance). This Absolut Black composite plastic mass will then be used to mould an increased copy of the handmade prototype I recently realised (see 3D layers + pictures of the handmade prototype). Depending of the available technicsand possible collaboration with labs, Absolut Black could also just be applied as a painting on the artwork’s surfaces.

Artist or Group Biography: _R.D.V’s Statement

Romain di Vozzo is a keynesian art entrepreneur involved in Public Art Production, as much as in painting, video art design, installation and objects production. He is also active in the theoretical field through a futurologic search on environmental sustainability and constructed landscapes related to Economy’s history and Territorial Politicies. Multi-field artist, and readily critical towards science, R.D.V has joined together for several years a corpus of projects and theories in an epistemological logic.

R.D.V’s works are mainly influenced by J.M.Keynes, R.Dumas, M.Foucault and Holbach, among others.

If you are not successful in winning the €10,000 Commission do you still wish your project to be considered for inclusion in the ECAS festival programmes?: Yes

HRD.pdf (1 MB)

ballet digitallique

Lali — Mon, 01 Nov 2010 10:24:09 +0000

Project Details – Media etc: performance animation project. the installation is set in two instances: 1- silhouette capture setting with a silhouette capture setting control room 2- screen and sound output with a screen and sound output control room.

Date of Project Realisation: August_2010

Project Dimensions: variable

Project Duration: as long as exhibition set lasts

Project URL Including http:// if online: http://www.balletdigitallique.wordpress.com

Artist or Group Biography: LALI KROTOSZYNSKI (1961) lives and works in São Paulo, Brazil.
Choreographer, performer and media artist.
She has been involved in telecommunication/technology-based art works since 1986, e.g taking part in such early slow-scan TV networking events as the Sky Art Conference, set up by the Center For Advanced Visual Studies at MIT-US.
Her recent projects integrate choreography, animation and musical composition in software design, resulting in interfaces that compose audiovisual pieces in partnership with the user/visitor.
Her work has been exhibited in festivals, received awards, grants and residencies in Brazil and in Chile, Canada, Monaco, UK and USA.
In 2010, her project ballet digitallique has been granted by the Itaú Cultural Institut and presented at the Emoção Art.ficial 5.0, São Paulo.

ballet_digitalique_Future_Everything.pdf (730 KB)

Sonnectivity

Naomi — Mon, 01 Nov 2010 10:24:02 +0000

We AR in MoMA – augmented reality art invasion into the MoMA NYC

Sander — Mon, 01 Nov 2010 10:24:02 +0000

On Saturday October 9th, the MoMA NYC hosted a parallel exhibition on all of its 6 floors and a newly added virtual 7th floor. The show was not visible to regular visitors of the MoMA, but people using the free smartphone application "Layar" were be able to see additional (virtual) art among the physical artworks, put there using a location-based augmented reality (AR) technique. The exhibition was an attempt to present augmented reality art within a most appropriate context: a respected art museum. By choosing that location, the event addressed a contemporary issue with AR having an impact on our society. AR is causing the distinction between private and public spaces to shift. GPS-based marker-less augmented reality has turned any space into a public playground. An explosion of virtual creativity in this public virtual space is going on. As a result, issues about ownership and behaviour in this augmented environment need to be addressed. Choosing the bastion of modern art as the location for the "We AR in MoMA" exhibition made the project an illustrative example of the urgency and relevance of analysing and reacting on the changing relation between virtual and physical spaces. Being uninvited guest users of the MoMA space themselves, Veenhof and Skwarek opened up the MoMA floors for other contributors too. Artists worldwide were invited to submit their work using an online form or to place their artworks within the walls of the MoMA near GPS coordinate 40.761601, 73.977710. Viewed from an art perspective, the exhibition re-raised the classic question "what is art and what is not?". But on top of the difficulties with the qualitative judgement, the former 'helper' criterium of whether something was placed within museum walls or not is now no longer valid. Virtual artworks by 'non artists' can mix with officially curated art inside an official museum. The museum provides the white cube and the atmosphere, artists choose what to exhibit and the visitor decides what to see. Whether this is a good development for audiences, artists and musea, is to be judged by those visiting the show in the MoMA. Originally intended to last only during the days of the Conflux psychogeography festival, Skwarek and Veenhof decided to add the exhibition to the permanent collection of the MoMA. It can still be viewed. Besides a new way to exhibit and experience art, augmented reality allows for new types of art and art formats to be developed too. Through AR, the merits of virtual reality have entered our physical environment. In virtual reality, creations can have unrealistic big sizes, they can consist of an infinite amount of elements, and they can be free of any constraints. The virtual dimension allows artists to explore new 'material' opportunities and to conceptualise new formats too. With the added 7th MoMA floor for example, although modelled after the real life 5th floor, the exhibition aims to be an inspiring showcase of how numerous boundaries in terms of realization and possibilities have now ceased to exist. Continue reading →

We AR in MoMA – augmented reality art invasion into the MoMA NYC

Sander — Mon, 01 Nov 2010 10:24:02 +0000

On Saturday October 9th, the MoMA NYC hosted a parallel exhibition on all of its 6 floors and a newly added virtual 7th floor. The show was not visible to regular visitors of the MoMA, but people using the free smartphone application "Layar" were be able to see additional (virtual) art among the physical artworks, put there using a location-based augmented reality (AR) technique. The exhibition was an attempt to present augmented reality art within a most appropriate context: a respected art museum. By choosing that location, the event addressed a contemporary issue with AR having an impact on our society. AR is causing the distinction between private and public spaces to shift. GPS-based marker-less augmented reality has turned any space into a public playground. An explosion of virtual creativity in this public virtual space is going on. As a result, issues about ownership and behaviour in this augmented environment need to be addressed. Choosing the bastion of modern art as the location for the "We AR in MoMA" exhibition made the project an illustrative example of the urgency and relevance of analysing and reacting on the changing relation between virtual and physical spaces. Being uninvited guest users of the MoMA space themselves, Veenhof and Skwarek opened up the MoMA floors for other contributors too. Artists worldwide were invited to submit their work using an online form or to place their artworks within the walls of the MoMA near GPS coordinate 40.761601, 73.977710. Viewed from an art perspective, the exhibition re-raised the classic question "what is art and what is not?". But on top of the difficulties with the qualitative judgement, the former 'helper' criterium of whether something was placed within museum walls or not is now no longer valid. Virtual artworks by 'non artists' can mix with officially curated art inside an official museum. The museum provides the white cube and the atmosphere, artists choose what to exhibit and the visitor decides what to see. Whether this is a good development for audiences, artists and musea, is to be judged by those visiting the show in the MoMA. Originally intended to last only during the days of the Conflux psychogeography festival, Skwarek and Veenhof decided to add the exhibition to the permanent collection of the MoMA. It can still be viewed. Besides a new way to exhibit and experience art, augmented reality allows for new types of art and art formats to be developed too. Through AR, the merits of virtual reality have entered our physical environment. In virtual reality, creations can have unrealistic big sizes, they can consist of an infinite amount of elements, and they can be free of any constraints. The virtual dimension allows artists to explore new 'material' opportunities and to conceptualise new formats too. With the added 7th MoMA floor for example, although modelled after the real life 5th floor, the exhibition aims to be an inspiring showcase of how numerous boundaries in terms of realisation and possibilities have now ceased to exist. Continue reading →

Out of Darkness

Sean — Mon, 01 Nov 2010 10:24:02 +0000

To continue to create more light benches, more work culminating into a high definition presentation. Orgininal works to be displayed at FBC in Winchester Virginia and other venues. Out of darkness, Looking right before us there is nothingness, yet light is present….when we dream, light is present….looking into the darkness light is present. Light is always present. The first words of the Bible God said, “Let there be light.” Einstein proves we are all made up of light, the light that makes us moves in the same direction. Light is everything and everything is light The creative process Early stages include a study of what each lens, prism, film and light source will produce. Like a painter that understands a palette of colors and the viscosity of paint, I use each component with the understanding of what it can achieve. I opened up light, redefined it and create a work of art. To do this, I utilize a number of light benches and mechanical covers to house my work. The final work is then projected on to matte, white Formica, enhancing the viewing experience. In 2005, I ceased all painting and focused solely on light as a medium. I studied physics to understand the depths of what light can and can’t do. Then I had some personal set backs. Finally, in January 2010, I came out of the studio, with my work being perfected and satisfying it’s harshest critic, me. Nobody is influencing my work. There is no agenda to satisfy. I am dedicated to God and family and through them my work is pure, elemental, unique, awe inspiring… individual. Needs for exhibition: Each installation should be prepared for a 20’ x 20’ enclosed setting with no or low ambient light. The display wall for the main image is projected onto Formica. An industrial strength Velcro is ideal to secure the Formica to the wall. Other items can include the building of additional walls both with/without matte Formica. One 110 AC volt or DC equivalent wall outlet would be needed per installation. Cost: Installation costs are relatively low and approximately $1000 per installation including prep and setup. Travel costs are not included. Costs do not include building of additional walls. Per our agreement the above costs can be reduced to minimize each party’s exposure and maximize the effectiveness of the space. Value added In addition to your fundraising portfolio, additional resources can be sought from the product components distribution and manufacturer. Including light, building and Formica suppliers, as well as approaching individual collectors. In addition, an artist’s talk can be held to demonstrate the convergence of art and science in my work. Continue reading →