SIMILAR MATERIAL

Memorsion

Memorsion, Manuel Chantre

About

Manuel Chantre is a composer and a new media artist. His approach has been characterized by integrating music, audio art, programming, electronics, video, 3D and most recently, light.The exploration of immersive environments and new narrative languages occupy an important part of his practice.

Materials

The installation and performance is made up of twenty cloth canvases assembled to create a unique maze of video projections.

Technology

Images of urban structures, vast concrete spaces, abandoned buildings and spray-painted walls are displayed and transformed. Forgotten spaces, either out of service or altered by time, are arranged and assembled within the installation, carving out a new singular environment. The piece is presented as a live audiovisual performance or it can be set up as an ongoing installation where the public, by moving within the environment, modifies the video content displayed: making the experience different from one visit to another.

Experience

The result is a meditation exploring our urban architecture and cultural memory-it documents traces left on forgotten, abandoned and obsolete structures.

 

Source: http://www.digitalarti.com/blog/manuel_chantre/memorsion_an_audiovisual_urban_labyrinth

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Leah Heiss

 

Jewellery that changes shape at body temperature. This project has been assisted by the Australian Government through the Australia Council, its arts funding…

 

Leah Heiss

Bio.

Leah heiss is a Melbourne based artist and designer. She has a practice located at the nexus art, design and science, utilising advanced technologies to develop potent human scale projects. She collaborates within her projects with experts from nanotechnology.

Most of her works involves a medical aim. Her projects exists of hearing technologies, biosignal sensing jewellery and swallowable devices to detect gas fluctuations within the body.

Materials.

She works with nanotechnologies, so she works with a lot of new technical devices such as magnetic liquids, memory metals, and electricity conducting textiles. Also she works with 3D printing.

Technology.

She works mostly with nanotechnology and for this she collaborates with others such as scientists and electronic engineers to evolve her art practice.

Experience.

““A lot of my work utilises nanotechnology, but what interests me is not the technology itself but the emotional side of how people interact with technology.”

Links.

A lot of people see the work of Leah Heiss as a very valuable research. Because her projects and research concern our medical healthcare. By nanotechnology she was able to develop accurate systems to treat diseases.

http://www.rmit.edu.au/browse/Our%20Organisation%2FRMIT%20Gallery%2FExhibitions%2F2009%2FSuper%20Human%3A%20Revolution%20of%20the%20Species%2FLeah%20Heiss/

http://www.elasticfield.com

http://www.abc.net.au/tv/newinventors/txt/s2416729.htm

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FRANTIC CHANNEL AT YOUTUBE! We are happy to inform you that we have just started Youtube Frantic Channel and you can see the first video piece we uploaded. Japanese artist Macoto Murayama who works in the field of Digital Art provides one of his video pieces “C.warneri” (3min,59sec.,2007) for the dance performance titled “Evolve” by New Zealand Dance Company and other participated artists and you can see the video documentation here: http://www.youtube.com/watch?v=UDRpJ6LsIRA

 

Macoto Murayama.

 

Bio.

Macoto Murayama studied at Miyagi university in Japan. He studied Information design dept., spatial design course. This is where he started to create architecture and scientific illustrations. When he finished his studies he took a job as researcher at the IAMAS but soon became an independent artist with exhibitions over the whole world. He even won an award; the Asia digital art award.

 

Materials & Technology.

Macoto Murayama only works digital. He creates his art by using 3D computer graphics software. He cleans up his composition in Photoshop and adds measurements and annotations in Illustrator, so that in the end, he has created nothing short of a botanical blueprint. For the composition he uses a real flower and photographs it. Then he dissects the flower by cutting the petal and ovary with a scalpel and observes it with a magnifying glass. Then he makes sketches of the dissected flower and photographes it again.

Now he models the flower in different programs; most importantly 3ds Max (3DCG software). Finally he prints his work with a large scale printer.

 

Experience.

“Both architectural plans and scientific illustrations are, as he puts it, “explanatory figures” with meticulous attention paid to detail. “An image of a thing presented with massive and various information is not just visually beautiful, it is also possible to catch an elaborate operation involved in the process of construction of this thing,” Murayama once said in an interview.

 

Links.

http://www.smithsonianmag.com/science-nature/macoto-murayamas-intricate-blueprints-of-flowers-57862546/

http://www.frantic.jp/en/artist/artist-murayama.html

https://www.youtube.com/watch?v=1XCnvIc7Hac

 

Baku Maeda.

 

Bio.

Baku Maeda was born in Sapporo Japan. After his studies he began working as a web designer and started working independently in 2005. He works with different disciplines such as realistic painting, vector illustration and 3D figures. He also works as an art director for various projects and agencies. He does exhibitions worldwide and was chosen as one of the best Asian illustrators.

 

Materials.

Because Baku Maeda is such a diverse artists he uses very diverse materials. For his sculptures he used ice and ribbons. For his illustrations he uses pencils and paint.

 

Technology.

For a lot of his illustrations he uses programs like vector works, illustrator and Photoshop.

 

Experience.

A lot of his work is inspired by nature. For example he made the ice glasses to be winter proof and it reminded him of the strong winters in his town.

He started a company out of his ribbon project and this is their representation:

‘Ribbonesia’ is small creative collective has started since July, 2009. We mainly use ‘ribbon’ as the art material. We bend, twist and tie them to transform it into new characters, new life. We recently exploring other materials such as paper, wood, plastic and metal. Large and small. Basically anything we can play with. Just like artists’ search for new material to expand their potential of expression. We are constantly experiencing the new art works as well as creating bespoke products for various clients.

 

Links.

http://www.spoon-tamago.com/2014/02/06/ice-glasses-by-baku-maeda/

http://www.junk-culture.com/2014/02/japanese-artist-baku-maeda-uses-natural.html

http://www.yellowtrace.com.au/baku-maeda/

http://www.ribbonesia.com

 

Vaulout & Dyèvre.

 

Bio.

Vaulot & Dyèvre consist of the duoQuentin Vaulot, born in 1983 and Goliath Dyèvre, born in 1980. They have been associates since 2009. Both men have graduated from `enSCI – Les ateliers. Now a day they live and work in Paris. In their carreer as a duo they have won several prices for design projects. Most of their projects contain a certain humor.

Materials.

Within the different projects they use very different materials such as lacquered disc of metal, printed circuit of Leds, tainted electric wires, glass, wood etc.

Tenchology.

Solar radiation.

Experience.

« Our approach consists of refining, redefining and reinventing the codes of the objects that surround us. We review the definition of objects as much in their material as in their symbolism and expressiveness. With each new project we leave ourselves free to redefine our technique. The passage from intuition to intention and from intention to object is always a small miracle. »

Links.

http://thecreatorsproject.vice.com/blog/sunlight-pills-bring-tropical-beaches-to-your-medicine-cabinet

http://www.vaulotdyevre.com

http://www.toxel.com/tech/2014/01/04/sunlight-pills/

http://www.petitefriture.com/upload/images/modules/designer/vaulot-dyevre-eng.pdf

 

REVERBERATING ACROSS THE DIVIDE

BRIDGING VIRTUAL AND PHYSICAL CONTEXTS IN DIGITAL FABRICATION & DESIGN

 

Reverberating Across the Divide reconnects digital and physical contexts through a custom chronomorphologic modeling environment. This modeling interface uses a three phase workflow (3D scanning, 3D modeling, and 3D printing) to enable a designer to craft intricate digital geometries around pre-existing physical contexts.

Please contact us for purchasing inquiries, or with requests for custom designed pieces.

MODELING INTERFACE

Chronomorphology — like its nineteenth-century counterpart chronophotography — is a composite recording of an object’s movement. Instead of a photograph, however, the recording medium here is a full three-dimensional model of the object  —  a virtual creature simulated within a digital environment.  This virtual creature exists as a 3D printable module; it is constructed as a closed mesh, with a spring skeleton that prevents self-intersections. The composite, chronomorphologic model (of the virtual creature over time) retains these printable properties at each time-step. Therefore, no matter how intricate or complex, the digital geometry will always be exported as a valid, 3D printable mesh.

The modeling interface uses a three phase workflow (3D scanning, 3D modeling, and 3D printing) to enable a designer to appropriate a physical context for their digital designs. This digital-physical workflow begins in the scanning phase, which imports a physical context into the virtual environment. A depth camera translates a physical space or object into a three-dimensional point cloud. The point cloud is used as a persistent reference on which to base a digital design; it gives a sense of scale and materiality to an otherwise empty virtual space. The modeling phase creates an expressive digital form around the previously scanned context. The same depth camera is used to continuously capture a designer’s realtime hand gestures. These gestures then manipulate an animate digital geometry within a chronomorphologic modeling environment. The designer aggregates the animate 3D model to create complex geometries around the 3D scanned context. The printingphase then translates the digital geometry into physical matter. Once the geometry is 3D printed, the digitally fabricated artifact can then be immediately embedded into the physical environment.

FRFAF_workflow.png

DIGITAL-TO-PHYSICAL-TO-DIGITAL

The chronomorphologic modeling environment facilitates  rapid generation of baroque and expressive spatial forms that both respond and expand on existing physical contexts. By mediating 3D scanning and 3D printing through the modeling environment, the designer has a streamlined workflow for oscillating between virtual and analog environments. These complementary behaviors  — transcribing bits into atoms, and atoms into bits  —  create a closed loop in which a designer can recursively generate imaginative digital forms to integrate back into the built environment. Moreover, the ease in shifting between digital design and physical production provides a framework for rapidly exploring how subtle changes in the virtual environment, physical environment, or designer’s gestures can create dynamic variation in the formal, material, and spatial qualities of a generated design.

COLLAR STUDIES

WRIST STUDIES

COLUMN STUDIES

For high resolution images, please click here.


FRFAF_logo.jpg

 

THIS PROJECT WAS SUPPORTED IN PART BY FUNDING FROM THE CARNEGIE MELLON UNIVERSITY FRANK-RATCHYE FUND FOR ART @ THE FRONTIER


 

http://www.madlab.cc/reverberating-across-the-divide

 

http://nos.nl/l/660372

De symbolische aftrap was maar kort in beeld | NOS

De symbolische aftrap was maar kort in beeld | NOS

Een volledig verlamde man verrichtte gisteravond de symbolische aftrap van het WK voetbal in Brazilië. Dat kon dankzij een speciaal robotpak dat bestaat uit een exoskelet van metaal waardoor hij kon lopen. Het moment was maar kort in beeld, maar het was een bijzondere en unieke gebeurtenis volgens hoogleraar revalidatiegeneeskunde Sander Geurts van het Radboud UMC.

Wat was daar zo bijzonder aan?

“Het bijzondere aan dit Braziliaanse exoskelet is de aansturing via de hersenen. In Nederland hebben we ook sinds twee jaar zo’n skelet, maar dat wordt aangestuurd door fysiotherapeuten die op de juiste knoppen moeten drukken om de benen aan te sturen. Gisteravond zagen we een model waarbij de loopbeweging vanuit de hersenen via elektroden naar het skelet wordt gebracht. Het skelet maakt vervolgens de beweging.”

Waar komt het pak vandaan?

“De ontwikkeling van dit robotpak komt vanuit defensie. Het is ontwikkeld om militairen te ondersteunen bij zware taken, zoals het lopen van lange afstanden met een zware rugzak. Geleidelijk is het ook toegepast bij verlamde mensen.”

Wat viel u op aan het pak bij de opening?

“Dat de man zijn balans niet kon houden. Daar had hij steun voor nodig. Maar hij kon wel zijn benen bewegen door de robot aan te sturen met hersensignalen. Hij deed hele rustige stappen om zijn balans te houden, maar dat kan niet anders. Dat is nog steeds het grote probleem.”

Wat vinden patiënten van zo’n skelet?

Mensen die dit hebben vinden het een fantastische ervaring dat ze voor het eerst in jaren hun benen weer kunnen bewegen. Maar het gaat niet alleen om de beweging, ook om de beleving. Ze zeggen ook dat het prettig is dat ze hun benen kunnen voelen. Dat komt door de bloedsomloop die door de beweging gestimuleerd wordt en het gevoel dat ze kunnen staan. Zelfs de stoelgang kan door het staan verbeterd worden.”

Kunnen veel mensen hier in de toekomst mee geholpen worden?

“Ik denk wel dat dat realistisch is. We moeten nog een paar stappen zetten om het toepasbaar te maken voor een grote groep mensen. De prijs moet bijvoorbeeld omlaag. Het Braziliaanse exoskelet kost nu 120.000 euro. Maar techniek is relatief. Als het verder ontwikkeld wordt kan het goedkoper worden. Ik heb de Braziliaanse wetenschapper, Miguel Nicolelis, tegen CNN horen zeggen dat hij verwacht dat hij in zijn leven nog mensen hiermee op straat zal zien lopen.”