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Author Archives: Detailhunter

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

SIMILAR TECHNOLOGY

Pss Studie, Daniel Franke

About

Daniel Franke (1982) works as an artist, designer and music video director in Berlin. His works challenge the restrictions of conventional spatial frameworks and concepts digital simulatons should no longer be limited to an on-screen-display; instead the digital might be imagined as transferable into real space and thus extend perceptions of ”the real”.

Materials

He made use of acryl glas cube, acryl glas spools, PC, Screen, Servo Motors, Microcontroller,
Processing Application.

Technology

Eight nylon – cords link to a mutual point that can only hold the position in space because of their interdependent movement. A loop occurs – a movement is simulated in a digitally reconstructed physical space and the resulting information of the position is transformed back to the physical space. The Outcome is form of spatial image, a kinetic plane which expands in three dimensions. As a Consequence the perception is changing, the moving image cannot only be seen from one fixed viewing angle or rather one unique viewer position.

Experience

The Question about how we perceive images is the central point of this work. Assuming
that respectively distorted images generate for us a reproduction of the world and that this duplication in addition to the time line within technical images shifts our sensory perception, primarily from eye to a simulation of sight. The work begins with this in mind. The moving image in the form of a simulation is the initial point – digital data generated by an animated movie are transformed back to the real world illustrated by a pointer moving through space.

The observer is autonomous, moving around the sculpture and is thus controlling his/her own point of
view of the spatial film. Consequently restrictions of the medium are scrutinised similar to that what the expanded cinema movement questioned. With that in mind the work follows the idea of the work “Spatial Soundsculpture”, but in contrast to the older work the Screen has completely vanished. The Interface that lead to the digital medium in form of a window is only visible by the edges of the mapped coordinate system.

SIMILAR EFFECT

The ark, Romain Tardy x Squeaky Lobster.

About

Romain Tardy (1984), born in Paris and studied art and design there, then moved to Brussels where he currently lives and works. He creates installations, direct movies, do art direction and design still and animated things.

Material

He made use of the plants of the botanical garden, on which he proyected the visuals.

Technology

The Ark is an ephemeral, site-specific audiovisual installation that took place in the ethnobotanical garden of Oaxaca, Mexico, during the first edition of Proyecta Oaxaca, a new festival dedicated to digital art.

Experience

In a poetic approach, The Ark gives voice to the plants which are turned into abstract characters: an unpredictable choir, and the beating heart of the garden.
Telling their story and revealing their imaginary nature, The Ark is a mise en abîme of the course. Loosely inspired by the myth of the Great flood, this audiovisual installation in three parts unfolds like a movie projected into space, where the spectator’s motion serves as a camera.

Ryoji Ikeda, ‘datamatics [ver.2.0]‘, 2010, audiovisual installation, FIAF, New York.

About

Ryoji Ikeda (1966), japanese electronic composer and visual artist who lives and works in Paris. He focuses on the essential characteristics of sound itself, often using frequencies at the edges of the range of human hearing. Since 1995, Ikeda has been intensely active through concerts, installations, and recordings, integrating sound, acoustics and sublime imagery. In the artist’s works, music, time and space are shaped by mathematical methods as Ikeda explores sound and vision as sensation, pulling apart their physical properties to reveal their complex relationships with human perception.

Materials

He makes use of wide tall or long (depending on the installation) screens on which his visuals are projected.

Ikeda employs real–time programme computations and data scanning to create an extended new sequence that is a further abstraction of the original work. The technical dynamics of the piece, such as its extremely fast frame rates and variable bit depths, continue to challenge and explore the thresholds of our perceptions.

Technology

He elaborately orchestrates sound, visuals, materials, physical phenomena and mathematical notions into immersive live performances and installations.Using pure data as a source for sound and visuals.

Projecting dynamic, computer-generated imagery – in pared down black and white with striking colour accents, Ikeda’s intense yet minimal graphic renderings of data progress through multiple dimensions. From 2D sequences of patterns derived from hard drive errors and studies of software code, the imagery transforms into dramatic, rotating views of the universe in 3D, whilst the final scenes add a further dimension as four-dimensional mathematical processing opens up spectacular and seemingly infinite vistas. A powerful and hypnotic soundtrack reflects the imagery through a meticulous layering of sonic components to produce immense and apparently boundless acoustic spaces. datamatics,

Experience

Datamatics series which tests the limits of perception by visualizing the invisible data streams which permeate our world.

Ikeda explores sound and vision as sensation pulling apart their physical properties to reveal their complex relationships with human perception. Ikeda’s works both examine and apply mathematical and scientific theory, and test the extreme potentials of digital technology, to reveal the microscopic matter – and data – that permeates our universe, whilst challenging our own thresholds of perception

His imagery—beyond sharing the music’s icy perfection—seems bent on provoking questions: where do these streams of data originate? Do they visualize some other aspect of what we’re seeing (or hearing), or perhaps something external to the work? Is it part of the work’s metadata, or only intended to appear that way?