The most intriguing movement in smart textiles is biomimicry. Perhaps the coolest example of this is the Micro’be’, because it’s a dress made out of wine. The design uses living microbes that grow as a side-product of the wine-making process and “ferment” them into designs.
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”.
He made use of acryl glas cube, acryl glas spools, PC, Screen, Servo Motors, Microcontroller,
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.
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.