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spacial

Courtesy of Golan Levin and Zachary Lieberman Messa di Voce ( Italian for “voice placement” ) is an audio-visual system in which the oral speech, shouts and songs of two vocalists dramatically increase in real time by custom interactive visualization software. In this installation, abstract communication gives synesthetic relationships, the language of strips, and the writing of a system and production scores are discussed… Within the framework of a sophisticated and fun virtual world. It stimulates the eye and ears, and attracts you to engage with it. It’s responsive, and in a modern day and age people will still feel the need to patch up the idea of non-responsiveness. Another great example of recognition and response is the ideal concept of the future virtually conceptualized by the movie ‘Her’. Levin and Lieberman’s Software transforms every vocal nuance graphs. It’s corresponding complexity, subtly differentiated and highly expressive. Through these displays not only the voices of users are displayed, but it also serves as a ‘device’ to pre-record sound and play during performance. While the voice charts as a tool that observers/performers can use to interpret physical manipulations of these graphics, the screens reformulate the sounds of voices of users, to mimic them, so a cycle of interaction occurs and fully integrates public in connection to a healthy environment. It’s a matter of virtual objects and real- time processing. The installation was made in a different time (2003) than XBOX’s kinect (2010), which uses a similar idea of voice and movement recognition. ‘Messa di Voce’ lies at the crossroads of two extremes, human and technological, and adds the unpredictable spontaneity of the human voice with advanced visual computing technologies and discourse analysis. No words, but deep verbal sounds, the ‘Messa di Voce’ project is designed to reflect on the meaning and implications of speech, sounds provoke acts of language and absorb a language environment. It’s a form of visual art which can certainly be implemented for various technical solutions such as interactive supermarket displays or ad space when you walk along or make a sound. There’s even a possibility something might exist generated from your interests by shouting them out. http://lsdcrosslab.tumblr.com/ pinterest link: http://www.pinterest.com/mswontwerp/experiment-bliss/

The SKIN probe project examines the future integration of sensitive materials in the area of emotional sensing – the shift from ‘intelligent’ to ‘sensitive’ products and technologies.

As part of SKIN, we have developed a ‘Soft Technology’ outfit to identify the future for high tech materials and Electronic Textile Development in the area’s of skin and emotional sensing.

The dress show emotive technology and how the body and the near environment can use pattern and color change to interact and predict the emotional state.

Far-future design concepts
SKIN: Dresses is a Probe, a far-future design concept. It is not intended as a production prototype nor will it be sold as a Philips product. Like past Probe design concepts that have stimulated discussion around a range of issues, this concept is testing a possible future – not prescribing one.

A marvellously intricate wearable prototype Bubbelle is a dress surrounded by a delicate ‘bubble’ illuminated by patterns that changed dependent on skin contact. 

Bubbelle was one of a series of dynamic garments developed by Philips Design as part of their on-going SKIN exploration research into the area known as emotional sensing. Nancy Tilbury was the Fashion Director of Probes, part of a pioneering interdisciplinary design team at Philips Design.

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Project :

Animal Suspect from VolvoxLabs

 

Matrial :

holographic-like 3D installation

 

Effect:

http://themetaagency.com/case-studies/volvoxlabs-animal-suspectViewers find themselves surrounded by custom-created, 3D organic structures/ animals/ creatures, etc.  The visuals are iridescent in color to capture a fantasy world unleashing organic screatures only at night that appear holographic and magically floating in space.  This installation has been featured at several festivals and events including Something Wicked Festival, Electric Forest, Kinetica and Vimeo’s + Barbarian Group’s 2013 SXSW Interactive Party

 

 

 

EMILIO GOMARIZ

Emilio Gomariz explores a large area into the digital field creating imaginary sculptural based forms, which most often are exported and published online as a GIF. Inspired also by computer’s interfaces, Emilio works on desktop performances, creating different kind of manifestations by the use of Mac OS X. His work has been recently included in online group exhibitions at Fach and Asendorf Gallery, bubblebyte.org, SPAMM, Domain gallery and CERMÂ. IRL at MIXED GREENS in NY, at The Photographers Gallery in London, TRANSNUMERIQUES #4 at Galeries in Brussels, at Centre d’Art Bastille in Grenoble, at Monster Truck in Dublin among others.

WORK

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LINKS

http://emiliogomariz.net/

http://www.noname-magazine.com/emilio-gomariz

https://www.youtube.com/user/emiliogomariz

Effect is same a new media artist Carri Munden | Part 1

VINCE MC KELVIE

When did you first start making GIFs? What was the first GIF you made?

I first started making gifs around the time myspace was big so i could make cool profile pictures but then stopped for a long time because I started doing more linear video and animations, which was a huge mistake, I should have just stuck with gifs the whole time. The first gif I made was a pixilation of me consuming a toy car and seeing it drive all around inside my body by drawing marker tracks on my arms, legs and head. I just checked myspace to see if it was still there, but myspace is all different now.

What kind of a process do you go through to create your art?

Recently I’ve been making abstract 3d forms with transparent backgrounds. Usually the 3d object is floating freely in the frame, making it ideal for using it in different contexts, like tumblr or Giphy. I also just made an app called Tumblr Page Performer that dynamically pulls images and gifs from any tumblr and animates them across the user’s screen. On the technical side I use blender for all the 3d elements, then the usual after effects/photoshop for compositing and output. Also all my 3d files, .movs, and image sequences are free to download, which creates another potential context for my gifs.

Why GIF art? What makes it more appealing than other mediums?

Gifs are the polaroids of animation, they’re instant gratification, they’re simple but complex at the same time. They also bring up feelings of nostalgia . I work in a lot of digital media, most of which require a lot of programming. As a result, my workflow is very ordered and logical. My gifs are all made through stream of conciseness and experimentation so it’s very freeing for me. It’s also important to me to be able to display my images in a dynamic context which would be difficult with other media.

WORK

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LINKS

http://vincemckelvie.tumblr.com/

http://vincemckelvie.com/Potluck/Sway/

http://blog.giphy.com/post/56970599397/artist-spotlight-vince-mckelvie-when-did-you

http://vincemckelvie.com/gradientforest/

Technology: 3D modelling | New Media Artist Carri Munden | Part 1

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The transparent simplicity and experiential nature of his work has built Olafur Eliasson’s reputation as one of the world’s most accessible creators of contemporary art.

Eliasson’s works emphasize tricks of light, refraction and scale, and tend to involve each viewer in his or her own unique experience, as in Beauty, which, by passing light through a wall of fine mist, produces a different rainbow when viewed from different points in the gallery.
And his works engage passers-by in urban environments — Eye See You,
a project for Louis Vuitton (and meant to publicize 121 Ethiopia,
an African nonprofit Eliasson co-founded with his wife), grabs viewers in the street with a beam of light shot from the window by an eye-shaped lamp.

http://vimeo.com/2447622

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The works of Jurgen Albrecht are abstract compositions, whose colours range from impenetrable black to bright white. They are neither picture nor object but three-dimensional fields which only exist in the light. Their initial point is the architectural space they are located in. Precisely tared light projections, crossfades and cloudings create spatial contexts which are – just as stage rooms – an illusion. Inside and outside are fading into each other. Open and closed spaces are shifting in conflict. Daylight and artificial light are changing their function in the description of spatial contexts as well as shades and shades of light. Optical illusions of interlaced interiors are emerging from the aesthetic challenge of habits of perception. It is a visual labyrinth in which the dual nature of light is reflected as material and immaterial phenomenon.

Space in light as an open, endless space in the visual interplay with
tangible and restricted space is also the theme of the work in Luedenscheid
“Universalis”. It contains seven cubes. Their material and formal structure is modelled by projected light. The white cubes are just as well convoluted as light incidence and reflexion. The basic relation of light, space and
perception is becoming an object of aesthetic contemplation and the interplay creates a spatial picture puzzle. Meanwhile the idea of the “White Cube” as
abstracted space is changing into a space that contains everything.