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Video

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/

Chris O’Shea is a multidisciplinary artist who works a lot with openFrameworks projects. His work always had a kinetic approach and he plays a lot with human interaction. Human interaction interferes with the intellect of things and it lets objects recognize you.

Hand From Above is the latest project from Chris O’Shea, a joint co-commission between FACT: Foundation for Art & Creative Technology and Liverpool City Council for BBC Big Screen Liverpool and the Live Sites Network. It premiered during the inaugural Abandon Normal Devices Festival.

Inspired by Land of the Giants and Goliath, the project aims to remind us of mythical stories by mischievously unleashing a giant hand from the BBC Big Screen. Passers are playfully transformed being tickled, stretched, flicked or removed entirely in real-time by a giant deity.

Fitted with a CCTV camera, The BBC Big Screen is linked into a computer that runs the custom built software then outputs to the screen. The software picks a person based on their proportions & how alone they are from other people, then tracks the blob over time using optical flow. If the giant hand removes, flicks or shrinks a person, firstly it rubs out the person from the live video using the background reference pixels. Then the tracked person is redrawn over the top in relation to what the hand is doing, i.e. being picked up, or flying out to the left of the screen (not shown in this video). When the hand shrinks a person it redraws them into the video at half scale. When there is too big a crowd it resorts to tickling people, with a random selection.

Many people thought it was a real hand, or at least controlled by an operator. Many didn’t care how it worked. People liked seeing themselves on a big screen and then were completely surprised when this big hand came in and did something to someone. Apparently one lady said “I haven’t had a man’s hand all over me like that in years!” Chris

Hand from Above was built using openFrameworks & openCV.

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PETRA CORTRIGHTCortright verwierf de afgelopen jaren faam met haar YouTube performances en digitale schilderijen. Haar werk werd besproken in onder andere Artforum, TIME, Flaunt Magazine en de New York Times Magazine. Cortrights werk is wereldwijd getoond in verschillende groepstentoonstellingen zoals in het Internet Paviljoen op de Biënnale van Venetië (2009), de San Jose Biënnale (2010) en de Biënnale van Lyon (2013), en de Los Angeles Contemporary Museum of Art. Cortright had solotentoonstellingen in Midnight Club, Berlijn, Preteen Gallery, Mexico Stad en recent in Steve Turner Gallery, Los Angeles.

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MAMA presenteert een solotentoonstelling van de jonge kunstenares Petra Cortright (US, 1986), ASMR
zaterdag 29 maart 2014 t/m zondag 25 mei 2014 @ Showroom MAMA

LINKS

http://www.showroommama.nl/nl/projecten/623/ASMR/

http://www.petracortright.com/hello.html

Het werk wat gelijk is aan PART 1 | NEW MEDIA ARTIST | CARRI MUNDEN is het maken van digitale prints

 

 

http://vimeo.com/pablovalbuena8_timetilings[stuk]_pablovalbuena_03_web

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Pablo Valbuena develops artistic projects and research focused on space, time and perception. Born in Spain and currently based in the south of France.

Some key elements of this exploration are the overlap of the physical and the virtual, the generation of mental spaces by the observer, the dissolution of the boundaries between real and
perceived, the links between space and time, the primacy of
subjective experience as a tool to communicate and the use of light as prime matter.

These ideas are mostly developed site-specific, formulated as a direct response to the perceptual qualities, physical conditions and surrounding influences of a certain location or space.

This body of work has been presented in public and private
institutions, biennials and galleries in the form of exhibitions, site-specific commissions and large-scale public interventions throughout Europe, Asia and America.

https://vimeo.com/75809732

 

Project :

Midnight Moment: Eye Test ╳ Times Square Arts & 2×4

 

Materials :

Video, electronic billboards,

 

Technique:

A large coordinated effort to display synchronized content on billboards and newspaper kiosks every night in Times Square. An animation inspired by the abstract patterns and optical illusions utilized in eye exams, broadcast test patterns.

 

Effect :

The team created a “visionary workout tape” called the Eye Test, an animated video inspired by the optical illusions used during eye exams for color blindness and eye strength.

As 2×4 notes, the six muscles that control the eye are the most active and precise in the body. Like any muscle, these can be strengthened and improved. Don’t settle for 20×10 vision. Check out the animation above and some eye exam stills that inspired the video below. Your big blues will thank you as they flex.

Project :

Naturally Disturbed from Sue Kneebone

Materials:

Collection of photographs left by her great grandparent’s and other antique objects, projector

 

Technique :

Transformation process of mixed media assemblage and photomontage that allow for new associations to be made from fragmented clues found in museums, photographs and archival material.

 

Effect :

This selection of works arose from Sue’s 2010 exhibition Naturally Disturbed which focused on researching historical narratives in relation to the pastoral frontier of the Gawler Ranges in the north west of South Australia.  Left with little tangible evidence of their past, Sue’s research has taken on a speculative kind of journey where, by attending to the past through the combined engagement of photographs, archival material and field trips, she has searched for ways to reach a more nuanced understanding of the cultural mirage that lies behind colonial settler culture and its relationship to the land.

Sue : ,, My art practice explores ways in which the social and environmental chain of effects from the past follow us into the present. I am particularly interested in the ramifications and legacy of the Australian colonial settler culture. My works explore the intersections between nature and culture, history and memory to imagine other ways of knowing the past and how it shadows us in the present. ”

 

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