Motoi Ishibashi & Daito Manabe have created an illumination installation called Particles which initially appears to be mysterious floating lights that create fantastic afterimages. This work centers around an organically spiral-shaped rail construction on which a number of balls with built-in LEDs are rolling while blinking in different time intervals, resulting in spatial drawings of light particles in all kinds of shapes. The illumination’s three-dimensional design, achieved through a fusion of the rail construction’s characteristic features and communication control technology, takes on various appearances depending on the viewer’s position. The viewer can select from several pattern-movements through a nearby display interface. Sound is generated from a combination of
LED flash pattern and ball position while played through an eight-channel setup.
Three videos follow – the last two were shot from my handheld camera.
Davide Tidoni‘s itinerate project, A Balloon for… brings to life the sound responses of specific spaces. By bursting balloons, the project discovers unique acoustic sites and invites people to explore space through listening. The video below is a version of A Balloon for Linz.
With Continuization Loop, a single 35mm film loop is pulled up and down over more than 150 guide wheels creating a wall of film. The frames of this piece of film are either black or transparent.
When the loop travels through the mechanism, the image of video static appears.
While film as a medium normally makes images appear through projection in combination with
the transport of celluloid through a projector, this Wim Janssen work omits the projection and
makes the image appear by means of transport alone.
The installation combines and imitates visual elements from three generations of visual media:
the material aspect of film, the empty signal of video and the binary logic of digital.
At the same time, the most important attributes of these media are absent:
there is no construction of an illusory film-space, there is no real video image and
there are no computers involved. The first video is from the artist.
The second is from me. Both are silent.
It was easy to spend a lot of time with this installation. Basically, a supercut generator using words or phrases that you enter at the provided keyboard. The database is the personal film/video collection of Julian Palacz who created this work. His video presentation is self-explanatory. It could also make it easier to create your own video short using changing words such as you’ll see in the second video.
A miniature recreation of the explosion of the Deepwater Horizon oil rig disaster that happened in April of last year as performance. It consists of a realistic model of an oil rig placed, in this instance, in a makeshift swimming pool (with a strong smell of chlorine this particular time) followed by a series of explosions erupting on the small rig complete with plumes of black smoke. A small tugboat arrives to film the explosion with the visuals relayed to a projection screen nearby.
Through this recreation, HeHe‘s work, is there a horizon in the deep water?, examines the transmutation of real-life tragedy into an entertainment spectacle while asking us to suspend our disbelief and contemplate the reality of such a catastrophe – touched with a sense of comic relief.
Of course, there’s always the beauty of water reflections.
The Icelandic artist Rúrí has preserved 52 images and sounds of 46 Icelandic waterfalls all constructed in a beautiful brushed steel cabinet with extendable/retractable screens – similar to a print storage cabinet – on which each glass screen is a photograph of a waterfall. As the screen is pulled out, audio of the rushing sound of that particular waterfall is heard. Pulling out multiple screens envelope the listener in the simultaneous cascading sounds with beautiful effect (I’ve included an audio excerpt below). The audio installation bears witness to the endangerment of these natural phenomena, because since it was made, half of the waterfalls have gone silent. Through the example of a local situation, the work draws attention to the state of water and its global political affairs.
So, here we are. Searching. Our physical origins leaving traces that are fragmented until coalesced into stored evidence using sensors that not only see what we cannot, but also translates what it sees into something comprehensible. The DoppelLab is a virtual environment created by the Responsive Environments Group at the MIT Media Lab for the investigation of systems activities and their complex relationship inside a sensor-rich environment. Users can walk through and interact with animated sensor data visualizations within a building or visualize from outside the structure of the many layers of activity and information as a whole. The first video is an excerpt that features Gershon Dublon speaking about some of the advantages of using this virtual environment setup. It highlights too, the wonderful Deep Space hi-def 16 by 9 meter projection videowall (another project example can be seen here). This is followed by a more official video of the DoppelLab experience.
Another work from Hans Polterauer. What initially appears to be a swarm of insects darting and looping about without ever alighting on one spot turns out, upon closer inspection, to be an array of wires responding to the attractive force of a circling magnet. A uniformly moving magnet produces seemingly chaotic fluctuations: amidst the disarray, order prevails with the wires describing a circle.
In a conventional motion picture we have a series of images that move past a stationary light source, but in another work of Hans Polterauer that is featured here, we have somewhat of a reversal of that situation where we have an object that remains fixed while the light source is in motion. Under the illumination of an LED lamp, wire spirals cast beautifully poetic shadows onto the walls of the installation space. The subsequent movements of the light source change the shape of the shadows, breathing life into them. An exploration of the interrelationship of motion, spatial sculpture and filmic identity that adds the extra 4th dimension of time.