- September 9th, 2009
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The Futurelab presents a research and development laboratory that combines the experimental and analytic aspects associated with a scientific-based workplace with the creative, art-based locale of an atelier. This kind of setup encourages a working discipline that involves artists, technologists, designers, sociologists, and many other fields of endeavor that continue to nourish the synergistic relationship that these various fields require in order to encourage new ways of thinking. The video below, created to show the diversity of the Futurelab, is from last year – before the move to their new larger and futuristic present location where creative ideas have even more possibilities of realization.
(thanks to onurson)
Three projects from Leah Buechley:
• Interactive Wallpaper: a mixture of art, craft, and electronics which allows you
to interact with what we commonly know as a static surface.
• Computational Sketchbook: The idea here is paper-based electronic configuration
in the form of sketches. Instead of using a machine to etch circuits,
what would boards look like if they were easily drawn instead.
• LilyPad Arduino: A kit that enables users to assemble their own electronic textiles (“e-textiles”)
using electronic modules and a spool of conductive thread that is sewn directly into the fabric
thereby allowing connections between the various electronic elements.
There are few good representations of the wonderful exhibition See This Sound online: a 15 second video of Tony Conrad‘s wonderful performance opening, hastily put together short videos – one being a private one – very few good still photos, etc. This is due mostly to the “no recordings” rule put in place which is a real shame because this had to have been one of the best curated exhibitions of sound art of the last century that I’d ever seen or even read about. After three and a half hours inside, I was just about ready to take my shoes off and enter La Monte Young & Marian Zazeela‘s “Dreamhouse” when it became clear that the museum would soon be closing. The next day, I continued exploring for at least another 3 hours. It would seem to me that the curators would want to present some kind of video presentation of honor by featuring some selected excerpts of what could be experienced here, but it appears that the experience can only be approximated by reading from the current batch of 3 books currently in print – over 1000 pages – related to this extraordinary exhibit. In future posts, I hope to speak more about the various artists, their works and styles that were featured here.
Six photos – the last four kindly provided by the folks at Linz09.
A comforting cocoon of plastic that seems to convey an idea of human adaptation or is it of commodity – akin to our earlier topic on GenPets? Lawrence Malstaf explores his own scientific investigation that borders on fantasy ritual in this performance of Shrink at the Brucknerhaus.
(thanks to ramsy2)
Since the days when I was a single-digit midget, I’ve utilized number systems for sundry creative works – not obligatorily in terms of mathematical constructs, but rather as simple decision-making relational elements. Visual, audible, textual, and conceptual works – all under the influence of numbers utilizing some form of “desultoriness as springboard” ethos.
So, while sitting in a hotel room in Linz, Austria, I suddenly came across a series of categorical, electronically engendered numbers that worked, as intended, as a transposition of a passive conceptual event-structure (a duration of unknown length intentionally used solely to generate ideas) to an active one. This event (which, incidentally, happened just 9 minutes into what would’ve been John Cage’s 97th birthday on September 5) coupled with my perpetual desire to offload sundry elements of interest has thrust me into the clear parallel of repurposing my website from static biography-predicated to a dynamic one. A consequential, often unseen, issue for me deals with time cognation (as alluded to in my comments earlier) that will be a component of this website not only in subject matter, but in the actual non-linear publishing chronology of these posts. The system that I’m utilizing (under the form of this incipient active event-structure) yields postings that will not be from linear structured timelines: ergo the past will suddenly arise now, while the future will be indited at any time.
There’s a wonderful, beautiful simplicity in the ideas that unfold to create the works of Tristan Perich. He gave me a copy of his most recent assemblage – 1-Bit Music – which consists of a standard CD jewel case (with the tray removed) and an internally attached electronic circuit. You listen by simply plugging a set of headphones into a jack that is already attached to the side of the jewel case. The sound is from the most minimal of digital audio sources – a single bit of audio – thereby presenting a clean interface that complements the most basic circuit-based sound output.
He’s taken his love of 1-bit electronics a step further by incorporating them into compositions for various ensembles and soloists. Active Field is for ten violins and ten-channel 1-bit music. Here’s an excerpt from a performance that I attended.
(thanks to ramsy2)
Made from 75,000 interconnected cable zip-ties, Branching Morphogenesis simulates the predicted network generated by human lung cells as they interact with an extracellular matrix in three-dimensional space and time. Designed by Jenny Sabin, this installation allows visitors to walk through a giant three-dimensional “datascape,” encapsulating the way in which human endothelial cells interact with their surrounding extracellular matrix, a type of connective tissue.