KINETIC STRUCTURES - V
Following up the previous compilations on Kinetic-Digitally-Controlled-Structures and Reactive Mechanisms. Check the previous post more under the tag “KINETIC STRUCTURE”.
[pic. BREAKING SURFACE, Sdg & Control+N / BLOOM SKIN, Wow /
UNDERWATER, David Bowen]
"Wind installation for the window display of ELTTOB TEP ISSEY MIYAKE.
We controlled 8 fans with programming that the cloth is making a beautiful wave at the front window display (16m x 3m). We used openFrameworks to control the wind movement from the fans. It gives a movement and shape to the cloth.”
By WOW. More info and full credits here.
BREAKING THE SURFACE
Reactive sculpture/landscape/space that reacts to visitors movements.
By Scandinavian Design Group and Ctrl+N.
Detailed technical description and full credits can be read at Creative Application article.
"Underwater is a suspended installation that is articulated using data from the surface of water. A Microsoft Kinect was used to collect three-dimensional data from wave action on the surface of Lake Superior. This data is used to articulate the mechanical installation consisting of 81 of individual servomotors."
[left: Kinect scanning the motion from the water /
right: motion sculpture mimicking the water movements]
"The complex and subtle movements on the surface of the water are simulated within the installation by the servomotors moving according to the collected data."
Below an interview by DesignBoom where the author explains the project in detail. For more information check the complete article.
Bowen has another similar project, called “TELE-PRESENT WATER”, where instead of using a 3d camera to capture the waves motion he uses scientific data collected by the National Oceanic and Atmospheric Administration data buoy station 51003 (205 nautical miles Southwest of Honolulu on the Pacific)
[Motion Sequence from Tele-Present Water Installation]
"The wave intensity and frequency collected from the buoy is scaled and transferred to the mechanical grid structure, resulting in a simulation of the physical effects caused by the movement of water from this distant unknown location. This work physically replicates a remote experience and makes observation of the activity of an isolated object, otherwise lost at sea, possible through direct communication."
By David Bowen. For more information check the project pages: Underwater small version, Underwater big version and Tele-Present Water series.
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KINETIC STRUCTURES - IV
Compiling more digital kinetic mechanisms and performing robots. Check the previous post more under the tag “kinetic structure”.
[left THE SENSER, right SAM]
One of the first robotic mechanism presented as an art piece was SAM by Edward Ihnatowicz.
A moving sculpture activated by sound that reacted to presence around it. It was presented in 1968 at the “Cybernetic Serendipity" in London, one of the first (or the first) exhibition dedicated to cybernetic/interactive/computer art. (video of SAM at the exhibition here).
Some years later (1970) Ihnatowicz created a bigger version named “The Senser”.
Check here a video of “the Senser” being exhibited at the Evoluon, in Eindhoven in 1970.
[HUANG YI & KUKA, Huang Yi / BNJMN, D. Wanner & T. Purrington / PETTING ZOO, Miniform]
"Speculative robotic environment populated by artificial intelligent creatures that have been designed with the capacity to learn and explore behaviors through interaction with participants. Within this immersive installation interaction with the pets foster human curiosity, play, forging intimate exchanges that are emotive, evolving over time and enabling communication between people and their environment"
By Minimaform. More info here.
"BNJMN (pronounced Benjamin) is a mobile sensory image production mechanism. His works bring to question what it means to perceive the humanity or spirit possessed by an "artist" in the central act of creation"
By Danilo Wanner and Travis Purrington. More info here.
"We transfer physical systems into virtual ones. But what happens if this process is turned the other way around? Aerosol is an experiment, which investigates exactly this by using a particle system. The fascinating thing about a particle system is the emergent appearance.
A taut fabric surface gets formed into an undulated landscape by using a grid of 16 servo motors attached to the fabric. Due to gravitation a certain amount of small iron balls placed on top of the fabric are set in motion.”
"While observing the iron balls, you will notice individual behavior patterns in terms of the iron balls movements. There are loners racing over the fabric and running into others or there are groups separating rarely but having a strong cohesion. The material get part of the calculation."
By Florian Born. More info here.
HUANG YI & KUKA
"A duet with an industrial robot KUKA. ‘Dancing face to face with a KUKA robot is like looking at my face in a mirror. I make KUKA mimic my movements, and I learn from him, I make myself dance like a machine.'”
By Huang Yi. More info and full credits here.
"A kinetic sculpture made up of 88 fluorescent tubes; their light blocked except for a narrow slit, arranged horizontally running down the wall and onto the floor. A chain of cams run along one side to lift and lower each lamp in succession, creating a running wave along the length.
The movement of the waves will also create a slow changing drone from an organ placed nearby, creating the ominous tone reminiscent of a horror film score.”
By Robyn Moody. More info here.
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GRAPHIC SOUND VISUALIZERS - XIII
Collecting five more sound visualizations. Check previous A/V Live collections under the tag “Graphic Sound Visualizer”.
"… we abandoned the idea that image act only as a functional accompanist to sound and instead subordinated the audio element for our desire for the image."
(Ryoji Ikeda & Carsten Nicolai (2011), “Cyclo.id”)
[pic: 2nd JULY: Luis Sanz & Manuel Oberholze / OAV: Andre Rangel,
Pedro Tudela & Miguel Carvalhais / INFINITY: Gregor Göttfert and Florian Voggeneder]
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COLOUR ORGANS - III
Collecting five more audiovisual instruments similar to “colour organs”.
Check the first and second post on this category.
[pic. CLAVILUX 2000, Jonad F. Heuer / PIANO AS MEDIA IMAGE, Toshio Iwai
LUMINESCENT GRAND, William Jerome]
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IMMERSIVE AUDIOVISUAL ENVIRONMENTS - VIII
Collection of immersive environment where the audience is emerged into alternative mixed realities.
When observing this recent immersive spaces there is an instant connection with the “Motion Panoramas”, “Electric Cyclorama” and other similar spaces from the XIX century.
Erkki Huhtamo wrote an excellent book collecting these early “mixed reality spaces” that were built to transport the audiences to temporary autonomous spaces.
The book, [Illusions In Motion: Media Archaeology Of The Moving Panorama And Related Spectacles] is the result of very extensive research (done in the last twenty-five years) into the “moving panoramas”, huge rolls of painted canvas unrolled in front of an audience and enhanced with interpretational lectures, live music, sound effects and often dioramic “special effects”.” (Neural review).
[TOP: “Cinéorama” simulating a ride in a hot air balloon over Paris (1900) / BOTTOM: Audience observing the immersive AV piece NIMBES (2014) at Statosphere, an 18 meter diameter dome in Montreal]
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MOTION SCULPTURES - VII
Where movement is used to create, modify or interact with visual shapes and forms.
This post collects a set of different approaches where movement is transformed into visual shapes. From real time tracking and collected digital data to generate visuals, to physical mechanisms that by moving draw images in space.
[pic. DANCERS TRAILS, Mountstart / WAVES, Memo Akten ]
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KINETIC STRUCTURES - III
Following up the previous compilations on kinetic digitally-controlled-structures and mechanism (check part I and part II). This time dedicated to performing robots.
[pic. MeetYourCreator, MARSHMALLOW LASER FEAST / Tantra, RHIZOMATICS /
AbsolutQuartet, PLEBIAN DESIGN]
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SHAPING SOUND - V
Collecting cases where sound is generated from shapes and other graphic features.
"The Variophone was invented by Evgeny Sholpo in 1930 at Alexander Shorin’s Central Laboratory of Wire Communication in Leningrad."
"Unlike Avraamov, who shot still images of sounds on an animation stand, Sholpo used cardboard disks with circular images of combs with suitably shaped cogs rotating synchronously with a moving filmstrip. The advantages of the Variophone were in its flexible and continuous pitch control and vibrato. “
"It already incorporated one of the most crucial and necessary devices – a mechanism for the precise and continuous changing of the speed of rotation of the optical disk with the sound wave pattern i.e. a means of controlling the pitch with the possibility of synth".
(source: Andrey Smirnov’s “Graphical Sound”)
[variophone schematics, Evgeny working in the variophone, cardboard disks]
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IMMERSIVE AUDIOVISUAL ENVIRONMENTS - VII
List of five stage performances that happen inside responsive or interactive audiovisual immersive spaces.
Check more under Immersive A/V Environments IV and Immersive A/V Environments III.
[pic: HAKANAI, Adrien M, Claire B // BREAKDOWN, R.Carvalho, Y.Quay and S.Shen
ABSORPION, M.Schlesinger, H. Delimat // D. Harrer and F. Voggeneder. Details below].
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GRAPHIC SOUND VISUALIZERS - XII
Collecting five more AudioVisual Live performances. Check previous A/V Live collections under the tag “Graphic Sound Visualizer”.
[Graphic Sound Visualizers / Seeing Sound / Hyper Sensory Performances / Synaesthetic Events]
[LUMIÈRE, R.Henke // PHYSICAL, A.Thibault, M.Biederman // SUPERCODEX, R.Ikeda]
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