GRAPHIC SOUND VISUALIZERS - XIV
Collecting five audiovisual installations.
Check previous A/V collections under the tag “Graphic Sound Visualizer”.
[pic. INFINITE, Liu Chang, Miao Jing, & Gan Jian /
OSCILLATING CONTINUUM, Ryoichi Kurokawa / HYPERCUBE, Kit Webster.]
"The Hypercube is a concentric cubic sculpture illuminated with a 120 metre addressable LED array. It’s minimalistic structure is designed to elicit a sense of strength, balance and simplicity yet plays host to (and becomes juxtaposed by) a range of intricate choreographies."
By Kit Webster. More info here.
“‘Infinite 115’ is an exhibition experiment. In this experiment, a team of emerging artists will install their audiovisual installation “Infinite” in Avery Room 115. “115” is not only the room number but also the serial number of the experiment, which is the first attempt of a series of ongoing debugging activities that will take place in different venues.
“Infinite 115” is also a spatial replacement. It replaces two seemingly structural walls and the corner they enclose in Room 115 by projecting moving, non-structural, opened geometric shapes, thus questioning the existence and the formation of the space.”
By Liu Chang, Miao Jing (visuals), and Gan Jian (sound).
More info here.
"The Ark is a site specific installation, commissioned by and presented during Proyecta Oaxaca, festival de diseño y artes digitales.
The Ark is built around the cacti that line the Aljibe, at the heart of the Ethnobotanical Garden of Oaxaca.
Adopting a poetic approach, The Ark gives voice to the garden’s plants, participants in the work, the beating heart of the space and an unpredictable choir.
Telling their story, revealing their fantasised and fantastical character, The Ark is the mise-en-abîme of the trail. A three part audio-visual installation, it unfolds like a movie set in space, in which the wandering spectator plays the role of the camera.”
Concept & Visual design by Romain Tardy / antivj . Music by Squeaky Lobster. More info here.
"Audiovisual sculpture, 2ch HD square display | 2ch sound, Duration: 08’00" loop"
By Ryoichi Kurokawa. More info here.
"The Cave is a a back-projection mapping installation, done for the Creative Review Annual launch party at Village Underground in London.
The unusual canvas is a suspended laser cut cast acrylic pyramid covered with a frost film. We wanted to explore how the perception of the viewer can be bent when a small room become an infinite corridor.”
By Nicola Gastaldi in The Studio at Smoke & Mirrors. Music: Eskmo - Come Back (Lorn Remix).
More info here.
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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]
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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).
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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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