MOTION SCULPTURES - VIII
New collection of projects where visual shapes and forms are the result of collecting and mapping movement data. Five different projects that have different outcomes but that share the same goal of visualizing movement. Check more under the tag “Motion Sculptures”.
[pic. PAINT WITH YOUR FEET, By YesYesNo // FIBERS, by Variation //
TRAFFIC IN LISBON CONDENSED IN ONE DAY, by P.M. Cruz]
Data from runners was collected and transformed into visual artworks.
"This is how Fibers were born. 7 digital fibers growing when the person is working out, one for each day of training, stylized uniquely for the given runner. "
By Variable. More info here. 
PAINT WITH YOUR FEET
Visualization of motion data from several runners.
"…we invited the participants to record their runs and then using our custom software we imported the metrics from their run, to create visuals based on the speed, consistency and unique style of each person’s run.
“Once back (and showered), Lieberman and cofounder Theo Watson plugged in the data from our watches into computers. Once the data loaded, we were able to manipulate the color, texture and size of the images and rotate them on a 3-D axis. After saving the final result, we could do anything with the graphic created—print it on posterboard, or even laser-etch it on the top of a shoebox. ” (source: Adrienne So article).
By YESYESNO. More info and visual outcomes here. 
"24 Hours of flight data. Data from the U.S. Federal Aviation Administration processed to create animations of flight traffic patterns and density."
By Aaron Koblin. More info here. 
TRAFFIC IN LISBON CONDENSED IN ONE DAY
"One month (October 2009) of traffic information (1534 vehicles) is condensed in a 24h day. The path’s colors represent average traffic speeds (greenish and cooler for higher traffic speeds, reddish and hotter for sluggish traffic). Areas with predominantly slow traffic are also colored".
Below a related project (Lisbon’s Blood Vessels) where “the traffic of Lisbon is portrayed exploring metaphors of living organisms with circulatory problems.”
By Pedro Miguel Cruz. More info at the project page. 
"Within Invisibility is a wind data based art project. The core concept is to skip the jargon of conventional “wind charts” or “wind speed visualisation”, and to transfer wind data into real, windy atmosphere, connecting data with multi-sensational experience.
"40 major Chinese cities’ wind data is used, and each city is represented by two fans. Data is received and analyzed every 6 hours throughout the week. Rose patterns on each fan transforms every 6 second, echoing with the wind data updating speed. Wind speed change in every 6 hours is proportionally condensed into 6 seconds to fully demonstrate a day’s wind dynamics within a visitor’s attention spam"
By Jia Yu Liu. More info here. 
• • 8 notes
SENSITIVE INTERFACES - III
Collecting five experimental Audiovisual Live Performances that explore a variety of human-computer interaction interfaces for live performance.
Check more AV performances under the tag SENSITIVE INTERFACES.
[pic. PUPP3T, F. Planquette + F. Deslias // SYNDYN, 3kta //
BIOMEDITATION, J.Beira + Y. de Quay]
(GLITCH) MUSIC FOR A COMPUTER CLASSROOM
"A classroom filled with a complete orchestra of 24 musicians (individual speakers/screens aka Apple computers). A performer use his hands as inputs in the system. It’s either the position (movement) of his hands, or the speed at which he takes his hands out of the way that will impact on sounds/visuals. His hands will direct the way the sound and visual is spread out in the computer network system."
By Serge Maheu. More info here. 
"BIOMEDIATION is a sensor based audiovisual performance that digitizes the practice of meditation.
Through the use of a EEG headset, the cognitive and emotional experience of the performer is translated dynamically to sound and video compositions. It connects the body to brain activity, merging the physical world with the psychic dimension.”
Below some glimpses from the live performance:
By Joao Beira and Yago de Quay. More info here. 
"Experiment for visualization and sonification of voltage fluctuations along the scalp. faceParticle systems and noise generators modulated by oscillators were controlled by users scalp-electrical-activity digitized by Emotiv EPOC headset."
Concept and Design by 3kta.More info and full credits here. 
OO ¨ ¨ GRIMACE
"Custom software using Ofxfacetracker, Faceshift, max/msp, and amazing syphon together. All the sounds are controlled by the face’s gestures."
By Sgure/Freeka Tet. More info here. 
"The Clair Obscur is looking for new methods of communication between the computer and the dancer. By the interaction / synchronization of him with multimedia tools, the Clair Obscur questions the place of being human in its environment, especially a digital environment that surpasses it.
Here we have the staging of a nervous system increased, the show beat like a muscle, a synaesthetic machine, organic and digital … The aesthetic framework of performance : impulses, nerve, and still need to push the limits of cognitive fields. We implicitly questioning the perception of our own bodies, our ambiguous relationship with contemporary digital environment: Are we Exponential body? or slaves?”
Long version video here (12m).
Concept by Fabrice Planquette and Frédéric Deslias. More info and full credits here.
"Concept that merges aesthetics, physical activity and entertainment. Syndyn= syn (syn - from Greek "together") + dyn (dynamic from Greek dynamikos, "powerful").
[Long exposure photos capturing the trajectories and movements from the performance]
While practicing a vigorous physical activity, the players control all audiovisual events that occur in the space/time of the game. They perform a live show and simultaneously produce a database of light drawn images.
The hits on the rackets are accompanied by synchronous real-time synthesized sounds, by an instant change in the ambience light color according to the previous players choices and by real time generated visuals.”
Bellow, one more exposure photos tracing the lights and movements from the performance:
Concept and Design by 3kta. More info and full credits here. 
• • 7 notes
GRAPHIC SOUND VISUALIZERS - XV
Collecting five more Audiovisual Live Performances.
Check more under the tag GRAPHIC SOUND VISUALIZER.
[pic. PIECES, Romain Tardy + Squeaky Lobster // LATE SPECULATION, Nonotak //
SYN_ Ryoichi Kurokawa]
"Pieces is my new project in collaboration with the musician Squeaky Lobster. This "versatile installation" (as we like to call it) will take different shapes during the 5 steps of this work in progress" (Romain Tardy).
By Romain Tardy (visuals) and Squeaky Lobster (music). More info here. 
"Audio and visual performance, Tempest associates the analog instruments of Franck Vigroux with the visual algorithms of Antoine Schmitt, to create a real system-universes of pure chaos, that can be seen in the movements of millions of particles and can be heard through the roaring of air. By manipulating the internal forces of this chaos, the performers give birth to audio and visual shapes that develop in time, with more or less stability, more or less evidence."
By Franck Vigroux (music) and Antoine Schmitt (visuals). More info here. 
"EXP is a music-visual work based on the idea that fine art should attain the abstract purity of music. An attempt to assimilate the qualities found in music – including movement, rhythm, tempo, mood, intensity and compositional structure – within visual phenomena. "
By Frank Bretschneider. More info here. 
Audiovisual Performance / 2ch projections | 2.1ch sound
By Ryoichi Kurokawa. More info here. .
By Nonotak Studio. More info here.
• • 12 notes
IMMERSIVE AUDIOVISUAL ENVIRONMENTS - X
Chapter 10 of “Immersive Audiovisual Environments”. This time focusing on interesting projects mixing digital/virtual and physical space and hybrid realities.
Check previous Immersive Spaces under the tag “Immersive Audiovisual Environments”.
”The traditional activity of art has been the representation of reality - manipulating materials to create tangible mirrors of our experience and desire. Now with the mechanisms of the digital technologies, the artwork can become itself a simulation of reality - an immaterial digital structure encompassing synthetic spaces, which we can literally enter”.
(Jeffrey Shaw, 1992. “Modalities of Interactivity and Virtuality”)
[pic. THE JANUS MACHINE, Kyle M. + Zack L. + Theo W. + Daito W. /
LIGHT BARRIER, Kimchi and Chips / FREQUENCIES [LIGHT QUANTA], Nicolas Bernier]
• • 9 notes
IMMERSIVE AUDIOVISUAL ENVIRONMENTS - IX
Collecting more immersive/responsive environments used as explorative spaces or performances stages, where the participants are immersed in hyper-sensorial alternative mixed realities and interact with sound and visuals.
Check previous Immersive Spaces under the tag “Immersive Audiovisual Environments”.
In 1977 Myron Krueger wrote the article “Responsive Environments" where he reports in detail his work on computer vision, silhouette extraction, responsive environments and interactive systems. He defined the vocabulary and the technical ground-breaks for nowadays interactive spaces and real-time interaction between men and machines.
[Schematics describing the PSYCHIC SPACE’s interactive system (left)
and MAZE’s (1973) interaction (right). Check the article for more information]
• • 4 notes
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.]
• • 22 notes
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]
• • 13 notes
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).
• • 6 notes
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]
• • 7 notes
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]
• • 5 notes