Second part of the post related to Motion Sculptures. Visual shapes and forms that are the result of collecting movement data (position/velocity of hands, head, feet, …)through time.
The motion and dynamics are materialised throw mapping metaphors into a digital or physical sculpture.
CHRISTIAN W. BRAUNE & OTTO FICHER
In the XIX century, long before the computer age, Christian W. Braune and Otto Ficher created a system to visualise and analyse the human body movement.
Inspired by the work of Etienne Jules Marey (that I reported in the previous post) they used a similar technique, but the human subject was wearing an exoskeleton equipped with lights in the body joints.
They took photographies of the body’s motion from two different angles, and at the end they had the exact space position information from each joint in every moment of time.
They gathered that data and built a sculpture where it’s possible to visualise physically the global cycle of body movement throw space and time.
Motion Sculpture Exoskeleton for motion tracking
If you are interested in old media artefacts, you should look at the amazing research work of Siegfried Zielinski on this field. Check his book “The Deep Time of Media”.
MADE BY HUMANS
Amazing and beautiful movement visualisation by Universal Everything for Hyundai Vision Hall in South Korea.
16k video loop, 36 channel Iosono surround sound
Hyundai Vision Hall, South Korea
Directed by universaleverything.com
Sound by Simon Pyke
Post / CGI by Realise
Filmed by thecreatorsproject.com
More info HERE
TAI CHI VIDEO ARTWORKS
Tai Chi’s movements rendered with different visual languages into digital motion sculptures. 5 Video Artworks for Framed Gallery, Tokyo.
By Universal Everything. More info HERE
Fluid/Fire simulation that keep track of dancers motion generating abstract layers containing subtle hints of human forms and motion.
"When the clip starts, you probably won’t recognize a human shape at first, but your eyes and mind will be searching, seeking mental connections between abstract shapes and recognizable patterns, like looking for shapes in clouds. You’ll be questioning what you see, is that it? is it sitting? is it crouching? is it kneeling? Then all of a sudden, it’ll be crystal clear. Then you’ll try and keep it in focus, following it as it moves around, tracking each limb, using the motion to construct an image of the parts you can’t see. It’ll fade in and out of clarity. At times you’ll be clinging onto just the tip of it’s hand swinging round, trying to identify any other recognizable parts. You might see another arm or leg and grab onto it, fighting not to lose it. Then it’ll be crystal clear again, and then all of a sudden vanish, literally in a puff of smoke, and your eyes will start searching again." Memo Akten
Directed, visuals and programming by Memo Akten
Choreography by Alexander Whitley
Dancers Robin Gladwin and Miguel Altunaga
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