Paleodictyon Paleodictyon A project by Simon Geilfus, Yannick Jacquet and Thomas Vaquié Centre Pompidou Metz, France, October 6th 2012 Loosely inspired by the work and research of deep-sea expert Peter A. Rona, the piece abolishes notions of scale by contrasting micro-architecture with human construction. Fascinated by the marks left by unknown creatures called Paleodictyon Nodosum, he offers the hypothesis that these hexagonal structures are designed in order to cultivate bacteria. A modern day Captain Nemo, Peter A. Artistic direction by Simon Geilfus, Yannick Jacquet, Thomas Vaquié Producer Nicolas Boritch Visual content by Simon Geilfus, Yannick Jacquet, Romain Tardy Music composed by Thomas Vaquié Architecture Shigeru Ban (2010) All photos by James Medcraft Making of directed, filmed and edited by Jerome Monnot Video report filmed by James Medcraft and edited by Romain Tardy Project commissioned by Nuit Blanche Metz and Centre Pompidou Metz Technical direction: Laurent Fink and Lumens8
CRAFTING HUMAN PERCEPTION / EXHIBITION « Francesca Perona Interactive installation that explores new ways of extending the natural bandwidth of human perception through computational textiles and sensors. The piece creates an immersive enviroment in which visitors rediscover tactile experiences and body awareness. The visitors encounter two panels and two pairs of head-phones hanging from the ceiling. Each panel has a pair of sleeves. By wearing them, the visitors will perceive in real time the sound resulting from their contact with the surface and touch experience. Sensors embedded in the textile surface record the vibration provoked by the touch and motion, amplified with a small circuit hidden in the panel. The crafted artwork helps the visitors to reconnect with their own body and perception, creating cognitive feedback loops between touch and sound. The surface itself has been designed with an experimental sound-led process, exploring the vibration produced by different materials and craft techniques.
When Plants Jam with Synths: Leslie Garcia’s Open Project Lets Plants Talk with Sound Pulsu(m) Plantae _ project presentation from LessNullVoid on Vimeo. You may have seen a plant used as a musical instrument before, by measuring capacitance across the leafy life form and turning it into a touch sensor. This is something different: it’s letting the plant itself express communication through sound, using biofeedback to turn the living systems on the plant into something audible. It is a synth jam, made by a plant, that tells you something about what the plant is sensing about the world around it. From Tijuana, México, media artist and musician Leslie Garcia shares the latest iteration of her open hardware project, which builds on readily-accessible, open platforms to make a tool for learning and experimentation anyone might use. Images courtesy the artist. If you’re comfortable with Spanish, check out the project site. If you’re near México, in April, you can catch a workshop and installation version of the project in Oaxaca, for the Proyecta Festival.
Le Dyskograf, Qwartz Max Mathews 2013 | Qwartz En partenariat avec Plus le dessin sera juste, plus la musique sera belle et intéressante. C’est au tour des trois inventeurs, Jesse Lucas, Erwan Raguenes et Yro, du lecteur de disques graphiques Dyskograf, de recevoir le Qwartz Max Mathews 2013. Un nouveau geste, une interprétation numérique, la transmission et l’interprétation. Alors nous rêvons d’un orchestre uniquement composé des inventions récipiendaires du Qwartz Max Mathews… Vous pourrez rencontrer Jesse Lucas, Erwan Raguenes et Yro le 4 avril à la Machine du Moulin Rouge à partir de 18h. Entrée libre. Historique de ce prix: Qwartz Max Mathews 2012: Hopman Sound Transfer Qwartz Max Mathews 2011: Harpe MIDI Camac Qwartz Max Mathews 2010: Olivier Sens – logiciel Usine – Usine Hollyhock RC version 001 ( Mac et PC) disponible Qwartz Max Mathews 2009 : Bert Schiettecatte pour Audiocubes [Percussa] Qwartz d’Honneur [Life Time Achievement] 2008 : Max Mathews Qwartz Max Mathews 2007 : FM3 Buddha Machine (China/USA) Like this: J'aime chargement…
Blair Neal | Portfolio Portfolio Commercial/Large Scale works -2011 Demo Reel- -Live- Phantogram – Live Visuals Read More » Overflow Read More » Trip[tych] Read More » Other Live Performances Read More » -Video- 10,000 items or less Read More » The Backward Step Read More » Plath Heart Read More » Pendulum Video Read More » Lightpainting Read More » Clover 9:16 Read More » The Walker Read More » -Devices- Visual Performance Software Read More » The Crayolascope – an analog depth display Read More » Color a Sound Read More » Mysl Read More » -Experiments- Crystal Eye – my first iOS app Read More » Sound to video Read More » Lonelygirl512 Read More » -Music- Bend Like Branches -Writing- MFA Thesis – A Visualist’s Practice About Blair Neal is a video artist interested in the interaction between image and sound. Recent Posts Categories Archives Stalk Me Elsewhere Site Navigation This work is licensed under a Creative Commons Attribution-NonCommercial 3.0 Unported License.
alexandre burton Alexandre Burton's interest for new media technology stems from a desire to reveal new forms of expressivity through digital processes. Tightly integrating hardware and software, his artistic work is the result of attempts to think beyond media, in a realm where sound, images and processes cohabit and answer to each other in meaningfull ways. His work is regularily presented in international new media and music events. He was awared a first prize in Bourges for software design (with Jean Piché for Cecilia) and an honorable mention in Ars Electronica in Digital Music (with artificiel, for Bulbes) [txt]
Monoskop Bipolar | 7,83 HZ de Véronique Béland Cette oeuvre cherche à reproduire les résonances de Schumann, un phénomène atmosphérique naturel et permanent fait de pics spectraux dans le domaine des extrêmement basses fréquences (ELF) du champ électromagnétique terrestre. Ceux-ci se propagent autour de la Terre sous la forme d’ondes, et comprennent une fréquence fondamentale (7.83 Hz) et quatre harmoniques principales situées entre 14 et 34 Hz. En faisant coïncider ce phénomène avec les recherches en neurosciences, on constate que ce sont les mêmes fréquences qui déterminent le rythme cérébral chez l’être humain: la fondamentale est identique aux longueurs d’onde Alpha émises par le cerveau par état de relaxation profonde ou de méditation, alors que les harmoniques correspondent à la gamme des ondes Beta, produites lors d’une activité cognitive intense. Il y avait d’abord le désir de voir ou d’entendre des choses qui ne sont normalement pas présentes aux sens; l’obsession de ressentir que le vide n’est pas rien.
scenocosme art numérique interactif, création artistique, installation immersive innovante Morphogenetic Creations by Andy Lomas Created by a mathematician, digital artist and Emmy award winning supervisor of computer generated effects – Andy Lomas, Morphogenetic Creations is a collection of works that explore the nature of complex forms that can be produced by digital simulation of growth systems. These pieces start with a simple initial form which is incrementally developed over time by adding iterative layers of complexity to the structure. The aim is to create structures emergently: exploring generic similarities between many different forms in nature rather than recreating any particular organism. In the process he is exploring universal archetypal forms that can come from growth processes rather than top-down externally engineered design. Programmed using C++ with CUDA, the series use a system of growth by deposition: small particles of matter are repeatedly deposited onto a growing structure to build incrementally over time. Andy Lomas | lacda /via Golan and Pete Hawkes
Ideogenetic Machine Cyberarts 2012 - International Compendium Prix Ars Electronica 2012 Ideogenetic Machine is an interactive installation that incorporates portraits of participants into an algorithmically generated comic book. A camera captures the portrait live while an algorithm transforms the photographic image into a “line drawing”. Face recognition is used to insert code-generated blank speech bubbles into the narrative. The software creates never-repeating compositions using a set of rules that approximate the compositional decisions made by a human comic-book author. The comic is projected live and consists of the algorithmically processed portraits as well as randomly chosen story elements from a database of drawings. The success of Ideogenetic Machine is dependent upon the creative contribution of the audience.