With humanity’s continious dire need of expression. Artists have been using different techniques through out the ages. Starting from cave murals that we re etched by our prehistoric ancestors going all the way to the late 1950s with the invention of the transistor which lead to computers being one of the best mediums to use for creating artistic content devising code, mathematical formulas and data in a way that is similar to an artist’s brush.
A.V003 / Adaptive Mediums is an episodic audio visual performance abstracting and translating the form, rhythm and general aesthetic of the the poetry of five different poets utilizing simulation and generative art techniques.
The perfomance is a part of an experiment that delves into the human computer interaction as well as the tandem between the aesthetic and the technological aspect of audiovisual art.
The project is an exploration of the area where tangable and intangable media merge together through the artistic collaboration between the artist and the computer through the abstraction of of five poems by different poets into an audio visual performance using generative and procedural techniques. Which leads to several questions about authorships, computer techniques in art and the tandem between concept/aesthetic and the emotion that artist had been trying to convey.
The project comes from artist’s nature of questioning the status quo of computer generated imagery as he tries not to belong to a specific circle whether it being music, motion design or anything else. The seed of the project comes from the artist always feeling as if there had been something missing in his musical performance. That missing part would be the visualization of the music but not in a typical vjing manner as it goes through another question for him which is how to build a link between poetry and technology in general.
The live setup would be divided into two parts, the first is the installation setup while the second would be the inner computer setup for performing the music and the visuals.
The installation setup is a construction of a projection screen with a 16:9 aspect ration and it would be setup up in a dark room. Accompanied by speakers in the four corners of the room. On the opposite side of the screen the performers setup would be set.
The computer setup would be best described as the marriage of live cinema and live music. After Choosing Ableton Live and Resolume Arena for the softwares to try to make the performance more alive and expressive as it has been using mainly pre rendered imagery. With Ableton Live running most of the tracks while it is running through real time effects and accompanied by live instruments and Resolume mainly running the visuals for through a midi controller.
IO/OI is a virtual reality dance experience. The project presents a journey to the intersection where two timelines cross in history of human and Artificial Intelligence, which could see the interaction of two virtual characters (as human and AI robot) in choreography dance when visitor wears the VR headset.
The storyline is heavily inspired by the views from fiction films “Metropolis” (1927) and “Ex Machina“ (2014). These two films all mentioned that human creates the human-form robot in human-level intelligence to satisfy their desires and curiosity, even they don’t realize that the machines grow powerful enough to influence the fate of human. We extend the perceptions to recreate the scenario which the intelligence might become a risk in history, and how humans react when they face them.
By rigging the joints from motion capture Dancer’s head and limb-positions into animation of 3D characters, and creating a VR environment for stage, this project also shows the possibility that dance performance can enhance the immersive experience for visitors by using modern technology.
A collaborative effort along side
Jian Zih-Yao
Theerawat Klangjareonchai
Camille Schaeffer / Chereography
MOVING GROUNDS - THE RELATIONSHIP BETWEEN PUBLIC SPACE, TIME AND HUMANITY
MOVING GROUNDS is an audiovisual installation that is part of the process to create immersive spatial experiences in every abandoned heritage in the region thus the citizens start discovering the potential in the forgotten legacies. This spatial system is open for any group of citizens and organisations to envision public activities and events.
The project is a reflection of human traffic flow within industrial buildings through out their evolution. With the workforce increasing and decreasing according to different variables whether economical, societal , religious or whatever the nature of the variable is,
The Project had data taken out of 3 Egyptian industrial buildings through out the past 100 years. Through examining their records and to try to take the flow of people and timing it with the events happening within the country during that time.
The data was used to drive a generative animation and to drive the generative audio elements within the installation.
The project is a reference of how people affect space and how the space breathes through the traffic flow that goes through it. How it creates it’s stories through the traffic going through it. It is the witness, the passive and active member of the conversation. The idea that space is a process rather than a physical static entity.
FUTURE OF SPACE- SPACIAL SYSTEM FOR REPURPOSING INDUSTRIAL BUILDINGS INTO NEW PUBLIC SPACES
As part of a multidisciplinary design team I had the challenge to design a temporary space for citizens of the region of Kortrijk in an empty industrial building that was once used as flax storehouse.
The common problem of the abandoned industrial buildings from this region is mainly financial and security issues. FOS (The spatial system) is designed with a low-cost material, scaffolding tarpaulin, which flexibility and durability allow those abandoned industrial spaces to be transformed and repurposed. 2700 square meters of scaffolding tarpaulin was sewn together to secure the interior space from any falling fragments from the old ceiling. The spatial tool is designed to be easily installed within one day by using multiple snap-hooks that attach to the existing steel structure, which all inactive industrial buildings in the region have in common.
The Vlaspark, where the building site is located in the municipality of Kuurne has played a crucial role in the Kortrijk region’s economy development, the production and trade in flax in the mid 19th century. However, with the shift in the economic model, architectural typology resulted in obsolete landscapes, infrastructures and buildings that were once of main importance are now residual spaces. The Vlaspark is a key example that represents abandoned nature, or urban landscapes and there are many more locations that are facing this similar situation, awaiting a new future.
Project made in collaboration with:
The Future Spaces team
Jasna Dimitrovska
Jaenam Lim
Kazumasa Takada
Location: Leiemeersdreef, 8520 Kuurne, Belgium
Completion Year: 2018
Gross Built Area: 800m2
Contractor: Bolwerk
Clients: Designregio Kortrijk - UNESCO Creative City of Design
Sponsor: Leiedal
Other participants :
Video Documentation: BARSK
Photography by Yuta Sawamura
The concept behind ‘Divinity’ stems from research into the ancient Chinese Seismoscope Houfeng didong yi. The 2nd century device contains a pendulum and was used to recognize earthquakes in distant regions. Yet, it still relied on the confirmation of people within the affected region to prove its accuracy.
The term of Post-Truth came to prominence in 2016 (‘Post-truth’ was chosen to be one of Oxford’s Word of The Year in 2016). The term refers to the deception and dishonesty of people’s statements or actions, that is enabled by society to go on, despite their being evidence clearly stating the contrary.
The interaction of the media with Post-Truth and how this phenomena shadows the institution of logical thought and mysticism that is heralded in science and therefore scientific devices and exploited psuedo-scientific or fake devices. Ralph Keyes’ The Post Truth Era had dictated the growth of the conceptual side of the project.
” Rising dishonesty has less to do with declining ethics than with a social context that doesn’t place enough emphasis on truthfulness. There has never been a shortage of unscrupulous people. Wherever there are those who think they can get away with lying, there will be liars. The question is: What circumstances foster getting away with telling lies? ” (Keyes, 2004, P36)
Indeed, the necessity for considered, reviewed statements have given way to a hunger for instant information. Whether it regards entertainment or politics is irrelevant, the speed at which information is delivered allows for little manipulations of the truth to emerge with no consequence or questioning and yet it is somehow binding. Thus, mysticism is considerably blindsighted.
‘Divinity’ is bilateral, because it acts as a response to the subject(s) of Keyes’ writing, while concurrently advocating that logical reasoning needs to be considered.
The technical details of the sculpture include, directional data sent from a Gyroscope that creates a reading of where the sculpture sits in relation to the centre of the space. LEDs then react to this data according to the position and movement of the sculpture.
When it is idle, ‘Divinity’ acts in a meditative state, displaying soft gradients that provoke contemplation. However, when the sculpture is interacted with it changes from idle to active mode. In active mode, soft gradients are replaced with a frenzy of flashing pulses, shooting across the room in all directions and colours. The chaos subsides only if ‘Divinity’ returns to a stationary position.
The intention behind the work is to state that artworks (especially anything with audio-visual components) take on new dimensions even when they are not being viewed .Having this separation, between the two modes, references the standby function of most electronic devices and establishes our imposition on the viewer’s experience with the work. It was imperative for ‘Divinity’ to have a life of its own, so to speak.
Project done with the help of:
Daniel Watts
Chris Kejlstrup
Anne Sofie Vermund
64 MEN is an interactive installation studying the feeling of social anxiety and concept of social comfort through creating a feeling of ease out of unease. The installation is a reflection of humainty’s egotistical need of being accepted by peers and how self consciousness can affect people.
The installation consists of an anamorphic projection having 64 heads that are following the subjects head through motion capture. With speakers put on the other side of the wall and making the sound travel through that wall. The closer the subject gets to the heads. Sounds of whispers and chatter start getting louder.
Collaborative Effort along side :
Jian Zih-Yao
