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Emilio Vavarella

November 29, 2013, 11:57 am
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While Google tries to built a perfect world through its services Google Earth and Street View they are still one of the great sources to get every kind of glitches. Emilio Vavarella has discovered hundred of these errors and spent a lot of time traveling on street view mode to create The Google Trilogy, three different projects using the same tool. 

"The series of 100 digital photos called Report a Problem is the first part of the project, it is about the relationship between humans, power and technological errors. “Report a Problem” is the message that appears at the bottom of the Google Street View screen, which allows viewers to report a problem during the viewing of the place they are virtually visiting: missing censorship, wrong colors, random appearances. I traveled on Google Street View photographing all the “wrong landscapes” I encountered before others could report the problems and prompt the company to adjust the images. Common landscapes are transformed by Google’s unexpected technical errors into something new." - Emilio Vavarella.  See more;

In this post are published some pictures from Report a Problem, see the entire series here and the other 2 pieces from the trilogy called Michele’s Story and The Driver and the Cameras here.



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WendyPaint℠ by Kim Asendorf

December 5, 2013, 5:03 pm
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by mthw

WendyPaint℠ it's to me one of the greatest projects of this year, it has the same DNA than its creator, online based, patterns, pixels, gradients, glitches and other properties you can find on Kim Asendorf's work. It is basically an online pixel pattern painter, where the user has to create his/her own patterns and paint with. All the patterns are created into a 32 x 32px box which is the maximum size for the brush and in that space you can create whatever you want, I think 32px is enough for a pixel pattern tool, it's the double size than a favicon and per example you can reproduce a lot of already existent icons from the internet whose fit perfect on that space. To build your own patterns it's an interesting and creative process, one has to care quite a lot about the edges of the pattern because WendyPaint only offers one way painting mode which is by dragging the pattern and doing a continue stroke if you keep the brush going on, and one click equals one pattern, so edges are important on here. Once the pattern is done you can edit it using some rotating and flipping features and save them in different modes, but what it's really nice it's that you can also create others using little code through the colour pattern generator and modulator which works using i, x, y, w; variables and with that it's possible to create infinite geometric and glitchy patterns and gradients very quickly, some examples into the post. Another good point is that the users have the option to share the patterns they do and build a public huge archive of patterns, good online based concept. It also has a Stream where there are all the public pieces, make sure you click on the checkbox when saving your painting as it is hidden by default. See more;

WendyPaint's interface it's simple as it's the whole project. I didn't find an undo command to go back some steps while painting but this is probably related to some glitch art concept considering every error beautiful and necessary for the final piece :) . Users who like geometry, the shift key works to keep the horizontal and vertical lines straight, it works on the canvas as well as on the pattern canvas.

In the first image below you can see the interface and in the second one how the modulator formula works, I have drawn a Nyan Cat and then used the modulator to distort it and create an abstract and random new pattern, it is even nice how it glitches. By the way in the Pattern Manager you will find a pattern album I did called eICONS containing few icons, an example of it's the first WendyPainting below.

For people who doesn't know to code and play with the colour generator and pattern modulator here are some examples to introduce you to the fun.

Generator Formula

RED255Math.floor(i/4)i % w
GREEN8*x(x+y)*4255 - (x+y)*4
BLUE8*y255 - y*8y % 8
Alpha--(x % 4) / 4

Modulator Formula

Math.floor(Math.PI * x + w % y)
Math.floor(Math.random() * w * w)
i - x * Math.floor(Math.sqrt(y) * w)
x * Math.floor(Math.sqrt(y) * w)
x * Math.floor(Math.sqrt(i) * w / y)
i-x * Math.floor(Math.sqrt(x) * w / y)
Math.min(i, x) * Math.floor(Math.sqrt(x) * w / y)
Math.max(i%x, x*y) * Math.floor(Math.sqrt(i%y) * w)


Interface






WendyPaintings



by mthw



by asdf

by anti render

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Undervolt & Co

December 10, 2013, 11:42 am
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Still from Dazzling Odysseys: The Electric Mind by Johnny Woods

Undervolt & Co is a new experimental video label founded by Yoshi Sodeoka, only saying this it already sounds promising, but Johnny Woods and Nicholas O’Brien joined the team as director and senior editor respectively, something like that had to happen someday and it's just here. Have a look to the website and check out how they have launched the label > there are six great titles from artists such  as Jennifer Juniper Stratford, Spectral Net (Birch Cooper, Brenna Murphy, Sabrina Ratté and Roger Tellier-Craig), Cristopher Cichocki, Jimmy Joe Roche and Yoshi Sodeoka and Johnny Woods are also part of the artist line up. Each title has different pieces or it depends how the artists have decided to do it, but you will get an average of 20 min title for $5 each! Into the post you can see one minute trailer from each title which gives you an idea about how are them, but to be honest 1 min is nothing compared to what can happen in video from 15 min to for example one hour that it's the one by Johnny, it's a great opportunity to buy and download some great video art that you won't find online as the label keeps the exclusivity of. See more;

Read more about Undervolt & Co, how it was created, aesthetics featured and more in an interview with Yoshi Sodeoka by Benoit Palop here. FAQ about  here.


Lost In Linear Valley: Jennifer Juniper Stratford




Spectral Sequences Vol. 1: Spectral Net




Liquid Static: Cristopher Cichocki




Distortion III: Yoshihide Sodeoka




Greetings From Baltimore: Jimmy Joe Roche




Dazzling Odysseys: The Electric Mind- Johnny Woods







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Onformative at Alpha-ville EXCHANGE

December 12, 2013, 2:18 am
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Onformative is a design studio founded by Julia Laub and Cedric Kiefer in 2010. The studio specialises in generative design covering various types of media and topics. At the intersection of technology, design and emotion, Onformative develop innovative, cross-media solutions for their customers in the domains of culture, education and technology.

Onformative is one of the great guest to talk at the first edition of Alpha-ville EXCHANGE next 17th January 2014 at Rich Mix Cinema and Arts Centre in London. Julia and Cedric have been asked to talk about their practice, influences and recent/ in progress works at the event. They are going to illustrate how they move across the commercial, artistic and sometimes educational sectors and how they use collaboration and exchange of knowledge to produce works and projects. 

Alpha-ville EXCHANGE is just a one-day event designed to offer the London art, tech and creative communities the opportunity to connect, exchange ideas, get inspired and discover new talent. More information about participant artists, programme and tickets prices here. See into the post some generative projects and concepts Onformative has been working in the last three years;


unnamed soundsculpture, 2012

"The basic idea of the project is built upon the consideration of creating a moving sound sculpture from the recorded motion data of a real person. For our work we asked Laura Keil  a berlin based dancer to interpret a musical piece – Kreukeltape by Machinefabriek – as closely as possible with the movement of her own body. She was recorded by three depth cameras (Kinect), in which the intersection of the images was later put together to a three-dimensional volume (3d point cloud), doing so we were able to use the collected data throughout the further process.

The three-dimensional image allowed us a completely free handling of the digital camera, without limitations of the perspective. The camera also reacts to the sound and supports the physical imitation of the musical piece by the performer. She moves to a noise field, where a simple modification of the random seed can consistently create new versions of the video, each offering a different composition of the recorded performance. The multi-dimensionality of the sound sculpture is already contained in every movement of the dancer, as the camera footage allows any imaginable perspective."



"Similar to painting, a single point appears to be still very abstract, but the more points are connected to each other, the more complex and concrete the image seems. The more perfect and complex the “alternative worlds” we project and the closer together their point elements, the more tangible they become. A digital body, consisting of 22 000 points, thus seems so real that it comes to life again.

Using 3 different microsoft kinect cameras the movement of the dancer was recorded into those 3d pointclouds that were synced and exported as one large dataset as Krakatoa particle files to be loaded into 3ds max for further rendering and creation of the 3d scene including the camera movement that is controlled by the audio as well." - Onformative

Project collaboration with Daniel Franke.



fragments of RGB, 2010

"This project experiments with illusion and perception on various levels. The classic LED screen as a medium was simulated and disintegrated by the creation of a pixel-like optic using simple projection rather than the entire image’s being comprised of individual points of light. If one examines the idea of perception more closely, especially individual perception – which differs from individual to individual – then a second consideration arises in regard to »fragments of RGB«.

We became interested in the observer’s personal view and in »re-projecting« this. The installation reacted to and changed with the viewer’s movement and, hence, his perspective and point of view. The illusion of a LED screen was destroyed and the RGB elements dissolved to form new, translated images and, thus, a transformed »reality«. Beside the installation that illustrates the sensitive interaction between person and image, »fragments of RGB« is also intended as a photographic series in which the transformations that occurred on the display were consciously photographed, whereby the effect of alienation was intensified in the design process." - Onformative




ScreenCapturer Processing library, 2012

"Probably everybody has experienced how complicated it might be to work with video in Processing, especially if you want to import a lot of different videos for testing purposes. You need to take care of the resolution, the codec and the size of the video file, in order to make it suit your specific requirements. Furthermore you might not even have access to a video or image file at all and just want to test some media in your sketch. That’s where the Processing ScreenCapturer library comes in quite handy."

"The ScreenCapturer library for Processing enables you to capture any part of your screen and include this capture into your Processing sketch as image or video. This way you can try out video or image input in your Processing sketch without having to change the video/image import lines in your source code and don’t have to worry about problems regarding resolution, codec etc. Using this tool you can simply play a video in your browser or from your hard drive and move the ScreenCapturer window on top of your video and access everything inside this window frame from your Processing sketch. ScreenCapturer also allows you to take screenshots of certain areas of your desktop at stated intervals that could be useful for time laps videos for example." - Onformative

View code and project page here



reël, 2011

"As an experiment, we wanted to investigate in the different visual forms, the process of sorting can have. Each sorting algorithm reveals its particular strategy as a unique pattern. We took a row of pixels of a photograph and sorted the pixels by their color value. Since Processings color object is actually a number, they are perfect to be ordered. It worked well with grays, but revealed an unintuitive sorting of the colors. While they are ordered mathematically, one expects the gradients to be different.

In the next step we took each pixelrow from top to bottom, scanning and sorting image. This way a certain rythm of color hues, brightness and darkness is added to the sorting processes. Each animation has a duration if 720 frames, since 720 rows were sorted from top to bottom. We like the idea of translating the image dimension into the time. The next step would be to think about how the image has to look like, to create a certain rythm, and in the end maybe a story." - Onformative








Alpha-ville EXCHANGE 1 features a Day Programme packed with presentations, talks and social events alongside a music programme in the evening for attendees to network and enjoy. Work will be presented across: motion graphics, graphic design, illustration, interaction design, generative design, digital and software art, mixed media art, data visualisation and more. Tickets available here.


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Morgan Higby-Flowers

December 14, 2013, 2:17 am
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"My interests circulate around particular spectrums in newmedia art, specifically work that incorporates discarded technologies. My sensibility tends to pursues encounters with wonderment & visual representations of new deformations." - Morgan Higby-Flowers. See more;


2013-08-13 at PM 03.49.33, 2013




PixelJAM2013_mrgn_hgby-flwrs, 2013



output [of] no-input system studio performance (long), 2010



notha, 2010



Movie 5, 2010


thanks for the tip, Chris Shier

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Eno Henze at Alpha-ville EXCHANGE

December 20, 2013, 12:16 am
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Berlin-based artist & scenographer Eno Henze works at the intersection of science, philosophy and art. In addition to his drawings and installations he also curates NODE and designs stages for the Dutch National Ballet or the Royal Ballet of England.

Eno Henze will be part of Alpha-ville EXCHANGE next January 17 in London to talk about his practice working on multiple platforms and using several mediums. The event has been designed by Alpha-ville to offer the London art, tech and creative communities the opportunity to connect and exchange ideas. It will take place at Rich Mix Cinema and Arts Centre in London, have a look to the other interesting participating artists programme and tickets prices here.

Into the post there are some selected projects created by Eno in the last five years, don't miss to check all the other recent works and installations on his large and excellent portfolio. See more;



“When did you first feel the urge …”, 2007

“When did you first feel the urge …” is a reconstruction of an experiment conducted by the neuro scientist Benjamin Libet in 1968. A test person could choose to press a button at any moment – but he should remember the position of a circulating dot on a screen in front of him. Libet showed, that a ‘readiness potential’ in the brain preceeds every volatile decision , and hence questioned the concept of free will that had been fundamental to philosphy and religion for centuries (His argument was essential to the discussion of the philosphical implications of neuro science in the past decades). The ‘reenactment’ of this experiment recalls this controversial thesis and transforms it into a minimalistic videosculpture." - Eno Henze





Metaphysical Bordertraffic II, 2007




Tscherenkows Traum, 2009




RandomCondition(Arabidopsis), 2012

"RandomCondition(Arabidopsis) uses genetic code expressed in Red, Green, Blue and Yellow as breeding ground. I developed a series of ’4D – totalisitc cellular automata’, that also encode into the 4 states / colors / bases of the genetic code and grow as an artifical genetic code, initialized by the natural code." - Eno Henze





HECATOMB, 2011

"The installation draws upon a long history of psychedelic experiments and optical illusions, especially Marcel Duchamps rotoreliefs and 60ies-70ies light shows and Op-Art. It revisits these attempts to manipulate and distort human perception with today’s technological means.

The space is defined by a number of circular screens that show an evolving, rotating ‘kinetic light’ animation solely based on circular shapes and segments. Together with the loop- and noise-based music of Audion (Matthew Dear) this creates an hypnotic, timeless space.

The history of computerization and the history of psychedelic experiments intersect in the emergence of Cybernetics. It is the very same time, and largely even the very same people, that research in computer laboratories, experiment with LSD, advance in neuro science and psychology, theorize about information processing systems and create the internet. The installation ‘Hecatomb’ draws upon this context of confusion of human mind and machine logic and reflects it’s actuality.

Cybernetic theory is founded on the concept of a circular causality, that only knows an evolution of the moment (of the status quo), and is thus deliberated from projections into the future or the past. The installation is a literal aesthetic realization of this concept: it is a self-referential system that lives only in the present and never repeats itself. The visitor submerges into the timeless concrete condition of snythetic music and video." - Eno Henze 








Alpha-ville EXCHANGE 1 features a Day Programme packed with presentations, talks and social events alongside a music programme in the evening for attendees to network and enjoy. Work will be presented across: motion graphics, graphic design, illustration, interaction design, generative design, digital and software art, mixed media art, data visualisation and more. Tickets available here.


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Debora Bernagozzi

January 15, 2014, 4:03 am
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Debora Bernagozzi is an artist working primarily with video and photography. Debora and Jason Bernagozzi founded Signal Culture, a residency space and curatorial program in Central New York State, which provides residencies, resources, and exhibition opportunities for artists, researchers, and innovators working in experimental media art.

The first piece into the post is called "Electronic Landscape", as Debora tells; it was not created by shooting a landscape with a video camera and processing the imagery, but by creating imagery through pure electronic signal and pushing it in ways that made it appear as a landscape.  See more;

Electronic Landscape, 2010-2011

"In the 1970s video artist Nam June Paik and engineer Shuya Abe built the Paik-Abe Raster Scanner, or wobbulator, an analog device that used audio waves from oscillators to control magnetic pulses in a wire coiled around a television tube to bend and distort a video image. This machine has no output, and artists use a video camera to record the distorted image from a screen. I pointed a camera at this screen and sent the signal to another television. I pointed a second camera at this television and generated video feedback. I controlled the feedback through manipulation of the sine waves coming out of the oscillators, adjusting the wobbulator’s control knobs, zooming in and out with the second camera, and changing the focus of the camera.

Images formed, though they resemble landscapes, are pure manipulations of electronic signals produced by oscillators. Except for the fade in and fade out, "Electronic Landscape" is a document of video processing performed in real time." - Debora Bernagozzi




Night Walk 4, 2011




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Laser Trail Tracker by Kentaro Fukuchi

January 17, 2014, 3:49 am
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Kentaro Fukuchi created in 2004-2005 Laser Trail Tracker: Laser pointers tracking system with special emphasis on the shapes of a laser trails, a project to perform visually in live using laser pointers which get into the feedback generated by a camera capturing its own projected source. The interaction with the lasers over the projection get into the feedback but they also are tracked by a software which creates another shapes by the pass of the pointer. Kentaro also experimented using button widgets for bitmap image-based interaction to trigger with the laser different visual manifestations, here is an example performing using this system. See more;


"We developed a laser pointer tracking system and applied it to a live visual performance. Its basic approach is the same as that of previous systems: the computer is connected to a projector and a camera that observes the screen. We used an IEEE1394 digital camera (Fire-i, Unibrain S.A.) that can deliver uncompressed 640x480 pixels at 30 frames per second.
The projector was a standard 2000–2500 ANSI lumen XGA projector. In order to bypass expensive image processing techniques for laser detection,we used very bright green laser pointers (532nm wave length, class 3a, 5mW), and attached an ND-4 or ND-8 filter that decreases the power of an incoming ray to 1/4 or 1/8. By using this filter, we could eliminate environmental light and image on the screen from the camera’s view completely because the luminosity contrast is very high. All of the automatic parameter controls (brightness, white balance, exposure) of the camera were turned off to avoid unexpected parameter shifts during a performance. We set the exposure to almost 1/30 second, the same as the scan rate of the camera. This causes the image of a laser spot moved quickly to become a blurred and slightly dimmed trail (fig.2). This has been considered less suitable for laser spot tracking, but we feel justified in using the laser trails because the laser motion by performers is captured as trails." - Kentaro Fukuchi.






"Our laser tracking system "Laser Trail Tracker (L.T.Tracker)" recognizes laser trails and thier motions drawn on a screen with laser pointers. When a visual reflecting those laser stroke is shown on the screen, it seems to be generated via direct interaction to the screen.

There is a camera in front of a screen to capture it. The system extracts laser trails from a camera image and track their motions by using simple image processing and recognition techniques. Finally, a visual processor makes a visual from those information and projects on the screen." - Kentaro Fukuchi





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post code by ::vtol::

January 23, 2014, 4:53 pm
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post code is an interactive installation that translate barcodes as a symbol of consumerism and the digital, virtual communications age into a device that encourages personal communication as its creator ::vtol:: describes, and continues; by scanning a barcode, the mechanism prints a glitched postal card with the image generated from the digits encoded in and play sounds also generated from code. See more;

Not sure about the entire structure of the project, but my impression watching the video is that by scanning the barcode the user trigger the mechanism (camera, scanner, photo printer and sound) and the camera captures an image which is distorted because of circuit bent and it's printed, and not an specific barcode generates a determined glitched composition, he passes several times the same product (barcode) generating different glitches and sounds, anyway I just was wondering about the functionality, it's a beautiful project.


Software: max/msp jitter- pure data
Hardware: old photo printer- barcode scanner- circuit bent web camera - mono sound system




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Doris Chase

January 24, 2014, 6:57 am
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"Doris Chase (1923-2008) had her first solo exhibition in 1956 and her first international showing in Rome in 1962. Her artwork flowed through different mediums of painting that led to sculpture, evolving into experimental video and then dramatic filmmaking. In Seattle Chase is best known as a painter and sculptor. Her most notable sculpture commissions are "Changing Form" at Kerry Park and "Moon Gates" at Seattle Center. She is considered a pioneer of video art and produced and directed over 70 films." - Abmeyer + Wood. See more;

The following information is from a biography published at HistoryLink.org where you can read more about Chase's carrier, actually they took that biography from Deloris Tarzan Ament's Iridescent Light: The Emergence of Northwest Art. Also we can enjoy her video art online thanks to her gallerist Abmeyer + Wood who uploaded all the videos below to its Youtube channel.


Doris Chase began working in video in the early 1970s, using computer imaging, when video art was in its infancy. She began kinescopically integrating her sculptures with interactive dancers, exploring the range of image processing, synthesizing, and colorizing. She used special effects in the way other artists might use a paintbrush, to create dreamlike effects.


Circles and More Circles

King Screen, then an arm of KING-TV, made a film of the dance and sculpture collaboration. Chase requested and received footage edited out of that film. The thrift she had learned in the lean days of Elmo's illness had taught her to waste nothing. From the cut footage she made her own film, Circles II, with the help of film professionals Bob Brown and Frank Olvey.

Using color separations that showed the dancers and sculpture as pure color forms, she used a slight time lapse in which trails of vivid light followed in the wake of dancers' moving arms and legs -- a tracery effect seen as abstraction. The film won acclaim at the 1973 American Film Festival in New York. Critic Roger Greenspun compared it to Matisse's Dance painting, calling it "at once delicate and massive," and stating that "as visual experience it is ravishing" (Greenspun).

At about the same time Circles II which was shot with 16mm black and white film and then Chase created effects by overlaying different films. Later she added colour. Chase created prototypes for a 12-piece group of kinetic sculptures for children, made of shaped urethane foam encased in tough, bright-colored fiberglass cloth. The shapes were designed for kids to interact with, to help them learn equilibrium and body awareness. The shapes held particular promise as a teaching tool for children with cerebral palsy or learning disabilities. Unfortunately, the idea coincided with a time when school budgets were plunging and the price of plastics soaring.



Circles I, 1969-70
Created using the large mainframe computer at Boeing's facility in Seattle




Circles II, 1971
Dancer/choreographer Mary Staton who is dancing with Chase's sculpture. 






Dance Seven, 1975
Dancer/choreographer Marney Morris




Jazz Dance, 1975




Jonathan and the Rocker, 1977
Dancer Jonathan Hollander




Variation Two, 1978 
Dancer/choreographer Sara Rudner




Window, 1980
Video translation of Linda Mussman stage production performed by Claudia Bruce.



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Computers Watching Movies by Benjamin Grosser

February 7, 2014, 2:24 am
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Computers Watching Movies, 2013 by Benjamin Grosser_
"Computers Watching Movies shows what a computational system sees when it watches the same films that we do. The work illustrates this vision as a series of temporal sketches, where the sketching process is presented in synchronized time with the audio from the original clip. Viewers are provoked to ask how computer vision differs from their own human vision, and what that difference reveals about our culturally-developed ways of looking. Why do we watch what we watch when we watch it? Will a system without our sense of narrative or historical patterns of vision watch the same things?

Computers Watching Movies was computationally produced using software written by the artist. This software uses computer vision algorithms and artificial intelligence routines to give the system some degree of agency, allowing it to decide what it watches and what it does not. Six well-known clips from popular films are used in the work, enabling many viewers to draw upon their own visual memory of a scene when they watch it. The scenes are from the following movies: 2001: A Space Odyssey, American Beauty, Inception, Taxi Driver, The Matrix, and Annie Hall." - Benjamin Grosser. See more;


Computers Watching Movies (2001: A Space Odyssey)





Computers Watching Movies (American Beauty)




Computers Watching Movies (Inception)




Computers Watching Movies (Taxi Driver)




Computers Watching Movies (Annie Hall)




Computers Watching Movies (The Matrix)


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Adam Ferriss

February 7, 2014, 3:50 am
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Adam Ferriss is doing some great explorations over video lately, using digital techniques that remind of or use same principles than the analog ones such as video scan and video feedback, they are just mesmerising. I asked Adam about the process of these techniques which have been developed using openFrameworks and taking as source a webcam stream or a single image from the webcam.
He tells us that has been really inspired by Andrew Benson's feedback experiments, especially Melting Rainbow Heart (which Andrew used for MGMT's Optimizer too) and his HSFlow shaders, Adam also has been discussing with Johnny Woods about LZX analogue video feedback and out of curiosity he started trying to emulate some of the effects into openFrameworks to experiment in his own.

"Each video is a little different, although the core principle is pretty much the same. I use a series of offscreen framebuffer's to pile on different filters, and then feed the output of the final on screen framebuffer back to one of the earlier ones to complete the feedback loop (just like pointing a camera at a screen that is displaying the camera feed). The filters themselves are shaders written in GLSL.

Since these are made with shaders running on the GPU, it's super fast and can run in real-time at 60fps or faster. It's pretty satisfying to shake your head around and throw off gobs of color, so eventually I'd like to get everything working in webGL as a little web toy so that other people can play with the parameters and experience it for themselves." - Adam Ferriss.

Into the post you can find a brief explanation of each video and the source Adam used to experiment with. By the way don't miss to check his pixel based works too. See more;

Download source:
Andrew's Shaders working in openFrameworks
A pretty straightforward feedback effect using a sharpen filter


Enyomel

"Enyomel was made by using a wonky kernel convolution emboss filter that is continually rotated towards/away from the screen along the X axis. The initial image was a frame of my webcam, but it disappears into the feedback almost instantaneously."




Blink

"Blink was made with Andrew's Horn Schunck shader that tracks the motion between the previous and current frame to find edges in motion, and coloring the outline based on the direction of travel. Then without clearing the framebuffer I continually translate the image along the Z axis, which creates that "infinite zoom" effect."




A wash

"A wash is kind of a combination of the two effects, taking the output that I got in the blink video and feeding it into another kernel convolution shader."



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DATA DRAWINGS by Peter Jellitsch

February 25, 2014, 6:05 am
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I asked to Peter Jellitsch about the process of his Data Drawings series, whose data I thought was tracked somehow technically but Peter tells us it has been a manual work to get all the information to generate such a tridimensional volumes. 

"Like most of my work the, the primary idea for Data Drawings was to experiment with methods, which unveil visually hidden conditions. Through devices one has the possibility to literally peel-off and distinguish certain capacities as well as leave others in the dark. Data Drawings was produced during a 6 month residency at the Citè des Arts in Paris. I began to collect the bandwidth qualities of the WLAN in my studio with a simple iPhone App and wrote it down. Similar to a diary, but just with numeric information such as: Download: 972.0, Upload: 91.9, Ping 34 kB/s. 

I did this whenever I was physically in my studio. Sometimes I measured every minute, sometimes every hour. After a while, I came up with translating this informations onto a 3d grid in Rhino. Simultaneously I have experimented with drawing techniques of how to achieve something like all-over drawings which reflects back to the ideas of covering and multiplying. For each drawing I used the diagram I calculated on this specific day when I started to draw it. For me this technique allows to think about spaces in very blurred coherences, without depicting the place. On one hand you have this physical work (pencil and acrylic on paper), which is very abstract, on the other hand this abstract drawing has "real" numeric information behind every single line." - Peter Jellitsch. See more;

Until next April 14 you can see these Data Drawings in a duo solo exhibition featuring work by Peter Jellitsch & Theodore Darst at Public Works Gallery in Chicago.

See previous work of Peter Jellitsch





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Rainbow Waves by Taisuke Koyama

February 27, 2014, 10:51 am
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Taisuke Koyama went back to the rainbow gradient colour palette in 2013, I'm fan of his colourful photographic series and the experimental process he follows to get different textures on.  His first rainbow based series is called Rainbow Forms, 2009 where he took photographs of posters taken in central Tokyo using a macro lens. The second one titled Melting Rainbow, 2010 Taisuke used the posters from the previous series and placed them in the balcony of his room to make them change the process of the surface (the ink was melt with the rain and snow and became dew drops with the heat from the sunlight.) then it was photographed. And for this last series Rainbow Waves he photographed them under water. See more;



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grapheme by Robert Seidel

April 2, 2014, 2:03 pm
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Grapheme is a new permanent installation at Museum Wiesbaden created by Robert Seidel.
"Hand-drawn sketches were the starting point for the installation grapheme. They delineate the artist’s initial creative idea and serve as the basis for the films projected, as well as for the form of the projection sculpture itself. These sketches are translations of memories and associations, which the artist, like in a diary, has captured from the most varied places and stations of life.

In the amorphous abstract films, the structural state of these sketches is translated into a temporal flow of images. Here, for example events from the past fade away and become connected in continual transformation to new experiences and impressions. The moving film image preserves this reconstruction process, without ever indicating an end-state."

"The organic projection sculpture frees the film from the dogmatic limitations of rectangular screens and monitors. These delicate, laser-cut tissues float in the architectural space, light spills over them, and they come to life before the viewers’ eyes. Mirrors reflect the projected film image back onto viewers and allow them to become part of the work in the form of their own reflected image. In the multiple layers of the work, observers’ personal memories, their own reflection, that of the museum environment, the installation and the daylight become bound together into a situational work of art." - Robert Seidel

Grapheme's documentation — http://www.robertseidel.com/grapheme.275.0.html


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Jacques Perconte

April 8, 2014, 3:44 pm
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Funchal, 2013

Jacques Perconte has created and manipulated new videos to be exhibited in his solo exhibition called "From East to West" at Galerie Charlot next April 17 till June 7, 2014. For this exhibition, Jacques invites the viewer to a glitched trip generated through his generative processes. The continuous and progressive distortions from single film sources usually creates acid explosions of colors and unexpected abstract forms in real time. The sources manipulated for this show are an infinite flux of lanscapes from the East to the West of France. — The exhibition also will present a series of prints taken from these video pieces where the visitor could contemplate more deeply the unprecedented distorted landscapes.
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Banded Agates

April 12, 2014, 3:09 am
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Beautiful feedback flowing through a central horizontal reflection, this is a music video directed by Alex Bond / ENSO, created in 2013 for Banded Agates from the album Bookshelf Sanctuary by Shinji Masuko also known as Moan, founder and the guitarist/vocalist for DMBQ, one of the leading psychedelic rock bands in Japan, and a member of the world-renowned experimental music group Boredoms.
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Kazuki Umezawa

May 12, 2014, 6:50 am
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100222 from Kazuki Umezawa's daily image

Kazuki Umezawa makes huge collages and installations using found image source from the Internet, which content is highly related with the japanese anime and videogame culture mixed up with other elements generated by computers and from GUI.
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Sphaerae.Acoustic.Study

May 23, 2014, 6:39 am
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Sphaerae.Acoustic.Study is a real-time audio-visual performance created by Paul Prudence for the Sphaerae inflatable installed at Ars Electronica in 2013. The video into the post is a square format which fit perfectly projected on the top of the sphaerae. The piece is part of an ongoing study by Paul called Hydro Acoustic Study, see some images of after the video.
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VISITES POSSIBLES by Sabrina Ratté

May 27, 2014, 1:20 am
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Sabrina Ratté is the newest member of the well known computer collective, Computers Club. She made this beautiful piece titled Visites Possibles for her introduction in the collective where she has already uploaded some new work as Vivariums, a triptic GIF composition. You can follow Sabrina's work over Computers Club (here) and at Drawing Society (here) where she has a great archive of magic, celestial and architectonic based drawings. 

"Visites Possibles explores the possibilities of creating 3D environments based on video images generated only by electronic signals. Inspired by architectural renderings and the idea of virtual tour, the video invites the viewer to visit its structure through specific parameters. The walls of the space embed doors which open and close randomly, thus revealing only glimpses of different electronic landscapes. While these landscapes are being revealed, they are also pushed away by the simulated camera movement, leaving only a limited time for contemplation. Consequently, the lateral scrolling of the image controls the visit, both spatially and time-wise. It also creates a sense of spatial continuity, which contrasts with the constant morphing of the space, changing into different configurations, without following any physical logic. Throughout the visit, "entities" arise and disappear regularly as if haunting this virtual environment. Visites Possibles also acts as a transitory space where multiple doors open on potential virtual experiences." - Sabrina Ratté.
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