Video

r/place

o4oku48qk9py.pngr/place (pronounced "ar slash place" or simply just "place") is a collaborative art project created by the community of the website Reddit.com in April of 2017. r/place was a grid of one million pixels (1000×1000) that was initially completely white. Anyone with a reddit account could visit http://www.reddit.com/r/place between the first and third of April of 2017. Once there, users could pick a color, and place a single pixel of the chosen color anywhere on the grid, including pixels that other users had already filled in. Users were allowed to place additional pixels five to twenty minutes after each pixel they placed. The page still exists, however users can no longer participate in the project and instead the subreddit is now dedicated to people simply talking about r/place.

Home made Virtual Soup

Home made Virtual Soup,  developed by artist Avital Meshi, connects Second Life avatars and Real-Life puppeteers. The meeting was held during soup time at St. Columba Catholic School in the virtual community Second Life. The artist set up the meeting  with Miss Sarah Sandalwood, editor of O’Hare’s Gap, a guide to a 1930s virtual Irish village. Together, Miss Tali (Avital Meshi’s Second Life avatar) and Miss Sarah Sandalwood “opened a mystical portal between” both worlds. The meeting was a wonderful real-time experience where realities collided. The artist invited her “school family” at UCSC to enjoy soup with Second Life students of St. Columba, and they all experienced a “moment of communal fellowship.”

Profession- Animal Communicator

Communication and telepathy with non-human animals is a subject that has not been extensively researched, but has sparked curiosity in humans. Other animals bring us a wealth of joy and fascination, making it no surprise that alternate ways of communication with them are being developed and explored, due to humans not being able to directly understand non-human animal vocals. Rebecca Loyche’s Profession-Animal Communicator is an experimental video that features overlaid clips of various species of animals including pets as well as wild animals, with a recorded interview from a professional communicator “with over twenty years of experience, estimating that she has done over twenty-four thousand consultations to date.” [1]

PHAROS

video:https://youtu.be/u4zSkxh1-Hk?t=1881Rapper, singer, comedian, writer, director, and producer Donald Glover, aka Childish Gambino, is no stranger to experimentation when it comes to art and bridging the gap between music and technology. Moreover, he utilizes technology to create not only an experience for fans but to interact with them as well. For PHAROS, Childish Gambino utilized a combination of motion capture technology, CGI, and virtual reality to create an immersive 3-Day musical experience that showcased a new way to enjoy and connect to an artist live on stage.

Migration (Empire) by Doug Aitken

]American hotel rooms are where Doug Aitken’s short film Migration (Empire) takes place. The artist unexpectedly mixed the scenes of motel room settings with wild animals. As the animal explore the ubiquitous industrial interiors, the film explores the relationship between these American untamed wilderness and our human involvement of industrialization. The film includes many beautiful but also cruel scenes, such as a fox wandering in the motel room and noticing the view outside of the window is different because of the mesh screen; a deer drinking water from a swimming pool; an otter bathing in a bath tub. The film shifts continuously shifts to another animal, another occupant with a new room, suggesting the homelessness embodied by the motel room.

Route One

 Icelandic avant-rock band, Sigur Rós created Route One in 2016. This 24 hour long, TV production was intended to be broadcast live on BBC4 as well as Youtube.com. The band created this television event to accompany the release of their then newly released single, ‘óveður’. In this live-streamed youtube production, the band travels on the longest day of summer in Iceland, traversing Route One, a road spanning around the entirety of Iceland’s 1332km Ring Road.

CAPSID

London-based artist John Walter spent three years studying with Greg Towers at UCL to better understand the interactions between a virus and its host, specifically HIV-1 and the effect of AIDS on the human body's immune system. His meticulous research is shown in his new multimedia project CAPSID, featuring a short film titled A Virus Walks Into a Bar, which pulls the "bar" motif of British soap operas to present an analogous tale of how HIV enters human cells and destroys them from within. Through this film – as well as paintings and installations – Walter's work not only uncovers new ways of expressing how HIV behaves, but presents his findings in a way that the non-scientifically-inclined can understand.

Digital Instru-Mentation: Red Forest and Emblems of Ascension

Campbell%20Red%20Forest%202015%20detail.Digital art, as in the work of Robert Campbell (Red Forest, detail) and NoiseFold is achieving the plasticity of clay, paint on canvas, or even analog electronics. Several Currents 2015 participants have developed, or cobbled together, computer based tools which provide the robustness needed to dig in, explore, and experiment with contemporary new media materials and techniques. It's much like the shift from the brush of a Mannerist painter to the sponge of a Max Ernst frottage.Progress in the flexibility and robustness of digital instruments allow them to be treated as plastic media which may lead to fully collaborative human/machine systems. We can start to imagine an actual collaboration between humans and machines where, rather than participating in a one-way struggle, each contribute what they do best in a two-way dialog. And once these collaborative systems are established, their collective behavior will become more interesting than any particular 'finished work'.

Two Women

stacks-image-34fddf8.jpgTwo women: one is young, angelic, billowing and dream like; the other alternates between the fetal position and the floating corpse pose. Side by side, the wood framed vessels into which the the images are projected and submerged in water, read as both boat and coffin. Like flowers dropped from the installation’s peeling wallpaper or the Chinese screens described by the narrator as she recounts a dream that turns into a nightmare, the water is the source of life of death. In Two Women, the gasping for air is visceral as the older woman contorts her body and I, the witness, listen to her story in Korean, read it in English and hear the stylus punctuate it into fabric as Morse code, the universal language associated with distress.

Kesik Parça

Bu performans Kyoto’da, Tokyo’da, New York’ta ve Londra’da gerçekleştirildi. Performans genellikle sahneye gelen Yoko Ono’nun oturur şekilde pozisyon alması, önüne bir makas koyması ve izleyicileri tek… Daha fazlasını oku »Kesik Parça

Ghost Catching

"Ghostcatching, dans, çizim ve bilgisayar kompozisyonunu harmanlayan bir dijital sanat enstalasyonudur. Kaiser ve Eshkar görsel ve sessel kompozisyonu yaratırlarken, Jones dansı ve sözlü ifadeleri tasarlayıp uygulamıştı. Optik hareket yakalayıcıyla kaydedilen bu ifadeler, onları kurgulayan, yeniden koreografisini yapan ve üç boyutlu bilgisayar ortamında sahneleyen, ayrıca gestural bir çizim tarzında üç boyutlu modeller şeklinde haritası çıkarılmış sanal kompozisyonun temel taşlarını oluşturacaklardı. 

The Animal, Vegetable, Mineralness of Everything

installed_med72.jpg"Her biri bir hayvan, sebze ya da mineral aklına sahip üç otoportre, birbirleriyle şiddetin doğasını tartışır ve korkularını -genel olarak da birbirlerinden duydukları korkuları- ele alırlar. Ayrıca, kendilerinden önceki ‘o şey’i merak ederler ve biz, gerçekte neler olup bittiğini anlama çabası içinde, onların kendi iç dünyalarını ona nasıl yansıttıklarını dinleriz. Onlar da birbirlerini duyarlarken, hiçbir şey fikirlerine nüfuz ediyormuş ya da onları etkiliyormuş gibi görünmez: Hangi konuyu tartışıyor olurlarsa olsunlar, nihayetinde kendi ilgilerine ve sabit fikirlerine geri dönerler. Bu çalışma bir ‘sinemasal heykel’dir. Diyaloglar önceden kaydedilmemiştir ve birilerinin onu ziyaret ettiği her seferinde, bir bilgisayar programınca gerçek zamanda yaratılmış olarak farklı olur. Bu figürlerin yaptıkları konuşmalar ne tamamen senaryodur ne de gelişigüzel; bilakis, yazılımla onların her birine bir ‘kişilik’, bir lugat, çağrışım alışkanlıkları, takıntılar ve bir film sahnesindelermiş de rollerini tekrar tekrar fakat hep değiştirerek prova ediyorlarmış gibi davranmalarını sağlayan başka kişilik özellikleri yüklenmiştir.” – Ken Feingold

Robot Chair

 "Bu çalışma, izleyicilerin bir alanın ortasına konmuş bir sandalyeyi gözlemeleriyle başlar. Aniden sandalye yüksek bir çatırtıyla parçalanır ve izleyiciler sandalyenin bacakları, oturma yeri ve arkası döşemeye saçılırken dehşet içinde kalırlar. Anlaşılan çok yanlış bir şey yapılmıştır. Anlamlı bir duraksamanın ardından tek tek parçalar hareket etmeye, birbirlerine takılmaya başlarlar ve sandalye kopmuş parçalarını yeniden toplamaya koyulur. Robotic Chair, sanki bir çocuk izleniyor ve onun yapacağı, fakat kendi başına öğrenmesi gerektiği için kendisine yardım etmenin de mümkün olmadığı hatalar önceden görülüyormuş gibi, izleyiciden önemli bir empati göstermesini beklemektedir. Sistem hata yaptığında gerilim yükselir, sonra da hataların nasıl düzeltileceği, kendi kendini onarma süreci ilerledikçe bir sonraki görevle nasıl başa çıkılacağı yavaş yavaş görülür. Sistemin başarılı olacağı inancı ile bu görünüşte başarılması imkânsız -üstelik hem çok sıkıcı hem de metaforik bakımdan genel nitelikli olan- görevin nasılsa yerine getirilemeyeceği düşüncesi arasında hassas bir denge kurulmuştur.

Pamphleteer

Yapılan incelemeler göstermiştir ki, insanlar bir aktivistten ziyade bir robottan gelen yayınları kabullenmeye daha yatkındırlar. Pamphleteer, nam-ı diğer Little Brother, yıkıcı yayın dağıtan bir propaganda robotudur. Pamphleteer, sevimliliğin estetiğinden fayladalanarak propaganda yapma kapasitelerini engelleyen toplumsal koşullanmayı baypas edecek şekilde düşünülmüştür. Pamphleteer Amerikan bilim-kurgu sineması ve Japon oyuncak estetiği gelenekleriyle tasarlanmıştır. Robotun yararlılığını sağlayan teknolojik gelişkinlik değil, onun estetik çekiciliği, yani ‘sevimlilik faktörü’dür (CF). Robotun formu çocuklar, kedi yavruları ve oyuncak ayılar gibi çağdaş sevimlilik paradigmalarının kapsamlı bir araştırmasına dayanmaktadır ve kendisini Pamphleteer ’in aşırı büyük başı ve gözleriyle, robotun kısa, tombul bedeniyle açığa vurmuştur

Vectorial Elevation: Relational Architecture 4

vectorialelevation_mexico_06.jpgRafael Lozano-Hemmer's>Rafael Lozano-Hemmer's Vectorial Elevation is "an interactive art project originally designed to celebrate the arrival of the year 2000 in Mexico City’s Zócalo Square. The website www.alzado.net enabled any Internet user to design light sculptures over the city’s historic centre, with eighteen searchlights positioned around the square. These searchlights, whose powerful beams could be seen within a 15 kilometers radius, were controlled by an online 3D simulation program and visualised by digital cameras. A personalised webpage was produced for every participant with images of their design and information such as their name, dedication, place of access and comments. These web pages were completely uncensored, allowing participants to leave a wide variety of messages, including love poems, football scores, Zapatista slogans and twenty-seven marriage proposals. In Mexico, the project attracted 800,000 participants from 89 countries over the course of its two-week duration."[1]

Video Flag Y

"Video Flag is an important example of Paik's more recent work composed of a series of sculptural television constructions or walls of TVs.

Vladimir BONACIC G.F.E.

"One of the most interesting aspects of this work [in Galois fields] is the demonstration of the different visual appearance of the patterns resulting from the polynomials that had not been noted b

Nirvana

Nirvana Mariko Mori 1996-1997 Cam paneller, akrilik,fiber optik kablo, video  [1] Japonya’da doğup öğrenimini Londra ve New York’ta tamamlayan Mori, multimedya enstalasyonlarında geleceğe dair tuhaf ütopyacı… Daha fazlasını oku »Nirvana

Okyanus

Yoichiro KAWAGUCHI Ocean  [2] Kawaguchi’nin çalışması, bilgisayarlarla ilk çalışmaya başladığı 1975’te teorileştirmeye koyulduğu ‘büyüme modeli’ne dayanır. Sanatçı kendi yaklaşımını, “zengin hayal gücüne… Daha fazlasını oku »Okyanus

Light Ballet

1959'da Otto Piene Işık Balesi işini yarattı. Bu işle 'elementlere' olan ilgisini açığa çıkarıyordu.

'' Elementle sadece  klasik Yunan'daki elementleri -ateş, su, hava ve toprak- değil aynı zamanda insan elementlerini, etki, tepki, müdehale ve katılımı da kastediyorum''[1]

Op Art exhibition'da (Frankfurt, 2007) sergilenen videosu

Moholy-Nagy’nin Light Space Modulator’ının izinden giden Piene, Light Ballet’in üç farklı biçimini yaptı. Archaic Ballet’de (1959) elektrik ışığı delikli mukavvadan geçiyordu. Mechanical Light Ballet’de (1960) izleyicilerin çalıştırdığı kollar ışıklı nesnelerin daha yavaş hareket etmesini sağlıyordu. Automatic Light Ballet’de elektrikle çalışan motorlar aynı etkiyi doğurmuştu.

Virtual Mirror- Rain

Artist Tao Sambolec's expanded conception of art emphasizes tactility, embodied experience, affect and perception in space, often involving displacements that heighten our sensory awareness. In this respect, his work finds good company with pioneering contemporary artists from Duchamp to Eliasson. A case in point is Virtual Mirror – Rain, which received Honorable Mention at Prix Ars Electronica. The artist has somehow managed to achieve what might at first seem impossible: rain falling from the skies outside the gallery triggers an equivalent amount of rain "falling up" inside the gallery!

Yolande Harris “Sun Run Sun”

throughsextantweb-150x150.jpg  satsoundingFrankfurt1web.jpg  satsoundingFrankfurt2.jpg  sunrunsun1-150x150.jpg

“Estoy viendo una sensación de dislocación de mi ambiente inmediato por su representación alternativa en los datos de posición, las figuras de longitud y latitud actualizados cada segundo mientras me muevo. ¿Qué lugar hay para mis sensaciones, mi fenomenología, mi consciente y el inconsciente conciencia del espacio si este conocimiento es tan eficiente y funcionalmente redundantes por las tecnologías de navegación por satélite? "  – Yolande Harris

The Sheep Market

The Sheep Market es una obra de arte basada en Web que utiliza el sistema ‘Amazon Mechanical Turk “(MTurk) para involucrar miles de trabajadores en la creación de una base de datos masiva de dibujos. Aaron Koblin’s The Sheep Market is a web-based artwork that uses the ‘Amazon Mechanical Turk’ system to get thousands of workers involved in the creation of a massive database of drawings. La inspiración de Koblin para ‘The Sheep Market’ era tratar de explotar la creatividad humana, y al mismo tiempo arrojar luz sobre el papel insignificante que cada trabajador desempeña como parte de grupo. Pero Koblin era sobre todo curioso de cómo los trabajadores responderían a su tarea absurda: “Cuando vi la primera oveja venir a través del sistema, supe que había tomado la decisión correcta. Como yo esperaba cada oveja refleja verdaderamente el individuo y la humanidad detrás de él”.

77 Million Paintings

En 2009, Brian Eno – inventor de la música, productor discográfico y artista visual reconocido – fue invitado a Sydney para curar un proyecto llamado Luminoso, parte de Vivid Sydney, una fiesta pública única para “transformar la ciudad en un lienzo viviente espectacular de la música y la luz en y alrededor de la Sydney Opera House, The Rocks, Circular Quay y City Centre “. La belleza de la fiesta no sólo reside en la variedad de diferentes obras de arte y performances exhibidas durante el curso de Luminoso, sino también, de acuerdo con Eno, en el denominador común de los artistas combinados: la incapacidad de colocarlos en una categoría obvio. Afirmó que “[l] son personas que trabajan en los nuevos territorios, los lugares en el medio, los lugares apartados en los bordes. […] Algunos de ellos toman formas viejas y se infunden nueva vida, y se hacen nuevos otra vez, y otros inventan formas de arte que antes no existían”.

Virtual Mirror – Rain

La concepción ampliada del artista Tao Sambolec destaca la tactilidad, la experiencia encarnada, el afecto y la percepción en el espacio, cuales a menudo involucra desplazamientos que elevan nuestra conciencia sensorial. En este sentido, su trabajo se encuentra buena compañía con artistas pioneros contemporáneos de Marcel Duchamp a Olafur Eliasson. Un ejemplo es su notable instalación Virtual Mirror – Rain , que recibió Honorable Mention en 2010 en Prix Ars Electronica, el concurso internacional más importante para el arte multimedia.

Net Blow-Up

IMG2126.jpgThe Net Blow-Up exhibit, by croatian-austrian design collective Numen/For Use, is a highly interactive sculpture evoking nostalgia from the bouncy-castles of our youth.  “Although the history of art has cultishly celebrated the individual genius, the field increasingly has recognized the importance of exhibitions, institutions and communities in shaping the production, reception and historical contextualization of art.” [1] This collaborative effort is humble, playful and simple in a way that is a necessary counterpoint to the pretentiousness that feeds the majority of modern art.  I do not intend to belittle the cutting edge; I just mean that without exhibits like Net Blow-Up the world of art would be a lot less fun.

Mechanical Parts

 Mechanical Parts is a series of illustrations drawn by a robot programmed by artist Matthias Dörfelt. His machine, named ‘Robo Fabers,’ rolls across the paper and creates drawings autonomously, while adhering to a set of… interesting guidelines Dörfelt programmed it with. As he told Gizmodo, “basically [Robo Fabers] is doodling connectors—think of it as robot genitalia—as a first step of planing reproduction.” The machine randomly arranges various permutations of components as specified by Dörfelt. Most noticeably, shapes clearly resembling hairy and shorn testicles, phalluses, sperm, holes, and eggs are are visible in the drawings pictured above.

A Bell for Every Minute

A Bell for Every Minute is a sound installation by artist Stephen Vitiello, located on the High Line in New York City. Vitiello recorded 59 bells from all over New York City. These include landmark bells such New York Stock Exchange bell, the Dreamland Bell, the United Nation’s Peace Bell, and more common, everyday bells such as bike bells, diner bells, and church bells. Vitiello placed speakers throughout the 14th Street Passage, a tunnel between West 13th and West 14th Streets. Each minute, a bell rings from the speakers. At the top of each hour, all of the different bells ring at once in a chorus that fills the space.