60 medical infusion sets, water, fire, metal sheets 20x20x4cm
Dimensions: Size variable. Installation view: Meetfactory Prague, Czech Republic. Curated by Karina Kottová and Daniel Vlcek. Project management by Ulf Kallscheidt. Project coordination by Venuse Tesnerová. Assisted by Ulf Kallscheidt, Florian Buerki and Anna Fach. Kindly supported by Pro Helvetia - Swiss Arts Council.
Using simple and functional components, Zimoun builds architecturally-minded platforms of sound. Exploring mechanical rhythm and flow in prepared systems, his installations incorporate commonplace industrial objects. In an obsessive display of simple and functional materials, these works articulate a tension between the orderly patterns of Modernism and the chaotic forces of life. Carrying an emotional depth, the acoustic hum of natural phenomena in Zimoun's minimalist constructions effortlessly reverberates.
Dissolving Self employs metaphoric data visualization, motion capture and wearable technology to harness the subtle movements of a contemporary dancer. I was curious to ask how new media technologies can be used to augment the experience of watching performative art. Much of the inspiration of this piece comes from Rumi's mystic poetry and the physical meditative ritual of Sufi whirling.
A gyroscope and a radio module (Xbee) worn by the dancer measure and transmit speed of rotation and a Microsoft Kinect captures lateral movement. These two sets of live data are fed into Processing, an open source software to create a responsive and metaphoric visualization that is projected over the dancer.
Maziar Ghaderi, 2014 MDes Candidate
Original Concept, Creative Direction
Ryan Maksymic, 2014 MDes Candidate,
Carlos Montenegro, student sponsored by CNPq - Brazil
Sound Design, Technical Assistance
Denise Mireau, Studio for Movement
Processing sketch based on "Ellipses", by Kryštof Pešek (Kof), licensed under
Creative Commons Attribution-Share Alike 3.0 and GNU GPL license.
Rehearsal is a responsive system based on motion tracking technology which was made possible with the Kinect Sensor and visualized with vvvv software. The participant is invited into an environment where their silhouette is abstracted and projected onto opposing surfaces composed of lines. These lines suggest a rigid and regimented architecture. However once the participant begins to move, the rigid lines become fluid and respond, warp and fluctuate while sounds begin to resonate in response to the participants gestures. The data collected from the gestures of participants is forwarded to a synthesizer over Pure Data and processed according to the user interaction.
Lightbender v2 is an audiovisual instrument developed for four players each controlling the expression of a color and a tone. It was exhibited at the contemporary music festival Sound Around (2007) in the Plex music theatre in Copenhagen.
The instrument incorporates a half sphere shaped water tank that serves as a semi-3D video screen. A particle system is projected into the tank leaving illuminated traces in the water. The sound is based on an additive fm synth with filtered white noise. Synth parameters are mapped directly to the behaviour of the particle system. The sound is emitted from four speakers in a surround set-up where the panning of the sound fits the position of each player and the movement of the particles. The physical interface consists of four modified game pad controllers.
The first version of the instrument which was built for the exhibition Social Aktion (2007) at The Museum of Contempoary Art in Roskilde had only visual output. The initial idea was to engage people socially in a musical experience by enabling the control of visual expressions while listening to a selection of the museums extensive sound art archive.
Building color organs is no novel idea. The first in this family of instruments is the Clavecin Oculaire completed by Louis-Bertrand Castel in 1734, but the idea of audiovisual coherence dates even further back (Peacock 1988). Since then many have followed, most notably (I think) Thomas Wilfred's Clavilux from 1919.
I'd like to thank Golan Levin for compiling a brief a historic overview in his PhD thesis from 2000. Thanks also goes to Morten Søndergaard, for the invitation. Museet for Samtidskunst, for providing materials. Daniel Høier Øhrgaard, Morten Carlsen and Thomas Sørensen for general help. Marie Louise Andersson, for game-pad modification help. Michael Edinger, for help with the electronics. Enrico, for lots of practical help at the museeum. Dennis Paul, for teaching me a bunch of Java tricks. Christian Riekoff, for providing the procontroll library.
Peacock, Kenneth: Instruments to Perform Color-Music: Two Centuries of Technological Experimentation. Leonardo 1988. Vol. 21, num. 4, p. 397--406.
Levin, Golan: Painterly Interfaces for Audiovisual Performance. PhD thesis MIT 2000.
Cal Poly Science Cafe partnered with the first ever San Luis Obispo Mini-Maker Faire to bring you an interactive, crowd-sourced game at Mission Plaza.
Our featured maker, Michael Newman, custom-designed an interactive game that bridged our physical and virtual worlds! Here, he explains how he designed and built the game that engaged the crowd in a carnival-like balloon competition through the use of their smart phones.