The design of ‘Resinance’ was strongly influenced by the behavior of simple organic life forms, in particular the formation of cellular colonies. In its assembly it represented an ecology of functional units that could both work autonomously but also in coordination with their neighboring units. It consisted of 40 active elements that were gradually changing their surface color in response to human touch. While this slow transformation as such couldn’t immediately be perceived, each device had a second actuator, providing direct response through shivers and vibrations. Every four elements were connected through a control unit that formally resembled the rest of the objects but without the ability to change color. These units both choreographed the behavior of the particular cluster and transmitted the current state of each element to its neighbors. Therefore the tactile input not only changed the touched element but was transmitted throughout the whole installation in a networked, swarm like behavior.
materiability research network / Chair for CAAD / Master of Advanced Studies / ETH Zürich / 2013
Achilleas Xydis, David Schildberger, Demetris Shammas, Evi Xexaki, Irene Prieler, Jessica In, Joel Letkemann, Maria Smigielska, Mark Baldwin, Nan Jiang, Nicolás Miranda Turu, Tanigaito Akihiko, Tihomir Janjusevic, Yuko Ishizu
Andrei Pruteanu, Benjamin Dillenburger, Hironori Yoshida, Lei Yu, Mariana Popescu, Stefan Dulman, Tomasz Jaskiewicz, Weixin Huang
Craig Smith / insightphotography.net
Achilleas Xydis, Demetris Shammas
Lake Radio - Every Little Thing / lakeradio.bandcamp.com
More info: csismn.com/SYN-Phon
Graphical notation and composition by Candas Sisman
Barabás Lőrinc: Trumpet
Ölveti Mátyás: Cello
Candas Sisman: Electronics and Objects
Budapest Art Factory (BAF) is pleased to present to you SYN-Phon; sound performance based on graphical notation by Candaş Şişman featuring Barabás Lőrinc & Ölveti Mátyás. Candaş Şişman resided at BAF for the month of June as part of its cross-cultural fertilization residency program. SYN-Phon will be exhibited to act, as a visual linguistic delivery through a cogitation segment followed by the sound performance on June 29th.
Coming about to understand the human nature of comprehending linguistics is that of a complex take –on. The constituent elements of language, in general content, bring forward the theory of other minds sharing, with intentioned communication.
Thought varies with the use and absence of language that comes to be found in line with the development of thinking and impulses from our daily surrounding. Eventually language creates our point of view just as much as our ideas and perception of matters, individualistically.
Art plays a crucial role in demolishing the boarders of our comprehension our mindset is framed into by literate language. Human language serves as a rather conservative form of communication when comparison to musical language; where the freedom of space employs as a resort for that broad horizon of that, that in search of cutting-edge form of broadcast.
Candas’s trials of combing various forms don’t necessarily imply the mere creation of a pioneering flash but rather the use of the endless possibilities in associating the known and unknown. Through the unknown, we come about with a new way of thinking that tries to substitute and make space for a new tool of self-expression. Conclusively the graphical notation gives liberate opportunity in creating one’s personal language that holds its basis on feeling the visual and sound in parallel.
Phonation, in accordance to Candas is the presence of sound language in SYN- Phon where the structure is supported by the synthesis itself. Music in its myriad forms extends to exploiting a communicative human language, thereby making the conceptual idea much more of significant importance than the actual tool. For Candas the presence of music in positively charged negatives spaces is a key element for substitution of the unknown seeking to be expressed. By the happening of SYN-Phon the line of musician will be crossed into a rather freely inflicted composer. Lőrinc and Mátyás as the musical inputs , on trumpet and cello respectively, of the performance will attain free expression
rightfully to the impulses in line of creating a new language.
SYN-Phon sound performance will demonstrate an articulation based on Candas’s intimate collective findings of Budapest during the month of June. Buda and Pest in the separate geographical allocation hold different quintessence natures, in addition to the anecdote of recent flooding events of Duna the performance is meant to reach out to the audience as a sensual expressive language. The sound performance will include sounds, constructed and picked up in Budapest recorded by Candas himself.
The whole bulk graphical notation will be available in print form to be part of the introductory assimilation.
"The Painter," a poem by Dobby Gibson, adapted for Motionpoems by Mark Rubbo.
Petting Zoo by Minimaforms is speculative robotic environment populated by artificial intelligent creatures that have been designed with the capacity to learn and explore behaviors through interaction with participants. Within this immersive installation interaction with the pets foster human curiosity, play, forging intimate exchanges that are emotive, evolving over time and enabling communication between people and their environment. The installation exhibits life-like attributes through forms of conversational interaction establishing communication with users that are emotive and sensorial. Conceived as an immersive installation environment, social and synthetic forms of systemic interactions allow the pets to engage and evolve their behaviors over time exhibiting features and personalities that are formed through their interactions with the general public. Pets interact and stimulate participation with users through the use of animate behaviors communicated through visual, haptic and aural communication. Pet interactions are stimulated through interaction with human users or between other pets within the population.
An “experimental documentary about a contemporary arts practice” made as part of my first year on the Media and Arts Technology doctoral training programme at Queen Mary, University of London. Having chosen Live Cinema as my practice - how could I choose anything else - the challenge of the film was to represent a form that is overtly broken out of a pre-determined, linear, framed format - in a format that is.
Authored at 1080P, its best viewed here at the uploaded 720P, either hit fullscreen or download the Quicktime.
Full project page at: tobyz.net/projects/livecinemadoc