Pure Data read as pure data is an audio visual trip through the back of the binary code, and its hidden qualities: structure, logic, rhythm, redundancy, composition...
In this video version, as a tautological process, the content of the Pure Data application is read as pure data, directly displayed as sounds and pixels.
A direct immersion in the heart of data flows.
Based on Pd version 0.42.5 extended (Mac OS X Intel release)
Rework of a series started in 2002:
As an installation, the machine investigates its own hard drive's content.
More info: peripheriques.free.fr/blog
This is documentation of the Black Rain installation as seen at the Earth: Art of a Changing World show at the Royal Accademy, Dec 2009 to Feb 2010. This version sees all the data collected from the Stereo B Heliospheric Imager as one single timelapse animation in a 5 meter high portrait projection.
Black Rain is sourced from images collected by the twin satellite, solar mission, STEREO. Here we see the HI (Heliospheric Imager) visual data as it tracks interplanetary space for solar wind and CME's (coronal mass ejections) heading towards Earth.
Working with STEREO scientists, Semiconductor collected all the HI image data to date, revealing the journey of the satellites from their initial orientation, to their current tracing of the Earth's orbit around the Sun. Solar wind, CME's, passing planets and comets orbiting the sun can be seen as background stars and the milky way pass by.
As in Semiconductors previous work 'Brilliant Noise' which looked into the sun, they work with raw scientific satellite data which has not yet been cleaned and processed for public consumption. By embracing the artifacts, calibration and phenomena of the capturing process we are reminded of the presence of the human observer who endeavors to extend our perceptions and knowledge through technological innovation.
Many thanks to: Chris Davis and Steve Crothers at the STFC Rutherford Appleton Laboratory, UK + Stuart Bale and Steven Christe at Space Sciences Lab UC Berkeley, USA.
"Fan Mirror", 2013
153 folding hand fans, motors, video camera,
control electronics, custom software, microcontroller, wood armature and base
7.7 x 13.1 x 3 ft / 2.35 x 4 x .93 m
"Fan Mirror" is a free-standing sculpture that measures thirteen feet across. Its overall shape and rounded frame suggest the folded oriental hand fan, a decorative object that first emerged in the 10th century and gained popularity during the Ming Dynasty. The sculpture is comprised of seventeen ribbed wooden spokes that support a total of 153 hand fans, in an array of sizes and colors, from Korea, China, Taiwan, Spain and Japan. Crafted from materials ranging from sandalwood and synthetic silk to plastic, each fan is actuated by a motor that is computer controlled, causing the bands to spread open and rhythmically close. Sweeping patterns roll across "Fan Mirror"’s arced surface, blossoming in rings that resemble an onion peel or peacock’s tail. The sequence of movement in this work is directed in part by the viewer’s engagement. When approached at close range, the fans, which are also connected to a camera, move to create a rough silhouette of the viewer within the sculpture. When viewing from a distance, the movement is generated by an algorithm programmed by the artist.
Video courtesy of the artist and bitforms gallery nyc.
Micro/Macro is an exploration of the notion of scale, both the scale of the film’s subject as that of the very medium of 3d-scanning. Facing a clearing in one of the oldest patches of the Kielder Forest, a tree is covered with an amazing variety of mosses. These mosses, when observed closely, form a fantastic and lush world of different textures, colours and shapes. The film is a zoom-out, starting at the microscopic scale of the mosses, slowly moving out to reveal the branch on which they grow, the tree on which the branch grows and the forest within which the tree has grown. Finally the film unfolds itself as an eternal loop as the macro scale of the actual forest of trees fades into the micro-forest of mosses, thereby reflecting on the self-similarity and the fractal nature of growth.
The footage bases on two scans made from the same point but in different resolutions and qualities. However, no matter which resolution is used and no matter which object is scanned, from a certain distance, its volumetric image will dissolve into the point cloud from which it is constituted. The points transform into molecules floating in space, their spatial relationship to each other becomes illegible. In this early phase of experimentation with the use of scanning and its animation as an artistic medium, the film thereby opens up a discussion on resolution, volume and scale, especially when competing with the established media of photography and film."