The installation ' 12m4s ' is a interactive installation by LAb[au] (lab-au.com), an architectural intervention using visitors' movements to generate in real time out of its main parameters such as visitor position, orientation and speed a visual ( 3d particles ) and sonic ( granular synthesis) scape.
The installation, based on different capture techniques such as image recognition and ultra sound sensors, uses all these multiple tracked data to create a space of sound and movement.
The result, this 'particle synthesis' is projected on a mylar screen fusing projection and reflection while building a common space in between the digital and the body space.
The Touch project takes as a starting point Brussels' 145 m high Dexia Tower, from which 4200 windows can be individually colour-enlightened turning the building into an architecture of light.
The enlightening of the tower is based on its architectural and urban characteristics, using parameters such as its orientation, volume, scale, propositions ...to set up a spatial, temporal and luminous concept, which moreover allows people to directly interact with the tower.
From a specific designed pavilion at the bottom of the tower people can interact through a multi touch screen in real-time, either individually or collectively, with the luminous construct. Both static (touch) and dynamic input (gesture) are recognized to generate an elementary graphical language of points, lines and surfaces taking a monochromatic colour palette (background) combined with black and white (graphical elements). This real-time interaction establishes a dynamic, abstract play of graphical elements deduced and emitted from the architecture.
Once a composition is created, the user can take a snapshot of the tower and sent it as an electronic greeting card. This communication chain creates an exchange between the individual and public building/spaces while actively involving each user in the formation of Brussels city image. A project exploiting IC technologies, its processes and logics, to create a contemporary form of urbanity.
Tessel is a kinetic installation investigating the perception of sound and space.
Its name is derived from "tessellation", a term applied to the geometric subdivision of a surface into plane units, also known as "tiling". It also describes a software technique that allows calculation of renderings through the subdivision of surfaces into polygons. The term has its origin in the Latin word ‘tessella’, describing the square tiles used to make mosaics.
Tessellation has been applied throughout history from ancient to modern times, from two to n-dimensional configurations and merges science and art through mathematics. Here Tessel is based on the ‘pinwheel pattern’, a non-periodic tiling coined by mathematicians Charles Radin and John Conway, which allows the creation of an infinitely complex geometry constructed with a simple single "seed": a right triangle. Here, the pinwheel pattern is transformed, folded and transposed to the third dimension.
The installation is constituted of a suspended and articulated topography of 4 x 2 m, subdivided into forty triangular mirrors. Twelve triangles are fitted with motors and eight triangles are equipped with audio transducers, which transform the surface into a dynamic sonic space. A dialogue between space and sound is created as the surface slowly modifies its shape, our perception of it altered through continuously changing light and sound reflection.
The project inscribes itself within the art historical continuum, from Victor Vasarely’s optical art to Buckminster Fuller’s synergetics, while continuing the quest for processual beauty in the numeric realm.
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Particle synthesis is an installation based on an autonomous, self-standing, audio-visual setting. Consequently the core of the work focuses on programmed, generative, processes within sound creation and music composition as to visualize, notate, these processes in real-time. The installation title 'particle synthesis' names the two principles constituting the work, the sonic technique of granular synthesis and the visual one of particles rendered in 3D real-time. Here every particle is a grain evolving in space and time. This inter-relation between sonic and spatial characteristics constitutes the main characteristics of the real-time rendering in 360 degree and the surround sound.
The hexagonal shape of the installation translates these sonic and spatial specificities: six networked computers, each rendering 60 degrees of the 3d scene, are boxed in a transparent Plexiglas case also including a speaker. These boxes have the shape of a stage monitor and are placed next to each other on the ground to constitute the hexagonal ring. The design of the installation thus gives shape to the inherent spatial and sonic parameters of the software and exposes its constituting hardware as its specific form offers two perceptions and manifests the spectator's act of entering and listening; between soft and hardware; between perception and action.