Documentation of Radiator installation at Crypt Galley, London, UK. April 4th - 13th 2013.
The space is illuminated by a radiant form generated from ambient sound. Video captured by cameras operating at the limits of their capacities and struggling to resolve images in the dimly lit space, are analyzed using state of the art pattern recognition algorithms to populate the space with half-seen and half-heard images and sounds.
The installation comprises digital projection and audio that is generated by a combination of interpolation, feedback and pattern recognition. The installation consists of monochromatic colour and complex visual noise projected into the space at acute and oblique angles to reshape the space and provide source material for a pattern and shape analysis. The projection is intended to flatten and distort the space creating a familiar but visually disconcerting environment. A similar effect is achieved with sound, as multiple speakers broadcast single frequencies and complex noise into the space to create sonic shadows and highlights, and new expectations of the space.
The installation uses multiple projectors to entirely fill the space with projected and reflected light. Depending on the actual space up to 8 powered studio monitors and 2 subwoofers fill the space with sound. The visual and audio noise is analyzed by cameras and microphones that monitor the noise for pattern and form and the results are visualised and mixed back into the streams of noise. The intent is to fill the environment with visual and sonic noise that is reshaped by the architecture of the space and the many acts of display. The projections are intentionally highly technical, super saturated, and the images embedded in the noise are fleeting and subtle. The intent is to hint at some presence, at some form contained not only in the walls and history of the space, but in the actual processes of display.
The installation continues earlier work over the last 2 years that uses strategies found in paranormal psychology and in pattern recognition, to explore ideas about how we construct our world, and how distant and recent history provides a context for making meaning. This is a new work specially designed for architecturally complex spaces, to create immersive environments, that uses the historical and psychological context of the installation site in combination with the actual means of display to generate meaning.
Site specific installation. Actual hardware and physical configurations are site dependent. 2 days to install.
Up to 8 short throw 3500 lumen projectors and 2 X 10,000 lumen projectors
Surround sound system. Up to 8 powered 70W studio monitors and 2 X 240W subwoofers.
MacMini - 2.6GHz Quad-Core Intel Core i7, 16 GB, 256GB SSD.
In addition to independent projects, Alan Dunning and Paul Woodrow are core, founding members of the Einstein’s Brain Project, a group of scientists and artists working together for the last fourteen years,
The collaboration has resulted in more than 40 site-specific installations on 4 continents over the last 15 years. The art members of the collaboration have exhibited extensively, collectively and individually, including exhibitions at the National Gallery of Canada, Ottawa, The Tate Modern and Tate Britain, London, The Museum of Modern Art, Stockholm, and the Reina Sofia Museum in Madrid. Their work is included in the Museum of Modern Art, New York, the National Gallery of Canada, and the Tate Gallery, London. Citations include: Hiebert, T., "Digital Inflections: The Einstein's Brain Project", CTheory, UVic, 2011, Wilson, S., “Art + Science Now" Thames and Hudson, 2010, Langill, C., “Shifting Polarities: Exemplary Works of Canadian Electronic Media Art Produced Between 1970 and 1991”, Fondation Daniel Langlois, Montreal, 2009, Shanken, E., “Art and Electronic Media”, Phaidon Press, 2009, Adams, R., Gibson S., eds. ., "Transdisciplinary Digital Art: Sound, Vision and the New Screen", Springer, 2008, Barker, M., “Intersections of Media and Biology”, Re:place, Berlin, 2007, Damian-Sutton, P., McKenzie, R., and Brind S., eds., “State of the Real”, I.B. Tauris, 2007, Munster, A.,“Materializing New Media: Embodiment and Information Aesthetics”, Interfaces series, University Press of New England, 2006, Murphie, A., Differential Life, Perception And The Nervous Elements: Whitehead, Bergson And Virno On The Technics Of Living, Culture Machine, #7 2005, Hayles, N. K., "Flesh and Metal: Reconfiguring the Mindbody in Virtual Environments”, Routledge, New York and London, 2004, Hansen, M., “New Philosophy for New Media”, MIT Press, Cambridge, 2004.
Alan Dunning is an independent new media artist based in Victoria, BC. Paul Woodrow is an installation and performance artist, and musician, and a full Professor in the Art Department at the University of Calgary.