This conceptual food by Royal College of Art graduate Minsu Kim would wriggle around on the plate and in your mouth.
Minsu Kim's Living Food project builds on developments in synthetic biology to propose meals that behave like living creatures.
"Synthetic biotech has already started to create artificial life in organic forms," says the designer, citing a swimming artificial jellyfish made of heart cells by researchers at Caltech and Harvard University. "Breathing life into artificial digestible forms in not merely a fantasy."
In the Design Interactions department of the Royal College of Art's graduate exhibition this week, Minsu Kim presents three dishes, each exhibiting a different behaviour: wriggling around, waving tentacles or puffing up as though breathing.
"This project explores new culinary experiences through developments in synthetic biology, and finds its lineage in haute cuisine and molecular gastronomy," the designer adds. "What if food was able to play with our cutlery and create hyper-sensations in our mouth?"
A Short Animation Inspired by the Works of İlhan Koman
Plato Art Space is proud to present Candaş Şişman’s video dedicated to famous sculptor İlhan Koman produced for the exhibition İlhan Koman: Hulda Festival, a Journey into Art and Science opening on the 22nd September, 2010.
İlhan Koman’s unique design approach in his form studies also inspires contemporary art works. The video installation Flux by young artist Candaş Şişman can be defined as a digital animation which is inspired from the structural features of some of İlhan Koman’s works like Pi, 3D Moebius, Whirlpool and To Infinity... A red circle, which is colored in reference to the red radiators of Ogre, is traced in a morphological transformation which re-interprets the formal approach of Koman’s works. The continuous movement sometimes connotes the formal characteristics of Pi, 3D Moebius, Whirlpool and To Infinity..., as well as the original formal interpretations of the design principles of the works . In Flux, Koman’s design process in the making of the Pi series has been treated as the emerging of a sphere from a two-dimensional circle by the principle of increasing the surface; and that simple direction is re-interpreted in digital medium. Thanks to this, in the digital animation an entirely different form serial that does not resemble Pi yet remaining its design principle can be followed through the flow of a circle to the sphere. As a conscious attitude of the artist, this work is not designed in a direct visual analogy with Koman’s works. During the animation, none of the moments of the transforming form look like Pi or 3D Moebius, however the subjective reading of Koman’s approach can be observed.
With the integration of the sounds of various materials – which Koman used in his sculptures – Flux turns into an impressive spatial experience. Flux, also exemplifies that Koman’s work can be re-interpreted by the analysis and manipulation of form in the digital medium.
Visual artist Candas Sisman (Turkey) and Lithuanian composer Egidija Medekšaitė present their collaboration work – audiovisual piece EFF-LUX. According to the author’s this work is their attitude to the daily process, which are made by humans sometimes as machines or with special attitude (hand craft). During the piece, the visual information transforms from mechanical forms to linear movements. The music is played by computer recorded 15 differently tuned Steinway pianos. For composer it is like characters of the different weavers, which are knitting their own melodies, using the same pitches, but structures and lines of melodies all the time are in rotation. Melodies as the 15 pianos gather to one structure and sometimes their splits to 15 different lines. The tempo of the music during the piece becomes three times slowly. Music is based on minimalist composition technique and repeating loops.
Involved with spur of the moment event, Sisman incorporates abstract narrative language, his works contain a naivety and simplicity in contradiction with the commotion and ideology of life in general. These ‘events’ that emerge are tossed into the open by passing them through an emotional and perceptual filter of data and situations in the external world without preponderance. His works are a momentary / flow related audiovisual process
People start recognizing they are nothing when depth of their awareness enhances.’’ Its the nothingness within the most intricate details that allow for his complex simplicity.
Gregory Colbert’s Ashes and Snow feature film captures extraordinary moments of contact between people and animals as seen through the lens of the artist’s camera on more than thirty expeditions to some of the earth's most remote places. Written, directed, produced, and filmed by Gregory Colbert, it is a poetic field study that depicts the world not as it is, but as it might be—a world in which the natural and artificial boundaries separating humans from other species do not exist. The viewing experience is one of wonder and contemplation, serenity, and hope.
Edited by two-time Oscar-winner Pietro Scalia; narrated by actors Laurence Fishburne (English), Enrique Roche (Spanish), and Ken Watanabe (Japanese). Musical collaborators include Michael Brook, David Darling, Heiner Goebbels, Lisa Gerrard, Lukas Foss, Nusrat Fateh Ali Khan, and Djivan Gasparyan.