1. WWOW is a collaboration with artist Emmit Fenn.
    Most of it was short with a Kinect camera and processed with homemade tools.

    Directed, post-produced and edited by P. Jean

    The guy: Emmit Fenn
    The girl: Emilia Pattinson
    DPs : Jorge Valdès Iga, Steeven Petiteville
    Drone operator: Morgan Gross
    Thanks to Alec Udell

    # vimeo.com/230509218 Uploaded 197K Plays 23 Comments
  2. H OM E OMOR PH ISM Dome A/V Performance
    IAIA | Institute of American Indian Arts in New Mexico, USA
    CERN, The European Organization for Nuclear Research , Geneva, Switzerland
    SAT, Société des arts technologiques [SAT], Montreal, Canada
    National Space Center UK

    Direction_Design_Animation: Ouchhh (ouchhh.tv)
    Sound Design: Ali Can Okan, Hakan Ozkan, Mehmet Unal
    Sound Samples: Ryoji Ikeda-Data.Matrix

    A homeomorphism, also called a continuous transformation, is an equivalence relation and
    one-to-one correspondence between points in two geometric figures or topological spaces
    that is continuous in both directions.

    Many forms observed in nature can be related to geometry. In accordance with classical geometry,
    the shapes that found in nature are consisting of lines and planes, circles and spheres,
    triangles and cones. These shapes actually are a powerful abstraction of reality, so we need primitive objects to give a form and understand the complex structure that exists in nature.

    Our starting point was topography and primitive object’s pertinent points of overlap. The inspiration
    comes from the extreme diversity of New Mexico’s landforms (which is divided into four regions; Great Plains, Rocky Mountains, Colorado Plateau, Basin and Range Province), general changes of topography and homeomorphism.

    more details


    # vimeo.com/109912712 Uploaded 145K Plays 41 Comments
  3. Mentalis Structuram A/V Performance
Milano, Italy.
Kernel Fest.

    Direction_Design_Animation: Ouchhh (ouchhh.tv)
Sound Designers: Alican Okan, Hakan Özkan, Selçuk Can Güven

    In Mentalis Structuram, Villa Tittoni Traversi’s history as his past, present and future would be represented by audiovisual mapping performance. 
Our starting point was architecture and philosophy’s pertinent points of overlap. Architecture like philosophy is a mode of solving problems and theorising multiplicities. They are perpetually verging on, irresistibly drawn to, its own virtualities, to the ever-increasing loops of uncertainty and immanence that its own practices, engage and produce. 
Architecture has tended to conceive of itself as an art, a science, or a mechanics for the manipulation of space, indeed probably the largest, most systematic and most powerful mode for spatial organization and modification. That space itself, the very stuff of architectural reflection and production, requires and entails a mode of time, timeliness or duration. 
The time of history, of historicity, the time of reflection, the time of knowledge, a time we are accustomed to in the history of architecture and of philosophy, in the very idea of history, of orderly progression, of the segmentation and linear continuity of time and space. 
Architecture has tended to face time and temporality through the questions posed by history, and through its response to the ravages of that history, its orientation towards monumentality. Architecture has thought time, with notable exceptions, through history rather than through duration, as that to be preserved, as that which somehow or provisionally overcomes time by transcending or freezing it, as that which is memorialized by time, honoured and respected through immortality. 
But through the concept of virtuality, there is also represented a concept which not only requires a time before time, but also a time after time, a time bound up not only with the past, with history and historicity, but also with futurity. 
This idea of the virtual, a concept prevalent if undeveloped in philosophy since at least the time of Plato, introduces a series of questions to both architecture and philosophy (with different effects in each case) which may force them to change quite fundamental assumptions they make about space, time, movement, futurity and becoming. 
The time before and after time are the loci of emergence, of unfolding, of eruption, the spaces/ times of the new, the unthought, the virtuality of a past that has not exhausted itself in activity, and a future that cannot be exhausted or anticipated by the present. This past, which layers and resonates the present, refuses to allow the present the stability of the given or the inevitable. It is the past which enables duration as a mode of continuity as well as heterogeneity.



    # vimeo.com/95853080 Uploaded 10K Plays 3 Comments
  4. Une courte présentation vidéo du spectacle Cinematique, créé en janvier 2010 à l'Hexagone, scène nationale de Meylan.


    Distribution :
    Adrien Mondot - Conception, développement informatique et interprétation
    Satchie Noro - danse
    Christophe Sartori et Laurent Buisson - musique / création sonore
    Elsa Revol - création lumière
    Charlotte Farcet - dramaturgie
    Alexis Lecharpentier - assistant développement informatique et technique
    Jérémy Chartier et Hervé Lonchamp (en alternance) - régie générale et lumière
    Laurent Lechenault - régie son

    contact diffusion : contact@am-cb.net, +33 (0)4 27 78 63 42

    Coproductions, aides et soutiens :
    Hexagone, scène nationale de Meylan
    La Ferme du Buisson, scène nationale de Marne la Vallée
    Elmediator, scène conventionnée musiques actuelles et arts numériques à Perpignan
    [ars] numerica, centre européen pour les arts numériques à Montbéliard
    Les Subsistances, laboratoire international de création artistique à Lyon
    Le Théâtre de Création / Ville de Grenoble
    Centre des arts, Enghien-les-Bains
    Ministère de la Culture et de la Communication / DICREAM
    DRAC Rhône-Alpes
    Conseil régional Rhône-Alpes
    Conseil Général Isère
    Ville de Grenoble

    # vimeo.com/9782048 Uploaded 167K Plays 60 Comments



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