1. BEIJING SMS EVE- SMS Data Visualization by Orange Lab&VIZMIND

    02:07

    from Cui Anyong / Added

    613 Plays / / 0 Comments

    Orange Lab Beijing and VIZMIND co-developed this work of Beijing SMS EVE, about Beijing’s SMS usage in Chinese New Year’s Eve 2012. After pre-processing the dataset of 18 hours’ SMS volume, we use 3D interactive map and vivid fireworks to depict the real-time SMS volume of over 10000 base stations in Beijing, with a thermodynamic diagram to describe the population distribution and mobilities, as well as some basic chart for the trend of each district. This visualization project constructs a bridge between the urban SMS space and the geographical space and hopes to go beyond Mobile Telecommunication operating data, and touch the population distribution and mobility. This work also explores future potentials of telecom operation data through data mining. The SMS usage data is provided by our partner China Mobile. Produced by Process(http://processing.org)

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    • Concept Development: Interactive landscape: to walk, to see, to play, and to live

      03:14

      from HUNG Keung / Added

      78 Plays / / 0 Comments

      這件互動裝置藝術作品目的想以現代生活的角度和觀點,去重新演繹傳統中國山水藝術的 ‘可’ 概念及 ‘遠’ 理論。 (1)首先是傳統山水畫中的 “可行,可望,可游,可居” [1],和現代 “可玩” 的概念。藝術家想將這個充滿幻想性的傳統視覺經驗,以數碼媒體科技去再實踐及延申出來! (2)另外,藝術家亦嘗試以不用角度及朝距的數碼攝錄機,重新探索傳統中國山水畫中 ‘三遠’[2]的概念。賞試以現代人的生活方式,例如:膠,手版,瓷器公仔,攝錄,遊戰,互動,實時傳送等經驗去探索’三遠’在這現代版的互動山水的可廷伸性。 藝 術家利用了大部分自己收藏的兒時到年青過程中的玩物,放置在這現代版互動山水中。目的在於將一個具時間性的成長過程概念溶入一個現實版的立體空間裡。其 中,在這空間內,無論是,樹,山,人,動物都包容大大小小不同形狀,從中,藝術家想營造一種既真實,又充滿幻覺的虛擬山水空間情調! 和Title: Interactive landscape: to walk, to see, to play, and to live Format: Interactive installation; Year: 2012 I attempted to examine how the traditional Chinese concept of ‘three distances’ (三遠 [3], san yuan) has served to integrate ‘multiple perspectives’ into traditional ‘Chinese landscape painting’ (山水畫, shan shiu hau) [4]. In the book ‘Lofty Messages of Forests and Streams’ [5], the artist Gao Xi (郭熙) (c. 1020-1090) of the Northern Song Dynasty, who argues that landscape painting should enable viewers to walk, see, play, and live [6]. He suggests using the concept of yuan to perceive and interpret the relation between the painters / viewers and the scenery in landscape painting. Gao identifies three ways of applying the concept of yuan – ‘three distance’ (三遠 , san yuan) – to landscape painting [7] : (1) ‘higher distance’ (高遠, gao yuan), (2) ‘deeper distance’ (深遠, shen yuan), and (3) ‘horizontal distance’ (平遠, ping yuan). In my “Interactive landscape: to walk, to see, to play, and to live”, I attempted to reinterpret the concept of “three distances” through extending the viewing experience from 2 dimensional plane to 4 dimensional world. I aim to invite the audience to immerse into the real and virtual space through their participation. Also, I attempt to shift the role of the audience from a passive observer to an active participant. [1] Original text: 「世之篤論,謂山水有可行者,有可望者,有可遊者,有可居者。畫凡至此,皆入妙品。但可行可望不如可居可遊之為得,何者? 觀今山川,地占數百裏,可遊可居之處十無三四,而必取可居可遊之品。君子之所以渴慕林泉者,正謂此佳處故也。故畫者當以此意造,而鑒者又當以此意窮之,此 之謂不失其本意。」《 林泉高致集: 山水訓》 [2] Original text: 「山有三遠:自山下而仰山顛,謂之高遠;自山前而窺山後,謂之深遠;自近山而望遠山,謂之平遠。高遠之色清明,深遠之色重晦;平遠之色有明有晦;高遠之勢 突兀,深遠之意重疊,平遠之意沖融而縹縹緲緲。其人物之在三遠也,高遠者明了,深遠者細碎,平遠者沖淡。明了者不短,細碎者不長,沖淡者不大,此三遠 也。」《林泉高致集: 山水訓》 [3] Traditional Chinese art theory had no exact Chinese character or combination of characters whose precise meaning corresponded to the art-theory term ‘perspective’ in English; nevertheless, ancient Chinese artists and theorists possessed methods and theories concerning the depiction and the visualisation of scenery whereby four-dimensional experiences would appear on two-dimensional platforms. One of these traditional Chinese concepts is yuan (遠), meaning ‘distance’. [4] Shan shiu literally means ‘mountain water’. [5] Gao Si (郭思) edited ‘Lofty Messages of Forests and Streams’ (林泉高致, Lin quan gao zhi) which is about his father Gao Xi (郭熙)’s thoughts and sayings about the art of landscape painting.

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      • Platz für Neues – Interactive Video Installation

        01:14

        from Michel Winterberg / Added

        55 Plays / / 0 Comments

        Platz für Neues (Space for Something New) is directed not against the mythological figure of the dwarf, but symbolically creates space for something new and adjusted deadlocked conformity. By movement of the observer on the left or right side of the interactive video projection allows the reproduction of the garden gnome either wash away with water or burn it with fire down. If the viewer stands still, the garden gnome by itself builds back up again. Consistent with the opening of the International Design Fair Blickfang on 23 March 2012, there was at the same time the vernissage in the Carambolage of the interactive video installation.

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        • Which is Your Brass Voice?

          01:34

          from Aether & Hemera / Added

          977 Plays / / 1 Comment

          Which is your brass’s voice?” invites people to discover their brass voice by speaking, singing, shouting or whispering into microphones. Each of the five microphones represents a specific brass instrument: Trumpet, Trombone, Tuba, Muted Trumpet and French Horn sounds are generated capturing the individual nuances of volume, pitch and the intonation of people’s voices. An artificial Intelligence behind the artwork records all the notes performed and will create a new music composition at the end of the event. The sequence of notes gathered from the microphones becomes the seed of a new composition generated from a vast amount of musical knowledge gathered from hundreds of brass scores a note at a time. The brass sounds outputted through surrounding speakers are synchronised with an array of coloured LED lights to create a fully immersive ‘synesthetic’ experience for the visitors. “Synaesthesia” is a condition in which a stimulus in one sensory modality automatically induces a sensation in another, as when the hearing of a sound produces the visualization of a colour. “Which is your brass’s voice?” surrounds the visitors with sounds and colours that respond to their performance and that are based on the synesthetic theory, with particular reference at Scriabin's association of colour and music.

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          • Which is Your Brass Voice?

            02:00

            from Aether & Hemera / Added

            134 Plays / / 0 Comments

            “Which is your brass’s voice?” invites people to discover their brass voice by speaking, singing, shouting or whispering into microphones. Each of the five microphones represents a specific brass instrument: Trumpet, Trombone, Tuba, Muted Trumpet and French Horn sounds are generated capturing the individual nuances of volume, pitch and the intonation of people’s voices. An artificial Intelligence behind the artwork records all the notes performed and will create a new music composition at the end of the event. The sequence of notes gathered from the microphones becomes the seed of a new composition generated from a vast amount of musical knowledge gathered from hundreds of brass scores a note at a time. The brass sounds outputted through surrounding speakers are synchronised with an array of coloured LED lights to create a fully immersive ‘synesthetic’ experience for the visitors. “Synaesthesia” is a condition in which a stimulus in one sensory modality automatically induces a sensation in another, as when the hearing of a sound produces the visualization of a colour. “Which is your brass’s voice?” surrounds the visitors with sounds and colours that respond to their performance and that are based on the synesthetic theory, with particular reference at Scriabin's association of colour and music.

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            • exquisite corpse dead daddy 2011

              02:24

              from Georgie Roxby Smith / Added

              152 Plays / / 0 Comments

              Please note - this video is part of a larger installation, projected vertically on a horizontal plinth in a narrow darkened room. For installation views please visit my website www.georgieroxbysmith.ning.com .av•a•tar/ˈavəˌtär/ Noun: A manifestation of a deity in bodily form on earth An incarnation, embodiment, or manifestation of a person In computing, an avatar is the graphical representation of the user In exploring digital identity and desire, I began thinking about Second Life and the people who utilise the technology as being in some kind of perpetual movement away from death: a denial as such. In Second Life, there is no ageing, no rotting of the flesh. Secondarily there exists an eternal life in these new technologies – from forever live Facebook memorials frozen in time, the gravesites and dead celebrity avatars that still walk this virtual land and the pun of the program name itself. Despite this, every time I log out of Second Life my avatar dies – dissolution of pixels disappearing into the black – only to be reborn, unchanged, at the click of a button. When I die, or kill my Second Life, she will remain a cyber-ghost, forever condemned to the black. Thirdly, when using digital identities we are somehow detached, separated by the false sense of security the safety of the screen gives us. Merging rephotographed real life images and virtual footage of a 3D Second Life avatar intimately built in my father’s image, this 21st Century ‘exquisite corpse’ explores death, memory, loss and the materiality of the body. Reminiscent of a children's game, where flipcards are shuffled to create a random visual effect, these flickering images reflect the processes of the human memory playing out emotions of grief and yearning.

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              • DÉTROIT

                12:52

                from Meriol Lehmann / Added

                « détroit » est une image en mouvement créée pour l'exposition collective « Hétérotopies », présentée à Regart, Lévis. Que ce soit pour les images en mouvement « traverser » et « détroit », ou encore lors du parcours sonore « (dé)rives », c’est la même démarche qui se retrouve derrière les trois oeuvres que je présente lors de cet événement. L’invitation d’Anne-Lise Griffon, directrice artistique de Regart était on ne peut plus claire et réellement en lien avec ma pratique : réfléchir à ces territoires qui entoure la Traverse de Lévis. L’utilisation du pluriel n’est pas anodine même si la zone géographique est plutôt petite et homogène. Car lorsqu’on s’attarde plus en profondeur sur l’évolution de ces lieux au fil des années, on se rend bien compte que ce n’est pas un territoire unique et statique. Il est bel et bien constitué de multiples géographies en constantes mutations, passant de la forêt à une zone industrielle pour en arriver à ce que nous en connaissons aujourd’hui. Ces trois oeuvres superposent lieux et temporalités pour créer des hétérotopies. Je dis créer, mais c’est plutôt faux. Ces hétérotopies existent déjà. Elles ont là, disseminées dans le temps et le territoire. Il suffit d’y prêter attention pour les retrouver. Et c’est là que j’espère amener le spectateur : dans ces espaces qui hébergent l’imaginaire.

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                • metoso – the interactive dance performance (compact version)

                  01:50

                  from Michel Winterberg / Added

                  2,353 Plays / / 1 Comment

                  "metoso" is an interactive audio-visual installation developed by the media artist Michel Winterberg. The dancer and choreographer Heidi Köpfer creates a dialogue with this installation in "tension" between sound and movement. After the performance, the audience has the opportunity to explore the installation themselves and to discuss with the two artists. First performed on 29th July 2012 in Werkraum Warteck pp, Proberaum Cirqu'enflex, Basel Switzerland. Programmed with Max/MSP/Jitter and the Kinect controller. Michel Winterberg: www.michelwinterberg.ch Heidi Köpfer: www.tanzbuero-basel.ch (Tanzschaffende) © 2012 Camera: Julian Gresenz Editing: Julian Gresenz, Michel Winterberg, Heidi Köpfer Title image (video still): Rolf Bürgin Thanks to: Florian Giraudel, Diana Pfammatter, Rolf Bürgin, Franz Bannwart, Daniel Gaudey, Claude Winterberg, Kaserne Basel, Cirqu'enflex For booking, please contact www.michelwinterberg.ch

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                  • Antarctic Son: Passage (Nightmare Storm) Trailer

                    04:00

                    from Nicholas Brittain Shaber / Added

                    280 Plays / / 0 Comments

                    Antarctic Son: Passage is the first short film in a three-part series. These short films rely heavily on sound, music, and cinematography to deliver the story's emotional dialogue. Antarctic Son is a surreal story of a young man returning to McMurdo Station in Antarctica after having previously been evacuated during a mental breakdown. Recklessly wandering alone out into a storm while in an altered state, the young Engineer finds himself witness to something so profound that his life becomes focused on a single purpose (for better or worse)...to return to the source of his crazed obsession. This trailer is part of a nightmare sequence experienced while sailing back to Antarctica on a cargo ship.

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                    • The Collector

                      02:04

                      from Margaret Noble / Added

                      81 Plays / / 0 Comments

                      Experimental Hybrid Puppet Theatre In Collaboration with Animal Cracker Conspiracy A detailed and gritty environment of toy theatre, animated objects and miniature protagonists/antagonists unfolding in a dialogue-less mystery. This work is presented on 3 miniature stages with a live video feed and quadraphonic sound. Jim Henson Seed Grant Recipient: 2011 Jim Henson Project Grant Recipient: 2012 San Francisco Fringe Festival Winner: 2012 More info: http://margaretnoble.net/the-collector

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