1. The sound of the earth

    01:14

    from Lotte Geeven / Added

    340K Plays / / 0 Comments

    2013 A seismograph & the recording of the sound of the earth. For this project I travelled to the deepest open hole in the world to find out about it’s mysteries and to record the sound of the earth. Based on this travel I made a series of works. Check www.geeven.nl for more.

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    • NeuroKnitting

      02:01

      from varvara / Added

      35.2K Plays / / 4 Comments

      project by Varvara Guljajeva, Mar Canet and Sebastian Mealla www.varvarag.info ; www.mcanet.info ; http://mealla.net/ Project web: http://www.knitic.com/neuro/ we have plotted brainwave activity into a knitted pattern. Using a wearable, non-invasive EEG headset, we recorded users’ affective states while listening to Bach’s “Goldberg Variations”, concretely the aria and its first seven variations. The audio was about 10 minutes long and we downsampled each second of the signal coming from the 14 channels of the EEG device. Three main features were measured: relaxation, excitement, and cognitive load. After recording, those features were converted into a knitting pattern. Hence, every stitch of a pattern corresponds to a unique brain state stimulated by the act of listening. It means the user’s affective response to music is captured every second and memorised in the knitted garment pattern. Why have we used music? Because music is one of the most powerful mood inducers, provoking immediate affective reactions that can be deduced by looking at human physiology, as in the case of brain cortical activity. These affective states, that are implicit to every human being, can be measured through EEG technology. By applying this technique, we were able to create unique patterns coming from unique humans traits. It other words, personalized, implicit knitting with context and message. Concerning the selected music, the first case study uses Bach’s Goldberg Variations as a stimuli for the users. After the statement of an aria at the beginning of the piece, there are thirty variations, from which we took the first seven. The variations do not follow the melody of the aria, but rather use its bass line and chord progression. The EEG correlate of relaxation, engagement and cognitive load was recorded while the users were listening to the musical pieces. This information was later sent to the Knitic framework to create a bicolor pattern for knitting. The knitted garments picture the listener’s affective and cognitive states during the experiment. It is a way of making tangible the implicit the states of users and visualizing them in an original way as a large and personal data footprint. Neuro Knitting represents a novel way of personal, generative design and fabrication. An approach that brings together affective computing and digital crafts. And thus, it offers new applications and creative thinking to both areas.

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      • Puddle Drive-Through Simulation

        03:37

        from Mateusz Herczka / Added

        www.mateuszherczka.net The work is a reconstruction of a killifish habitat (puddle) in Guyana, a series of digital hydrodynamics simulations, a population of killifish (Rivulus uropthalmus) which has been found in that puddle, a truck tire which can be moved through the puddle. The installation is constructed over a former truck servicing pit. During my killifish research for Lab JBF, I met Wim Suijker who collects and maintains killifish in his home, specializing in Rivulus. He showed me a photo taken during one of the field trips he and his wife undertakes each year to collect killifish from puddles in South America. The photo documents a puddle in the middle of a road, with a large truck driving through it. Every day, trucks drive through the puddle, water splashing everywhere. Still, the killifish apparently thrive in this environment. How can it be possible for fish to live in a puddle like this, with trucks driving through it? And what is the significance of this intersection between technology and nature? Having discussed the photo with a biologist, an engineer working with liquids, and several killifish collectors, four models have emerged: 1. The truck tires press the water aside and the fish with it -- the fish are not run over by the trucks. 2. The fish are pressed into the soft mud at the bottom -- force, pressure and tissue softness coincide to keep the fish alive. 3. Some fish are run over and killed every time a truck drives through, but the specific lifecycle of the killifish enable the puddle population to survive nevertheless. 4. The fish are able to sense and evade the tires through adaptation thanks to rapid generational change. These ideas form the source for Puddle Drive-Through Simulation, an investigation in the biology and physics which motor this habitat. Several computer simulations of a tire rolling through a puddle are calculated. Besides detailed animations, the simulations produce pressure and velocity data. In the images, a shockwave is moving in front of the tire, which could plausibly push a small fishlike body away from the tire. Further simulations will be carried out to verify this.

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        • 7 Interactive Installations

          09:31

          from Bernie Lubell / Added

          1,413 Plays / / 1 Comment

          Short clips of seven interactive installations by Bernie Lubell. Total run time is 9:31

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          • ionesis - sonic plasma performance HD

            07:51

            from Alfredo Ciannameo / Added

            1,852 Plays / / 1 Comment

            "Ionesis is a sonic plasma performance/installation consisting of three multi-electrode discharge tubes which were originally invented by the scientist Nikola Tesla. These 'tubes' transform six electronic audio channels into twelve high voltage sources, initiating an electro-sonic reaction in light plasma as a result. The focus of the work lies in investigating the discharging qualities of plasma. When an electrode discharges the electric field generated by this (electrode) interacts with other electric fields also discharging electrodes within the tube. This result visually into a complex configuration of light cells that are intertwined with one another. The conduction of light is synchronized with the sound in the space. Based on the synaesthetic relation between light and acoustics, ionesis conjures up an immersive cosmological experience". This video shows the first performance-set up presented at the Graduates Exhibition in June 2010 - KABK Academy, The Hague

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            • CARBON I

              02:51

              from Charles Lindsay / Added

              CARBON is a creation of fictitious worlds, drawing on my interest in the aesthetics of space exploration, microscopic discovery and abstract symbols. I am intrigued by the idea that so much of our expanding scientific knowledge is based on images from beyond our body's normal scope of vision. I am also interested in the challenge and implications of comprehending our relative scale within the universe. These videos are made from camera-less negatives which utilize a carbon emulsion on a transparent base, the result of my experiments and manipulation. Numerous generations in the fluid’s history create minute evaporation trails, rendering an archeology of time. Both the CARBON stills and videos are generated from extremely high resolution digital scans of these drawn negatives. I am applying this data in 3D topographic motion programs and producing electronic sound pieces in response to the imagery. 3D, Motion and Video Editing: Tal + Liron Unreich at flike.com NYC. Sound: David Sylvian and Steve Jansen samadhisound.com Please visit charleslindsay.com to view the CARBON stills and other work and charliesexperiment.com for more on my sound projects. THANK YOU

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              • CARBON II

                03:38

                from Charles Lindsay / Added

                CARBON is a creation of fictitious worlds, drawing on my interest in the aesthetics of space exploration, microscopic discovery and abstract symbols. I am intrigued by the idea that so much of our expanding scientific knowledge is based on images from beyond our body's normal scope of vision. I am also interested in the challenge and implications of comprehending our relative scale within the universe. These videos are made from camera-less negatives which utilize a carbon emulsion on a transparent base, the result of my experiments and manipulation. Numerous generations in the fluid’s history create minute evaporation trails, rendering an archeology of time. Both the CARBON stills and videos are generated from extremely high resolution digital scans of these drawn negatives. I am applying this data in 3D topographic motion programs and producing electronic sound pieces in response to the imagery. 3D, Motion and Video Editing: Tal + Liron Unreich at flike.com NYC. Sound: David Sylvian and Steve Jansen samadhisound.com Please visit charleslindsay.com to view the CARBON stills and other work and charliesexperiment.com for more on my sound projects. THANK YOU

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                • The Value of Art ©2012, Christa Sommerer & Laurent Mignonneau

                  01:04

                  from Laurent Mignonneau / Added

                  The Value of Art © 2010, Christa Sommerer & Laurent Mignonneau The Value of Art are interactive paintings dealing with the economy of attention and value creation in the art world. When we look at prices of artworks at auctions, they often seem incomprehensible. Competing art collectors betting against each other can create skyrocketing values for art works. Relevance and attention in terms of art history, social and critical discourse are important components for becoming a desired masterpiece with high monetary value. The amount of attention towards an art piece is directly linked to its monetary value. The Value of Art series are interactive experiments dealing with the value of art in a conceptual and pragmatic way. We transform existing paintings that we buy at auction houses. We equipped them with sensors that can measure the exact time viewers spend in front of the painting. A small thermal printer is also attached to the frame of the painting. As we know exactly the price we paid for each painting and the amount of money we spent on interface materials, plus the value of our working time for producing this art work, the initial value of the work can be exactly calculated. The initial value including all expenses and costs appear printed out on the paper of the thermal printer at the beginning of the first exhibition. Once The Value of Art interactive painting is shown, the work will start counting the number of visitors and the amount of time they spend looking at the painting. Through our integrated sensors the painting will constantly update its value, making the whole process of value creation for this artwork totally transparent. Visitors can follow how the value of this art work increases the more viewers look at the work. At the end of each exhibition The Value of Art will have reached a certain monetary value. The artwork could now be sold for exactly that value, or sent on to the next exhibition to increase its value even further. The more people look at the work, the more valuable it will become The Value of Art is a critical reflection on the economy of attention, the relationship between artist, artwork and audience, and the question of monetary and ideological value of the artists and audiences time and attention.

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                  • Dream Zone

                    03:19

                    from Karen Casey / Added

                    10 meter video installation using custom software, generating live projections from EEG (brainwaves) to manipulate original artwork images and sounds. Exhibited in the National New Media Art Award, Gallery of Modern Art / Queensland Art Gallery 2012 The artist's brainwaves were recorded using the Emotiv EPOC headset, while viewing the generated video as it was occurring. http://qagoma.qld.gov.au/exhibitions/current/national_new_media_art_award_2012 Artist: Karen Casey Software developer: Harry Sokol Sound design: Tim Cole Audiovisual programming: James Power

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                    • Life Writer ©2006, Laurent Mignonneau & Christa Sommerer

                      01:14

                      from Laurent Mignonneau / Added

                      Life Writer Life Writer consits of an old-style type writer that evokes the area of analogue text processing. In addition a normal piece of paper is used as projection screen and the position of the projection is always matched with the position of the type writer roll. When users type text into the keys of the type writer, the resulting letters appear as projected characters on the normal paper. When users then push the carriage return, the letters on screen transform into small black and white artificial life creatures that appear to float on the paper of the type writer itself. The creatures are based on genetic algorithms where text is used as the genetic code that determines the behaviour and movements of the creatures. The algorithms were developed for one of our previpus works called Life Spacies [2] and here the text functions as genetic code for the creation of artifical life creatures. As in the Life Spacies system the artificial creatures created by the act of typing can be faster or slower depending on their genetic code and body shape. All of the artificial life creatures also need to eat text in order to stay alive and when users type a new text the creatures will quickly try to snap up these characters from the paper in order to get energy. Once creatures have eaten enough text they can also reproduce and have off-spring so eventuelly the screen can become very full when creatures a fed well. The user can also push the creatures around when using the scroll of the typing machines cylinder. She can for example push the creatures back into the machine which will crush them or scroll the creatures off the screen alltogether, making new place for new creatures. By connecting the act of typing to the act of creation of life, Life Writer deals with the idea of creating an open-ended artwork where user-creature and creature-creature interaction become essential to the creation of digital life and where an emergent systems of life-like art emerges on the boundaries between analog and digital worlds.

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