1. INFINITE CUBED

    03:37

    from cantoni-crescenti / Added

    3,967 Plays / / 0 Comments

    INFINITE CUBED l INFINITO AO CUBO 2007 rolled steel, 12 pipe sleeves, 1 crosspiece, 4 grooved pulleys, 4 rollers, 4 springs, 8 angle irons, cables, screws, bolts and nuts, 99 acrylic mirrored plates, 18 mdf plates, 1 locking system for rotating door. Imagine a 3 x 3 x 3 meters mirrored cube suspended 25 centimeters from the floor supported on a cross piece in the center of a base having four springs, one on each corner. Two of its facets rotate on its central axle. One facet pivots and the other facet balances. This pivoting wall also acts as an entrance door to its interior. When looking from the outside, the mirror reflects the surrounding area. When looking from the inside, upon closing the door, infinite reflections appear in all directions. The walls do not touch, in other words, the external area is visible through lines that are 3 centimeters thick and 3 meters long. These lines are reflected while maintaining the color, light and the movement of the external area, where in the multiple reflections generate a kaleidoscope effect. Imagine being at the center of this cube that, in turn, is being reflected on each of its six walls and throughout all the corner edges and angles. When positioned in the center, the cube is aligned on its neutral horizontal position of 0º and the reflections are now orthogonal. Walking straight ahead the entire cube inclines up to 3º balancing on the wall in front at an angle relative to the assemblage of up to 3º, distorting the area reflected on the inside, curving it downwards. Walking backwards, the wall is balancing in the opposite direction, and the area curving upwards. Moving to the left, the entire cube inclines up to 3º to the left, pivoting the wallbehind it, likewise, in up to 3º and curving the space reflected to the left while, moving to the right causes a symmetrical effect. Walking to one of the corners, the result is a composite of two of these four movements. 3o is an angle that, when multiplied by 30 reflections, causes 90º of the last reflection to disappear. Depict infinite space using your body mass, and through your movement inside the cube. Construct curves upward or downward, to the left or to theright softly tilting the assemblage, pivoting two of its walls using a precise system of counter-weight, grooved pulleys and steel cables. The reflected architecture sliding subtlely on the external facets make the cube almost invisible, mimicking the surroundings. The sensation of a closed space exploding to the infinite invokes thoughts of dimmensionality. Understanding the infinite is possible. Infinite cubed is merely mathematically impossible. Imagine um cubo espelhado de 3 x 3 x 3 metros suspenso a 25 centímetros do chão apoiado numa cruzeta no centro de sua base e em quatro molas, uma em cada canto. Duas das suas faces giram em seu eixo central. Uma bascula e outra pivota. Esta pivotante age também como uma porta de acesso ao seu interior. Espelhado por fora reflete o espaço à sua volta. Espelhado por dentro, ao fechar a porta, provoca reflexões infinitas em todas as direções. As paredes não se tocam, ou seja, o espaço exterior é visível através de linhas de 3 centímetros de espessura por 3 metros de comprimento. Essas linhas são refletidas guardando a cor, a luz e o movimento da cena exterior, que em reflexões múltiplas geram um efeito caleidoscópico. Imagine estar no centro desse cubo refletido em cada uma de suas seis paredes e por todas as quinas e arestas. Quando estiver posicionado no centro o cubo se alinha em sua posição neutra horizontal a 0o, as reflexões agora são ortogonais. Se andar para frente o cubo todo se inclina em até 3o provocando uma báscula com angulação relativa ao conjunto de até 3o na parede a sua frente distorcendo o espaço refletido no seu interior curvando-o para baixo. Se caminhar para trás a parede bascula em sentido contrário curvando o espaço para cima. Deslocando-se para a esquerda o cubo todo se inclina para a esquerda em até 3o pivotando a parede a suas costas em também até 3o curvando o espaço refletido para a esquerda, e ao deslocar-se para a direita causa o efeito simétrico. Ao andar para uma das quinas o resultado será a composição de dois desses quatro movimentos. 3o é um ângulo que multiplicado por 30 reflexões faz desaparecer aos 90o a última reflexão. Desenhe o espaço infinito utilizando a massa do seu corpo, e através do seu deslocamento no interior do cubo. Construa curvas para cima e para baixo, para a esquerda ou direita inclinando suavemente todo o conjunto rotacionando duas de suas paredes através de um preciso sistema de contrapeso, roldanas e cabos de aço. A arquitetura refletida deslizando sutilmente nas faces externas torna o cubo quase invisível mimetizado pelo entorno. A sensação de um espaço fechado explodir ao infinito faz pensar a dimensionalidade. A compreensão do infinito é possível. Infinito ao cubo é apenas matematicamente impossível.

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    • M16.2 3D Zoetrope

      00:30

      from R James Healy / Added

      4,660 Plays / / 4 Comments

      This 3D zoetrope was created during my artist residency at What It Is http://wot-it-is.com/ Chicago, Illinois. The piece began as a study of the American flag, its colours and the hypnotic movements of a fabric signature. My work explores perception, in the illusion of movement, the artistic practice of observation and record, and the phenomena of memory versus experience. 59 rapid prototyped models are housed in a 24 inch motorised drum. Illumination is provided by LEDs allowing the animation to be viewed in all lighting conditions. Unlike a traditional zoetrope, the inside and outside spin in different directions resulting in the animation appearing bigger (the viewer does not need to look through the piece) Using models instead of drawings creates a far more immersive experience. Viewers can move around the piece choosing their own viewpoint like a traditional sculptural object. Another advantage of models over drawings is parallax; objects further away appear to move slower than those close by. The stand and ‘drum’ are hand crafted from solid walnut and veneer. The majority of the other components were digitally manufactured. The zoetrope stands approx 53 inches high with a 22-inch square footprint. My blog documents the development of the piece in depth. It covers both creative and technical issues. It was written ‘diary style’ which resulted in the recording of some unplanned topics! http://rjameshealy.blogspot.com/ The zoetrope is an edition of 13 (13 stripes in the US flag) For more information please contact me through my website.

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      • MIRROR

        01:26

        from cantoni-crescenti / Added

        2,538 Plays / / 0 Comments

        MIRROR l ESPELHO 2008 mirrored acrylic plate, metallic structure, ultrasonic sensor, logical control system (PLC), stepped motor, robotic arm. Imagine an optical device with a sensory field of 8 meters to 60 centimeters. Fixed to the wall, this mirror is programmed to constantly measure and react to your distance from it. At 8 meters it will be convex, at 60 centimeters it will be concave and, using a co-efficient of average distortion in centimeters, it will assume, in function of the distance parameters that you generate, intermediary positions from one extreme to another passing (of course) through the plane position. Thus, all of the shapes reflected on the device, that is, your reflection and the reflection of the space in which you are, will begin to distort proportionately. You and the physical space around you, reflected in this Mirror, will pass through dynamic spherical distortions, that increase or decrease, in function of your distance from it. Imagine um dispositivo ótico com um campo sensório de 8 metros a 60 centímetros. Fixo à parede, esse espelho está programado para medir e reagir, a todo o tempo, a distância que você está dele. A 8 metros ele será convexo, a 60 centímetros será côncavo e, utilizando um coeficiente de deformação medido em centímetros, ele assumirá, em função de parâmetros de distância gerados por você, posições intermediárias de um extremo a outro passando (é claro) pela posição plana. Assim, todas as formas refletidas no dispositivo, i.é, o seu reflexo e o reflexo do espaço em que você está, começarão a se deformar proporcionalmente. Você e o espaço físico a sua volta, refletidos nesse Espelho, passarão por deformações esféricas dinâmicas, aumentando ou diminuindo, em função da distância que você mantêm dele.

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        • eeyee

          02:38

          from Eric Siu / Added

          335 Plays / / 0 Comments

          Optical Handlers – eeyee is an optical device that dissects one’s embodied visual experience by simple tool-set – LCDs and cameras. eeyee literally splits users’ vision into two and relocates them onto their hands separately. The extended vision, along with the mobility of the hands, makes possible for the users to observe the world from a dimension off the skull and from a perspective through the limbs. Instead of splitting the vision just as a left and a right, eeyee manages to treat each split stereoscopically. Thus, users experience a double mobile real-time stereoscopic vision, which has a redundant reality that questions, “Aren’t we living in a 3D world already? Or are we?” “eeyee”, facilitates a hyper entanglement exclusively for the users. When users wear this device, their experience is completely alienated. They have to manipulate their body and invent their ways to cope with their surroundings primitive down to making a step forward. Eventually, user will meet and interact with the public. Thus learn how to socialize and co-exist in this “hyper” active space. eeyee provides experiential situation for users to play with their own body and to make fun and interact with people around them. It has an identical set of LCDs that faces outward, which enables bystanders to peek in the users’ vision as close as they want. eeyee essentially blinds the users as well as heightens their senses to create a tension between their followers and the place where it is played.

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          • NARKOSE - [installation doc. 1993-94]

            07:28

            from John Sturgeon / Added

            238 Plays / / 0 Comments

            NARKOSE John Sturgeon ©1993-94 Two Channel, Video Installation, with Poetic Text (English & German) NARKOSE was a two-channel video installation created at a moment when two nearly simultaneous events seemed to punctuate the conundrum and mutability of global strife and armed conflict. First being the sudden fall of the Berlin Wall, seemingly the lasting monument of a paranoid and divided political world and second, the harrowing descent into the first Iraq War, with it’s naïve assumptions of quick and secure solutions applied onto a culture little understood. The two primary video settings were from performances recorded in a moor in North Germany and inside an old brewery vat in the former Duquesne Brewery on Pittsburgh's South Side. Both video channels integrated appropriated broadcast images from the Gulf War and the Berlin Wall. One channel was projected onto a floating wall-like screen; while the second was seen through a lens-monitor viewing device, inside a conical lead sheathed nose cone like sculpture. On the floating wall, the dominant sequence was of a body buried in a cavity excavated from an exposed cut in the moor created while on location in an ancient archeological site, the Witte Moor, Germany. Buried along with the body, just above the head, was a small color monitor playing documentary images from the recent Gulf War and the removal of the Berlin Wall. These images seen through a circular, optical magnifying glass, appear like thought forms or dreams. A lens mounted in the tip of the lead cone formed a large optical viewing devise, through which the viewer could see extreme close-ups of a hammer ceaselessly banging the vat wall, creating a booming echo. Repeatedly, as the hammer strikes the wall, the surface seemed to give up flashes of images from these Gulf War or Berlin Wall sagas. In both channels, these images served as symbols/examples of collective psychic projections upon the culture, inherently carrying within themselves the seeds of both positive and negative, success and failure. This convoluted twist or Mobius strip of consciousness as it projects the created environment served as the installation’s intriguing content. Sturgeon's poetic text for Narkose recited in English and the German rendition by Edda Akkermann, evoked an eerie play of extremes – “that which is and that which is not.” _________________________ In Narkose... “everything is there: the proximity of death and the syncopated destructible forces of a pointless war. The multi-dimensionality of this art is reinforced with the symbolism of a type of Yin and Yang pull between the context and suffering of “Operation Desert Storm” with the quiet setting of man’s ultimate metaphysical home -- the grave.” Elaine A. King, director and curator CAC Narkose, Horizons; Contemporary Arts Center Cincinnati, 1994 ________ Narkose - is German for the English word – Narcosis The installation form of Narkose was originally created as a simulation for Art in the Age of Information exhibition at Wood Street Galleries of the Pittsburgh Cultural Trust with its completed version executed for The Contemporary Arts Center in Cincinnati, Ohio. Narkose Exhibitions: 1993 Art in the Age of Information, Wood Street Galleries, Pittsburgh Cultural Trust, Pittsburgh, PA 1994 Solo Exhibition, (April 18 -June 10, 1994) The Contemporary Arts Center, Cincinnati, Ohio ______________________________________________________________________________________ "In Narkose (1994), Sturgeon divides his viewing field into two parts—a large floating screen and a conic structure through which the viewer may look. The former has an image of a man lying at peace in the earth, which has been freshly excavated to provide a cut-away view of the profile of the individual (performed by Sturgeon). By looking into the cone from its tapered end, the viewer can witness scenes from the Gulf War and the installation, maintenance, and fall of the Berlin Wall. The sound environment consists of a long list of fundamental, western cultural binaries (good and evil, for example) read by Sturgeon. The image of the ego at peace is stuffed with allegorical meaning. Archaeology is turned on its head as Sturgeon suggests that this form of exploration is not to uncover and preserve a lost and unfortunately dead past, but a means to investigate territory for the hidden qualities of that which is living. The disentombed body shows no sign of death, decay, or discomfort; rather, and in spite of its seeming entrapment in the earth, it reveals a living organic unity from which beautiful things may grow. In many ways this single image is a summation of the positive elements in his past work. In stark contrast, both in presentation and in content, is the limited vision of the cone. There is no free-floating open field here, just a fast barrage of images of the horrific excesses of culture, which are reduced to a singular, totalizing micro-point of vision. Sturgeon’s acknowledgment of the empirical, though extreme in the manner that the binary overstates itself, represents a turning point in his work as the binary begins to take concrete form, and both the real life and mass media simulacra become a prominent part of his aesthetic investigations." - Steven Kurtz

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            • The Fluoptics Revolution: fluorescence imaging solutions for real-time guided surgery

              05:11

              from Bridge Communication / Added

              47 Plays / / 0 Comments

              Video Credits - Executive Production: Francis Temman/Bridge Communication - Director : Ahmed "Bollywood" Hadj Ameur. Fluoptics presents its innovative near-infrared (NIR) fluorescence imaging solutions for real-time guided surgery. This revolutionary approach allows surgeons to see during the operation what is invisible to the naked eye. The optical imaging device Fluobeam© provides surgeons with real time information to precisely locate a fluorescent marker, which is either circulating through the vascular or lymphatic system or is attached to areas of interest of the patient, such as tumorous cells. Fluoptics solutions are already being used in numerous applications, such as reconstructive, cardiovascular, lymphatic and liver surgery, in some cancers to detect sentinel nodes and in fluorescence angiography. This innovative approach brings an added value that should drastically secure the procedures and improve patient outcome.

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