1. perspectives [temporal] (excerpt)

    03:00

    from Kynan Tan / Added

    [temporal] is a computer-generated audio-visual work that reflects on temporality, non-linearity, and duration through relational structures. These structures explore the relationships between sound and video, data and algorithm, perception and cognition, as well as the relationality of systems and networks. This is achieved through the development of software that recursively manipulates data by translating sound into video and vice versa, using data as signal and control information. The data used in [temporal] includes that describing sleeping brain activity, public transport networks, surveillance systems and algorithmic simulation of orbital systems. The work utilises evocative, physical and (at times) disorientating sound and video to explore an Einsteinian conception of gravitation - the mass and arrangement of all entities influencing how each entity moves through both time and space. [temporal] carves its own path in non-linear spacetime, demonstrating how movement and perception is constantly being altered due to the object's fluctuating mass. [temporal] looks at computer simulations and networks of particles as simulacra for atomic, biological, ecological and social systems. The work is constructed from multiple interconnected scenes that create dynamic contrasts between the relational structures of sound and image - using shape, scale, brightness and volume to generate an abstract, sensory experience of data and algorithm. The scenes shift in scale on a spectrum between the atomic and universal. The work attempts to create a sense of conjunctive correlations between the conceptual material, real-world data, computer-processing and found material through a synaesthetic melding of sound, image and space. The work is presented as an audio-visual concert using 2ch HD projection and 4.1ch sound. First presented in the main gallery at the Perth Institute of Contemporary Art, Western Australia.

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    • Filament Orkestra

      01:35

      from Matthew Gingold / Added

      10 Plays / / 0 Comments

      Filament Orkestra is an installation about the intersection of technology, communication desire and memory. It uses very simple technologies including FM radios, light bulbs, relays, speakers and tiny Arduino computers, but multiplies and interconnects these technologies to create a deliberately and overly complex system. The intention behind this otherwise redundant electronic system of light and sound generation is to draw our attention to the technologies themselves – their perceptual and cultural aesthetics – and by superposition, our relationship to mass production, social communication, networked information and commercial consumption. The form itself is like a weaving machine or loom, inspired by maverick Australian Percy Grainger’s music machines, and it deliberately confuses the idea of what and who is looking and hearing. What parts are the ‘eyes’ and ‘ears’ in this anthropomorphic machine or artificial organism? Whilst the artist has coded behaviours into the installation, his intention is to create a system that defies his own understanding of the electronic and programmatic structures he has created. That is, in the parlance of artificial intelligence, to create emergent behaviours – but his intention is not necessarily to strictly follow the computational definition, but rather to present us with the complexity and redundancy of modern technologically mediated communications. The concept of ‘Orkestra's’ has been developed during residencies undertaken at Ars Elecronica in Linz, Austria in 2012 and Media Lab Prado, Interactivos 12 in Ljubljana in which Gingold studied and programmed obsolete technologies and how to make sound out of light. The Filament Orkestra also developed out of his residency in 2013/14 at The School of Interactive Art and Technology at Simon Fraser University in Vancouver, Canada, where he worked with movement, sound and artificial intelligence/machine learning experts. Artist: Matthew Gingold http://gingold.com.au Additional code/consultation: Josh Gardiner (physical computing) and Omid Alemi (pattern generation). The Filament Orkestra was commissioned by the Perth Institute of Contemporary Arts for the Exhibition 'What I see When I Look at Sound' (2014).

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      • I am a Very Strange Loop

        03:12

        from B K / Added

        206 Plays / / 4 Comments

        In the end, we self-perceiving, self-inventing, locked-in mirages are little miracles of self-reference. - Hofstadter I am a Very Strange Loop is my take on recent developments in the science of consciousness, our never-ending quest to understand ourselves as ourselves, and the way in which modern technologies such as the Internet are shaping our 'selfs'. Consciousness Hofstadter's work makes much of recursion* as the basis for consciousness. Reflecting (pun intended) and bastardizing the thesis in the book I am a Strange Loop (Hofstadter), this video is comprised of a series of interlocking and recursive sounds and animations. My work is, in effect, a literal exposition of Hofstadter's notion of recursion, with both sound and vision closing in on themselves and repeating, yet never quite simply 'looping'. Ourselves Some would have us believe that our self-awareness is a trick being played on us by a simple underlying physical reality. They say that our internal dialogues are not being driven by a homunculus or other self-aware element of our existence, but rather, we are merely an accumulation of a relatively simple set of recursive memories. I'm not so sure. Then again, I'm not very sure about any of these things, hence making the art, as part of my way of trying to understand. Selfies Our modern, hyper-connected selfs are experiencing a kind of accelerated, technologically enhanced recursion. In the olden days of the 20th century, we might listen to the radio, where we would be exposed to both the familiar and the novel - nowadays we only really ever experience the familiar. We take selfies of ourselves, then post them on line for our friends to look at, they do the same, and our spiral into a vortex of self-self-self admiration and self-observation accelerates. We go to forums and websites that have the things we like. These sites have links to more things like the things we like. Then we click on like buttons. (Go on, click on the like button for this video, you know you want to.) Again, we spiral inwards, into a kind of self-reenforcing sense of self, rarely venturing beyond what we already know and like. I am a Very Strange Loop is my meditation on these three ideas, and how the Internet is much more than a cultural phenomenon or object - it is forming part of the basis for 'ourselves'. I am a Very Strange Loop will be shown at the Brunswick Street Gallery, from March 20 - April 2 2015, in an exhibition titled: 'The Internet Is A Cultural Object'. www.brunswickstreetgallery.squarespace.com This video is an excerpt from one chapter of an installation in which I share some of my synesthetic experience of sound and vision: http://vimeopro.com/user15810786/26-suicides *Definition: For 'recursion', see 'recursion'. Or, in other words, to understand recursion, you must first understand recursion. Or, recursion is a hard concept wrap one's mind around.

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        • Journey to Wimbledon College of Arts

          06:32

          from Jane Mackay / Added

          6 Plays / / 0 Comments

          A presentation to a group of GPs on 23/2/15 about my MFA course at Wimbledon

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          • Synaesthes [demo]

            03:14

            from Edit E Vizer / Added

            Synaesthesia is a thought experiment and a research through design project exploring alternative ways of memory archives and access. This demo is the outcome of the course Future Spaces at Kolding Design School focusing on design fiction as method.

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            • Synaesthesia

              03:23

              from Garry Knight / Added

              2 Plays / / 0 Comments

              Artificial intelligence is such a hit-and-miss affair. You've probably seen the video of Cleverbot talking to itself. They'll build more and more 'intelligence' into these things until one day a robot is going to think it has synaesthesia... I made this track in June 2013.

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              • The Music of Life

                02:16

                from B K / Added

                280 Plays / / 4 Comments

                Life itself is music... It sometimes seems that our world is filled by violence and hate, and pain and suffering. But that is just how it SEEMS. While there is some hate, there is also love - much love. I'm trying (always) to find the love. This piece is a meditation on the nature of music and its relationship with the universal life-force. It is another chapter excerpted from my up coming new media installation, more on that soon. Here again try to share some of my synaesthetic experience of sound and vision - I want you to see music and hear images, like I do. Taking inspiration from the great mystical Sufi tradition, I have co-opted some Sufi sounds and symbology. Huwa features prominently, and the soundscape is enriched with Sufi chants, singing, and some instrumental music. I hope I have not caused offence through this appropriation. I have also applied some mathematics, like those developed by Fourier, to try to show the relationship between audible and visible waves. Faith and religion can divide us. In those moments when we find ourselves fearing the 'other', we need to remember that we are all made of the same stuff, and that we can all experience the same kind of joy and love. We are all stuck here together on this little blue jewel that drifts along alone in the unimaginable vastness of this unfathomable universe - we are all in the same place, together, not separate. This piece is part of my emphatic statement that there is no 'other', they are US, WE are them. In particular, this work represents my rejection of the ignorance and hate that sometimes is directed at our Islamic brothers and sisters. I cannot pretend to understand Sufi faith or culture, but I feel a connection when I read things like: 'With music of the Absolute, the bass, the undertone, is going on continuously; but on the surface beneath the various keys of all the instruments of nature, music, the undertone is hidden and subdued. Every being with life comes to the surface and again returns whence it came, as each note has its return to the ocean of sound. The undertone of this existence overwhelms all.' - Hazrat Inayat Khan ...and... 'Many say that life entered the human body by the help of music, but the truth is that life itself is music.' - Hafiz All visuals and music by BK. All rights reserved, all rights waived. Technologies include: - Digital Performer (audio) - Cinema 4d, After Effects & X-Particles (visuals) - Newton Render Farm (rendering 3d animation, not growing tomatoes) Acknowledgements: - oinon.net - mographplus.com - gurumaa.com - kraphik3d.com - King Records, Music of Iraq - motunation.com - c4dcafe.com - nitro4d.com

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                • Synaesthesia: A Union of the Senses

                  13:33

                  from Union of the Senses / Added

                  857 Plays / / 0 Comments

                  http://www.unionofthesenses.co.uk Synaesthesia is not a disorder - it is a neurological phenomenon categorised in simplistic terms as a union of the senses. Imagine a world in which you heard colours, or saw sounds through involuntary sensory associations, without the aid of hallucinogenic drugs. In our short documentary, we explore synaesthesia through artistic means, informal interviews and creative activities. Our aim is to not only provide an artistic explanation of synaesthesia, but to also provide a visual resource for those who also share this fascinating condition. Our documentary features up and coming musician GRACE and also Alexandra, a student and aspiring musician and writer; both of whom are based in London, England. Together they take on the task of painting individual representations of what their synaesthesia is visually creating for them when listening to music. Soundtrack composed by Brighton based electronic artist Simon James French. Director / / Edward Gaunt Development / / Edward Gaunt + Rania Iraki Producer / / Ashley Jackson Original Concept + Research / / Lorna Jayne Editor / / Lewis Cyrus Thompson Director of Photography / / Ashley Hughes Art Department / / Lois Walshe + Kas Rasenberg Sound / / Rania Iraki Boom / / Ashley Jackson + Lois Walshe Nine Inch Nails / / Closer 1994 © (No Copyright Infringement Intended)

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                  • Writings

                    01:03

                    from Jacopo Pompilii / Added

                    24 Plays / / 0 Comments

                    The video is based on a mesostic by John Cage. It’s a typographic work such that a vertical phrase — the word ‘Cunningham’ as Cage’s lover — intersects lines of horizontal text, in this case some words taken from ‘Changes notes on choreography’ by Merce Cunningham. Translating this work of art in a kinetic typography video required a non-linear narration, that’s why I used some effects borrowed from the glitch art. Digital media are more and more perfect and sharp: glitches and pixel artifacts are not a bug, but a sort of awareness of the tools used. - Politecnico di Milano, Scuola del Design Lab. Progettazione di Sistemi e artefatti complessi Proff. Dina Riccò, Gianluca Balzerano - Featured in MuVi4, event part of event of the 5th International conference Synaesthesia: Science & Art, to be held from the 16th to the 19th of May 2015, at the Teatro Martinez Montañéz, Alcalá la Real, Jaén (Spain), organized by Fundación Internacional Artecittà (Granada, Spain), Universidad de Granada (Psicología, Ciencias de la Educación, Bellas Artes, Dpto. De Dibujo, Spain), Politecnico di Milano (Design Department, School of Design, Italy).

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                    • Threnody for Smedley Butler

                      02:37

                      from B K / Added

                      232 Plays / / 2 Comments

                      'WAR is a racket. It always has been... It is possibly the oldest, easily the most profitable, surely the most vicious. It is the only one international in scope. It is the only one in which the profits are reckoned in dollars and the losses in lives.' - General Smedley Darlington Butler Smedley Butler died only days after being admitted to hospital in June 1940 - probably of cancer. He had served in the military for over 30 years. Perhaps it was merciful that he did not have to endure watching another world war unfold. In World War II, ~70 million people lost their lives, and many millions more were displaced, ravaged and broken. Butler had seen much the same sort of destruction from World War I. In both wars, billions were spent on armaments, and more billions afterwards remediating the havoc they wrought. The omnivorous war machine that grew up from these conflicts is still with us today, and it threatens to devour us all. All this was foreseen and forewarned by General Butler. Butler saw a world coming in which economic interests of big capital called the tune, and the average foot soldier did the marching, and the dying, along with the innocents euphemistically labelled 'collateral damage' by insensitive war-mongering beasts. Butler was one of the most decorated soldiers in American history, and yet he was one of the most trenchant and effective critics of its military-industrial complex, long before that phrase was coined in a poignant and foreboding farewell address by Eisenhower in 1960. In a speech, Butler said: 'I helped make Mexico, especially Tampico, safe for American oil interests in 1914. I helped make Haiti and Cuba a decent place for the National City Bank boys to collect revenues in. I helped in the raping of half a dozen Central American republics for the benefits of Wall Street. The record of racketeering is long. I helped purify Nicaragua for the international banking house of Brown Brothers in 1909-1912 (where have I heard that name before?). I brought light to the Dominican Republic for American sugar interests in 1916. In China I helped to see to it that Standard Oil went its way unmolested. During those years, I had, as the boys in the back room would say, a swell racket. Looking back on it, I feel that I could have given Al Capone a few hints. The best he could do was to operate his racket in three districts. I operated on three continents.' Smedley is a largely unsung hero. His rational and thoughtful critique of war-mongering is as timely today as it was during the 20's and 30's, when he tried to warn American society that they were not, as Woody Guthrie would have had it, 'Bound for Glory', but instead, bound to be trapped in a never-ending, constantly downward spiralling vortex of war, war, war. As if being both a war and antiwar hero wasn't enough, he also foiled a fascist plot to overthrow President Franklin Roosevelt - this plot involving the father of one 20th century US president and the grandfather of another. Before you dismiss this as a history lesson, be warned, this isn't old news, or ancient history, or irrelevant to us today. Robert Gates has more recently said similar things regarding the American appetite for armaments: 'Does the number of warships we have, and are building, really put America at risk, when the U.S. battle fleet is larger than the next 13 navies combined — 11 of which are our partners and allies? Is it a dire threat that by 2020, the United States will have only 20 times more advanced stealth fighters than China? These are the kinds of questions Eisenhower asked as commander-in-chief. They are the kinds of questions I believe he would ask today.' This little piece, 'Threnody for Smedley Butler', is another chapter excerpted from my up coming new media installation. It is my homage to Butler. It is part of a larger work, in which I try to share some of my synaesthetic experience of sound and vision - here is my non-patriotic, non-violent, non-narrative response to the memory of a great man. In it, I have tried to weave together some basic imagery of the mighty red-white-n-blue, and it focuses in on a meditation on Butler's catch phrase, 'War is a Racket'. All visuals and music by BK. All rights reserved, all rights waived. Technologies include: - Digital Performer (audio) - Cinema 4d, After Effect & X-Particles (visuals) 24 hours to render, ouch.

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