KUNST in de Nieuwe Digitale Wondere Wereld 11
Mark Napier
bewerking: Pam Standing door: Mark Napier.
Venus 2.0 – Mark Napier
KUNST in de Nieuwe Digitale Wondere Wereld 10: Alternatieve werkelijkheid
KUNST in de Nieuwe Digitale Wondere Wereld 10
John Gerrard – Alternatieve werkelijkheid
John Gerrard is een Ierse kunstenaar die perfecte, digitaal nageootste omgevingen maakt die in hun eigen tijd en ruimte bestaan. Het gaat hier letterlijk om alternatieve werkelijkheden.
Exercise (Djibouti) 2012
2012; Simulation; Dimensions variable;
Further developing Gerrard’s realtime portraits of physical locations, Exercise (Djibouti) 2012 harnesses simulation and motion capture technologies to create a temporal collage in which disciplined athletic bodies perform a perpetual militarised exercise of strategic capability and intent. On a simulation of the barren landscape of Djibouti in the Horn of Africa, two teams of computer-generated figures meet daily at dawn to initiate a series of cryptic gestural routines – precise, repetitive, faintly antagonistic.
Just as the landscape is a painstaking, extremely complex reproduction of an actual space that was generated using photographs and satellite data, the figures in Exercise (Djibouti) 2012 were generated by engaging a group of elite athletes in training for the London 2012, whose actual movements were converted to data with the latest motion-capture technologies. Neither completely synthetic nor strictly real, the work exists in ‘real time’ (Djibouti: GMT +3 hours), orbiting over a yearly cycle that incorporates the movements of sun, moon and stars.
Bron / Source: https://jgerrard.tumblr.com/
Using customised game-design software to craft stunningly accurate virtual worlds, Gerrard projects a complex digital moving image that eerily develops in real time and will continue to do so over the next 30 years. The viewer joins this hyper-real scene three years into its slowly unfolding story on a desolate Midwest prairie:
KUNST in de Nieuwe Digitale Wondere Wereld 9: Tijdverstoren
KUNST in de Nieuwe Digitale Wondere Wereld 9
Daniel Crooks
Daniel Crooks is een Australische kunstenaar die opnames digitaal manipuleert om zo de tijd te manipuleren of te verstoren.
Melbourne-based video artist Daniel Crooks
Crooks’ work tests the new paradigms of space, time and vision forged by our ubiquitous digital image technologies. In 2011, he captivated Singaporean audiences with his piece Static No.12 (Seek Stillness in Movement), a mesmerising study of an elderly Tai Chi practitioner in a Shanghai park. For this piece, the artist was honoured with the APB Foundation Signature Art Prize, Juror’s Choice Award. More recently, he took out the digital/video prize at the inaugural Prudential Eye Awards (2014).Recalling the experimental origins of the moving image – the so-called ‘chronophotography’ of the 19th century – Crook’s beguiling compositions explore the fundamentals of human perception. In his celebrated ‘time slice’ series, begun in 1999, he extracts thin slices of moving images and rearranges them, altering the relationship between space and time.
Crooks’ work gives the digital image a new elasticity, employing techniques of angle variation, light diffusion and chromatic patterning to effect uncanny and intriguing mutations of the visible world. His videos reveal its unseen rhythms and patterns; time becomes a spatial, plastic dimension, something that can be moulded and transformed.
For Crooks, the frantic pace of contemporary life gives rise to a new experience of time. Inspired by the bustling metropolises of Asia, he is drawn to diametrically opposed subjects, from high-speed trains to solitary drifters, amid the urban chaos. These intense contrasts expand the gaps between ephemeral moments, amplifying the echoes of human presence in everyday social life.
About the artist
Daniel Crooks (born 1973 in Hastings, New Zealand) is one of Australia’s most renowned contemporary artists. In 1993 he completed his B.A. of Graphic Design at the Auckland Institute of Technology, New Zealand and received a Post Graduate Diploma of Animation, Victorian College of the Arts, Melbourne, in 1994. Since finalising his studies he has worked with photography and film, where he explores the perceptual change of the moving image using temporal and spatial displacement. In 2014 he was the recipient of the Digital Video award at the inaugural Prudential Eye Awards and in 2011 he received the Juror’s Choice Award for Asia Pacific Breweries Foundation, Signature Art Prize.
Crooks’ work is in the collections of the Art Gallery of New South Wales, Sydney, National Gallery of Australia, Canberra, Museum of Contemporary Art, Sydney and Australian Centre for the Moving Image, Melbourne. In the spring of 2014 he took part in an artist-in-residence program at the Ars Electronica Futurelab to do research on his project Real Imaginary Objects where he created a series of sculptural works to be exhibited at the Ars Electronica Festival in early September. Recent solo exhibitions have taken place at the Samstag Museum of Art, University of South Australia (2013) and Monash University Museum of Art, Australia (2013). He participated in the group exhibition Australia at the Royal Academy of Arts in London (2013) and Marking Time at the Museum of Contemporary Art, Sydney (2012).
KUNST in de Nieuwe Digitale Wondere Wereld 8
KUNST in de Nieuwe Digitale Wondere Wereld 8
rafael lozano hemmer
“Sandbox” at Santa Monica Beach (2010) by Rafael Lozano-Hemmer
“Pulse Index”, 2010
plasma screen or projector, computer, digital microscope, industrial camera, metal enclosure, custom software
screen: 54.6 x 33.8 x 1.4″ / 138.7 x 85.9 x 3.6 cm
also available as a projection in any size
edition of 6, 1 AP
Installation view at Manchester Art Gallery, Manchester, UK.
“Pulse Index” is an interactive installation that records participants’ fingerprints at the same time as it detects their heart rates. The piece displays data for the last 509 participants in a stepped display that creates a horizon line of skin. To participate, people introduce their finger into a custom-made sensor equipped with a 220x digital microscope and a heart rate sensor; their fingerprint immediately appears on the largest cell of the display, pulsating to their heart beat. As more people try the piece one’s own recording travels upwards until it disappears altogether —a kind of memento mori using fingerprints, the most commonly used biometric image for identification.
The project exists in a small plasma version which features a 58 inch HD screen hung in portrait mode and in a large projection version which can be as large as desired.
Video courtesy of the artist and bitforms gallery nyc.
To learn more about Lozano-Hemmer’s work, please visit:
bit.ly/pSbJgx
bit.ly/HeemCA
Zie ook:
KUNST in de Nieuwe Digitale Wondere Wereld 7
KUNST in de Nieuwe Digitale Wondere Wereld 7
Tijd, kleur en data
Fernanda Viégas en Martin Wattenberg bedenken samen nieuwe manieren om het makkelijk te maken voor mensen om anders te denken en praten over data. Dat levert inderdaad interessante nieuwe zienswijzen op.
“As technologists we ask, Can visualization help people think collectively? Can visualization move beyond numbers into the realm of words and images?
As artists we seek the joy of revelation. Can visualization tell never-before-told stories? Can it uncover truths about color, memory, and sensuality?” hint.fm
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Flickr Flow is een creatief experiment met kleur en tijd. Zie: flickrflow
De kunstenaars hierover:
[…] in 2009 we finally had a chance to draw the river in our heads. We began with a collection of photographs of the Boston Common taken from Flickr. Using an algorithm developed for the WIRED Anniversary visualization, our software calculated the relative proportions of different colors seen in photos taken in each month of the year, and plotted them on a wheel. The image below is an early sketch from the piece. Summer is at the top, with time proceeding clockwise”
Time Flow is een analyse-instrument om temporale data te analyseren timeflow:
Fernanda Viégas and Martin Wattenberg bedenken nieuwe manieren om het makkelijk te maken voor mensen om anders te denken en praten over data.
“As technologists we ask, Can visualization help people think collectively? Can visualization move beyond numbers into the realm of words and images?
As artists we seek the joy of revelation. Can visualization tell never-before-told stories? Can it uncover truths about color, memory, and sensuality?”
Fernanda Vi??gas and Martin Wattenberg are behind both.
KUNST in de Nieuwe Digitale Wondere Wereld 6: Hyperreality & Augmented Reality
Twee geweldige visies op het leven in de toekomst met een volledige geintegreerde verrijkte digitale realiteit (augmented reality), gecre??erd door Keiichi Matsuda.
Augmented Reality is ook zeer geschikt om geschiedenis tot leven te brengen, zie deze twee voorbeelden:
KUNST in de Nieuwe Digitale Wondere Wereld 5: Crowddocumentatie
KUNST in de Nieuwe Digitale Wondere Wereld 5
De Tate KunstKaart
Het Britse publiek documenteert de nationale kunstschatten voor Tate op een samengestelde landkaart.
