Brainside is a web platform gathering interactive experiences taking users through the creative thinking of contemporary artists. In a world where part of the general public seems increasingly resistant to this art form, Brainside makes an artist’s creative thinking more accessible to the users, gaining greater recognition and adding value to the contemporary art piece.
Each art piece in Brainside’s virtual gallery is initially presented through a preconception in which skeptics will identify themselves. The user is then challenged to a madcap mini-game illustrating the prejudice in a very literal way to prove its absurdity. Once the mini-game is over, we are directly transported in an immersive and interactive experience in which every steps of the creation are demonstrated. It’s only after exploring the artist’s creative thinking that skeptics can truly appreciate the value of the art piece they just besmirched.
Reshape is a online platform promoting research, education and production of digital ideas. Reshape focuses on innovative processes of design and fabrication towards the reformulation of a new market that relies on knowledge economy. It represents an international community of designers, makers and customers inspired by innovation, and offers a platform where designers can sell their own product, makers can prototype them and customers can buy online.
Reshape is putting our effort towards the diffusion and growth of a new digital education. Each year the platform organizes a design competition that selects the best designers in the world of digital fabrication. The topics of the competition are always intentionally opened to stimulate the imagination and creativity of participants. The community participates in exhibitions around the world ranging from Fab10, to Biennale in Venice, FuoriSalone and MakerFaire.
The Mediated Matter group at MIT Media Lab focuses on Nature-inspired Design and Design-inspired Nature. Conducting research at the intersection of computational design, digital fabrication, materials science and synthetic biology, they have recently applied that knowledge to design a family of masks for Icelandic singer-songwriter Björk
With Rottlace(a cognate of Roðlaus—“skinless” in Icelandic) inspired by Björk’s most recent album—Vulnicura—the Mediated Matter Group explored themes associated with self-healing and expressing ‘the face without a skin.’ The series originates with a mask that emulates Björk’s facial structure and concludes with a mask that reveals a new identity, independent of its origin. What originates as a form of portraiture culminates in reincarnation.
The designs are informed by the geometrical and material logics that underlie the human musculoskeletal system; specifically, the complex structure of muscles, connective tissues, tendons, and ligaments that modulate the human voice. This continuous weave of dense collagen fibers form functional ‘typologies’ of connections: muscle-to-bone, bone-to-bone, and muscle-to-muscle. As in the human body, where continuous, collagenous elements alter their chemical and mechanical properties as a function of the tension they exert or endure, each mask is designed as a synthetic ‘whole without parts.’ The masks incorporate tunable physical properties recapitulating, augmenting, or controlling the facial form and movement behind them. Inspired by their biological counterpart, and conceived as ‘muscle textile,’ the masks are bundled, multi-material structures, providing formal and structural integrity, as well as movement, to the face and neck.
The Basslet, an appealing project introduced recently on Kickstarter, is a wearable subwoofer for your body. Using a whole new technology for sound, it delivers the beats and basslines of your music directly to you – so you can literally feel the music. The result is a powerful sound experience that headphones alone cannot provide.
In fact, the Basslet is a masterpiece of engineering. It puts the power and accuracy of a large sound system into a device that fits on your wrist. It is completely silent to the outside world – and despite the size, it makes you feel like you are surrounded by sound.
The Basslet works for anything that has sound: connect it to your smartphone, laptop, gaming console, VR headset – even with your old Walkman. No app needed.
The Basslet is packed with innovative technology designed in Germany. The LoSound engine (patent-pending) effortlessly recreates bass frequencies down to 10 Hz. It provides a bass-optimized frequency response and large dynamic range to handle low end peaks with extreme accuracy.
The high precision of the LoSound engine results in a deep sound experience – creating the illusion of standing next to a subwoofer. The tech is based on an innovative voice-coil design with highly optimised magnetic flows which allows it to be extremely powerful yet remarkably compact.
Anamorphic Composition (No. 1) by Tim Murray-Browne is an interactive sound installation experienced through head movement. A frozen moment of music is scattered into shards of sound, cutting through physical space and audible when touched by the listener’s head. This sound can no longer be sensed holistically in an instant but explored as individual parts. The areas where these shards intersect create sweet spots, where fragments of a greater harmony echo ephemerally.
Anamorphosis is a form which appears distorted or jumbled until viewed from a precise angle. Sometimes in the chaos of information arriving at our senses, there can be a similar moment of clarity, a brief glimpse suggestive of a perspective where the pieces align.
At the leading edge of technology, robots are poised to change the way we do business and conduct our daily lives. The New York Times video series, called Robotica, examining how robots are poised to change the way we do business and conduct our daily lives. Top roboticists, researchers and artists bring you into their labs to explore innovations and ask the tough questions about where robots are going.
In its last episode series examined a robotic dog’s mortality with the Aibo, introduced by Sony in 1999. For thousands of people Sony’s Aibo robotic dog was the closest thing to a real canine companion. The beaglelike robots could move around, bark and perform simple tricks. Sony sold 150,000 units through 2006; the fifth and final generation was said to be able to express 60 emotional states.
So when the Japanese company stopped servicing the robots last year, eight years after it ended production, owners faced a wrenching prospect: that their aging “pets” would break down for good. They scrambled to save the robot-dogs that had become part of their families.
Or consider the story of Les Baugh, who lost his arms as a teenager. Engineers at Johns Hopkins are trying to give them back, but better. Mr. Baugh is testing a robotic prosthetic that he can control with his mind.
Engineers at the Johns Hopkins University Applied Physics Lab have developed a next-generation prosthetic: a robotic arm that has 26 joints, can curl up to 45 pounds and is controlled with a person’s mind just like a regular arm.
Researchers think the arm could help people like Les Baugh. Now 59, Mr. Baugh recently underwent surgery at Johns Hopkins to remap the remaining nerves from his missing arms, allowing brain signals to be sent to the prosthetic.
Since 2006, the lab has been awarded $120 million from a program run by the Pentagon’s Defense Advanced Research Projects Agency to help wounded warriors. Now the lab is starting to collaborate with industry partners to explore commercial opportunities.
Nonterritorial is a complex of exhibition zones where ideas take-off and land. It serves other territories. The relationship between two (or more) territories depends on the nature of a third intermediate space that shares in a common relationship; the intermediate space bears equal importance in relation to other territories. Such spaces have been called ‘rendezvous’, or ‘public spaces’, which are the origins of the place of relationship. This connecting territory is the definition of Nonterritorial, it creates new contexts for exhibitions. It could be described as a ‘device of relation’ or an ‘interface’. Each element tends towards ‘territory-free’ and ‘non-territory’ zones. It’s a ‘space of connection’ between the artist and the spectator.
Using the metaphor of international airspace as a platform, the artist-run project is designed to facilitate the collaboration of artists with each other and with curators, collectors and spectators, to bring an Idea — a work of art, object, installation, performance or other form of creative expression — to an unconventional exhibition space, or multiple spaces at the same time. It’s a gateway that connects artists from a variety of geographies to international space, a bridge linking the different art scenes themselves. It can be understood as an experimental laboratory for artists who forge new principles of art installation and art-viewing, whose works resist convention and are rich with poignancy, intelligence and risk.
Artists may benefit from multiple showings of their work and are offered the opportunity to experiment in a variety of unconventional spaces and contexts.
There are many ways to get involved in making music, including playing an instrument, writing music, designing sound for film, producing beats, and so on. Computers have greatly expanded these possibilities. The musician’s toolbox has grown, and new skills are needed to use these tools.
In fact, writing computer programs to create music has been an important part of the music industry since the earliest days of computers over 50 years ago, and is at its most popular today. Musicians and programmers write computer code for many exciting uses: from creating new sounds or effects or musical structures, to designing entirely new ways to create and perform music.
Once you learn to write computer code, you can take those skills with you to any career you can imagine, whether in the music industry or elsewhere.
Digital Grotesque, created by architects and programmers Michael Hansmeyer and Benjamin Dillenburger, is the first fully immersive, solid, human-scale, enclosed structure that is entirely 3D printed out of sand. This structure, measuring 16 square meters, is materialized with details at the threshold of human perception. Every aspect of this architecture is composed by custom-designed algorithms.
The resulting architecture does not lend itself to a visual reductionism. Rather, the processes can devise truly surprising topographies and topologies that go far beyond what one could have traditionally conceived.
Digital Grotesque is between chaos and order, both natural and the artificial, neither foreign nor familiar. Any references to nature or existing styles are not integrated into the design process, but are evoked only as associations in the eye of the beholder.
As a fictive narrative space, the Digital Grotesque project is less concerned with functionality than with the expressive formal potentials of digital technologies. It examines new spatial experiences and sensations that these technologies enable. As such, Digital Grotesque is a lavish, exhilarating space, full of details at the threshold of perception, waiting to be discovered and spurring one’s imagination of what is yet to be created.
Being the first human-scale immersive space, Digital Grotesque entirely constructed out of 3D printed sandstone. A complex geometry consisting of millions of individual facets is printed at a resolution of a tenth of a millimeter to dimensions of a 3.2-meter high, 16 square meter large room. Its geometry was entirely designed through customized algorithms.
POOL INTERNATIONALES TanzFilmFestival BERLIN invites all dancers, choreographers, filmmakers and artists to apply with dance short films and dance animations to show September 07-10 at DOCK 11, Berlin. Its extended deadline is July 4, 2016.
POOL is a festival for dance films and offers space for the mutual exchange of experiences, development, training, and production prospects. It is a platform for films which picture dance not as a simple documentation, but rather create choreography exclusively for, and with, the camera. POOL focuses on the intense interplay between dance and the techniques of film, exploring the possibilities and boundaries of the art form. In addition, POOL encourages exchange with other creative areas such as fashion, advertising and music.
Films should not be longer than 30 minutes and also not a pure documentation of a dance piece. Links, for example on Vimeo or YouTube, are preferred for the jury screening.
The POOL 16 jury will create a film programme from all submissions and select the winner films, the PEARLS 16. PEARLS are the equal winners of POOL – INTERNATIONALES TanzFilmFestival BERLIN and will be honored with a price (5000 €).
MoMA’s Department of Media and Performance Art recently acquired the immersive installation Rainforest V (Variation 1) (1973–2015) by David Tudor. Conceived by Tudor in 1973, this pivotal early electro-acoustic work was adapted in 2015 by his longtime collaborators, Composers Inside Electronics (CIE).
The genesis of Rainforest V comes from the sound score Tudor created for Merce Cunningham’s 1968 dance Rainforest. Premiering at the State University of New York at Buffalo, Cunningham’s performance featured dancers in nude-colored costumes (designed by Jasper Johns) surrounded by helium-filled Mylar pillows from Andy Warhol’s installation Silver Clouds, which floated freely around the stage.
While Tudor created a number of other iterations of Rainforest, the breakthrough moment occurred in 1973 with Rainforest IV, when the work expanded from a sonic composition to a collaborative installation. That summer, Tudor attended a workshop with a group of young artists and composers at a New Music festival in Chocorua, New Hampshire. This group—which included future members of CIE—suggested that he work with larger objects and suspend them freely in space to increase their resonant properties and add a visual element to the work.
“My piece Rainforest IV was developed from ideas I had as early as 1965…. An offer came, which didn’t get realized…I was asked to make a proposal for a park in Washington. The idea was to have a sounding outdoor sculpture, so my mind began turning around. I thought, ‘wouldn’t it be wonderful if each sculpture sounded completely different from the other and the whole could be run by one machine . . . .’” – David Tudor
Born in 1926, Tudor was a pianist, composer, and early pioneer of live electronic music. The majority of his compositions utilize custom-built modular electronic instruments, innovations that positioned him at the forefront of postwar music technology. He worked with several members of the artist and engineer collaborative Experiments in Art and Technology (E.A.T.), including founding members Robert Rauschenberg and Robert Whitman.
Created by Gregor Woschitz, “mirror_0.2” is an interactive installation that seeks to replace the installation visitor’s reflection with that of the artist. The visitor stands before a monitor that looks like a mirror. The background is a 3-D scan that resembles the background of the actual space behind the visitor. Plus, the virtual space is slightly distorted in a realistic way to strengthen the illusion of a mirror image. A Kinect installed above the monitor screen registers the position and facial expression of the person standing in front of it. If that person changes his/her expression, posture or distance from the mirror, this is registered by the installation’s software, which then replaces the visitor’s image with the corresponding image of the artist. Instead of seeing their own reflection in the mirror, installation visitors see the artist imitating them.
For this installation, the artist shot approximately 100,000 images of himself with different facial expressions, his head tilted in various directions, and in diverse postures. Software determines which of these photos most closely resembles the appearance of the person standing in front of the mirror and displays that particular photo on the monitor screen.
“mirror_0.2” is part of the “TIME OUT .06” exhibition running at the Ars Electronica Center in Linz starting June 8, 2016.