Programmer: Carlo Prelz. God's Browser 01 was developed at BALTAN Labs Eindhoven
Generative interactive installation with projector, projection screen, theremin, computer, and custom software.
Contact us for more information on pricing and for the technical requirements of the work.
Detailed information is available on installation, space requirements and shipping.
Video
God's Browser 01 from Geert Mul on Vimeo.
STRP Festival, Eindhoven (NL), 17.-27.11.2011
iBeta, Heerlen (NL), 12-13.05.2011
Generative multichannel installation with screens, speakers, computer and software.
Contact us for more information on pricing and for the technical requirements of the work.
Detailed information is available on installation, space requirements and shipping.
http://www.telcosystems.net/index.php/projects/2009-12_series/
12_Series at WSG preview HD from Telcosystems on Vimeo.
STRP Festival, Eindhoven (NL), 17.-27.11.2011
Sensxperiment Festival, Lucena (ES), 20.10.-12.11.2011
Installation with projector, mirrors, computer, and tripod.
Contact us for more information on pricing and for the technical requirements of the work.
Detailed information is available on installation, space requirements and shipping.
video: RE: ISMAR from RE: on Vimeo.
Yebisu International Festival for Art and Alternative Visions Tokyo (JP), 10.-26.02.2012
STRP Festival, Eindhoven (NL), 17.-27.11.2011
WRO Biennale, Wroclaw (PL), 10.05.2011-19.06.2011: Winner of the Audience Prize
The device with the three mirrors, the basis for the Palm Top Theater experience, lets the spectator enjoy 3D moving images in the palm of its hand without glasses or other gear. The Smartphone becomes a private mini-theater, connected to an online community of producers both amateur and professional.
Palm Top Theater is invented by Jitsuro Mase, a media artist, and produced by V2_ and Tom Nagae / DIRECTIONS Inc, a Japanese media production company. It has won the Ars Electronica Festival 2010 Honorary Mention. V2_ organized the Palm Top Theater Exhibition curated by Maki Ueda and workshops to create new content for the device in 2011. Since then the devices have been presented at various art festivals and exhibitions around the world.
See this brochure for information on exhibiting Palm Top Theater and/or in setting up a workshop to produce new artworks or animations.
STRP Festival, Eindhoven (NL), 17.-27.11.2011
Cinekid Festival, Amsterdam (NL), 13.-21.10.2011
Japan Media Arts Festival, Dortmund U (DE), 10.09.-02.10.2011
EMAF, Osnabrück (DE), 27.04.-29.05.2011
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Solace is a cinematic installation that investigates the mental process and physical activity of seeing. At regular intervals a handcrafted apparatus creates a soap film as a spatial intervention. Through precise lighting the inner movement of the soap film is revealed, showing a turbulent choreography of iridescent color and fluid motion. As gravity slowly gets a hold of the membrane the viewer can be fascinated with the phenomenon, until inevitably the fragile film bursts.
MAC Creteil, Exit and Via Festival (FR/BE), 08.03.2012-01.04.2012
Hello Worlds, ISMAR, Basel (CH), 26.-29.10.2011
Playing with the possibilities offered by the combination of movement and 3D interactive imagery, the installation purposefully places the viewer in a strongly absorptive experience, but what is actually offered contradicts this positioning by mediating a disconnected experience of the city.
Exploded Views 2.0 investigates the representation of global urban environments and comments on the prominent role the World Wide Web has assumed in constructing our view of the world and ultimately, on what we perceive as reality. In contrast to the previous version of the installation from 2008, the content for 3D city landscapes is provided by users of social media platforms. The work analyzes GPS tags of all the pictures available on photo-sharing community websites (such as Flickr) and reconstructs the top 400 most photographed locations into 3D. The work represents the world according to the way it is photographically represented on the web.
With Exploded Views 2.0 de Nijs remarks on how the ever-growing amount of digital images available on the Internet is rapidly substituting reality as the prime source for shaping our view of the world. Online visual content, shared pictures of city landscapes and events, are simulacra – as defined in Jean Baudrillard's seminal work Simulation and Simulacra – wherein that which is being simulated is presented and received not as a simulation but as an original. The originals may no longer exist, may never have existed, or their significance has been dwarfed in comparison to the simulacra, which attains a level of primacy and authenticity that traditionally had been the exclusive province of the original. (Shanken, Edward Art and Electronic Media, London: Phaidon Press, 2009)
Producer/artist: Marnix de Nijs
Co-producer: V2_Institute for the Unstable Media
Software development: V2_Lab
Scene-reconstruction: Michael Goesele, TU Darmstadt
Interactive installation with custom software, projectors, screen, soundsystem.
STRP Festival, Eindhoven (NL), 17.-27.11.2011: Première
]]>The design of the Physiognomic Scrutinizer is based on principles employed in security gates seen at airports, shopping malls, football stadiums and other protected public spaces. A barrier guides visitors towards a brightly lit entrance, where a mounted camera records each individual’s image and projects it on an LCD monitor at the back of the gate. A speaker on a stand, positioned immediately behind the gate, symbolizes and acts as a security guard. The installation scans facial features and characteristics by using biometric video analysis software, and compares them to those of more than 250 preselected people in a database. The database includes a variety of famous individuals and contributors to our contemporary culture, all chosen because of their controversial or infamous acts. A computerized voice publicly announces the name of the person each viewer has been identified as, in a confrontational reminder that the steady increase in the use of biometric technology in public space should be viewed with a healthy skepticism.
Physiognomic Scrutinizer can also be ordered as a customized version or in a multiple system. It is not restricted to the design, size or the materials as shown in the above image. For example the gate could also be presented in a site-specific design to fit to the architecture of a building or site.
Co-produced by Kontejner, bureau of contemporary art practice
Biometric software implementation, V2_Lab, Rotterdam
Process visualisation, Brecht Debackere, Antwerp
Thanks to Magdalena Pederin and Hans Beekmans
http://www.marnixdenijs.nl/physiognomic_scrutinizer.htm
Interactive installation with custom hardware and software, speakers, stainless steel gate, and neon tube lights.
Contact us for more information on pricing and for the technical requirements of the work.
Detailed information is available on installation, space requirements and shipping.
Wood Street Galleries, Pittsburgh (US), 27.04.2012-17.06.2012
Gogbot Festival, Enschede, 08.-11.09.2011
Paranoia tour:
EXIT Festival, MAC Creteil, Lille (FR), 10.03.2011-20.03.2011
VIA festival, Maubeuge - Mons (FR/BE), 24.03.–03.04.2011
Lille3000, Lille (FR), 13.04.-14.08.2011
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Mirror Piece can also be ordered as a customized version or in a multiple system. It is not restricted to the design, size or the materials as shown in the above image. For example it could also be presented in a public space, using shopping or OTHER windows and mirror foil.
Co-produced by V2_Lab.
Interactive installation with custom hardware and software, mirror, aluminium frame.
Contact us for more information on pricing and for the technical requirements of the work.
Detailed information is available on installation, space requirements and shipping.
also on Vimeo, Mirror Piece by Marnix de Nijs
Bouillants Festival, France, 21.04.2012-31.08.2012
Mois Multi 13, Quebec (CA), 01.02.2012-29.02.2012
Sonar OFFFmatica, Barcelona (ES), 10.06.2011-19.06.2011
Donaufestival, Krems Donau (AT), 28.04.2011-07.05.2011
Clash, Groningen (NL), 24.04.2011
A video essay offering new perspectives on a contemporary China between communist slogans and market-driven society.
Is the utopia of a communist society in China still alive or just kept alive artificially?
In Zhou Hongxiang's video essay possible answers are interconnected, while presenting today's China as a nation torn between communist rhetoric and capitalist economy. Simultaneously, The Red Flag Flies critically reflects on the slogans of Maoism as well as on all kind of -isms in the world - albeit their economical, political or ideological origins.The Red Flag Flies tries to deconstruct and reconstruct the phenomenon of cinema by questioning current aesthetic experiences and cognitive perception, and tries to explore a new discourse on the power of images.
(There is also an installation version of this work).
http://www.zhouhongxiang.com/?page_id=18
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The screen of Chinese Portraiture displays videos of Chinese figures of different ages, performing a characteristic Chinese profession. The interactive relation between the spectators and the people in the image displays certain behavior and conflicts in a person’s life. Workmen, policemen, the emperor of Qing Dynasty, intellectuals, monks, old people, children, beggars, farmers, judges are presented with their most remarkable characters, morals and habits. The film works like a photograph, because of the stare between viewer and portrayed people. You'll wait for a certain thing to happen in a quiescent time and space.
Chinese Portraiture was shown at DEAF07, Zone V2_ and as part of the 3rd I exhibition.
http://www.zhouhongxiang.com/?page_id=139
Lowest Resolution was part of the DEAF07 exhibition.
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The Austrian artist Roman Kirschner created a piece called Roots. Wires hang in a brownish-greenish liquid. The liquid is a special mixture which has to sit for two weeks prior to the exhibition so that the correct ingredients can sink slowly to the bottom. Within this mixture, a kind of iron crystal grows steadily from the wires. The wires forge connections, intersect, and sometimes separate again. The constellation of iron crystals slowly changes and adapts under the influence of the environment and the connections that have been made and lost. The whole thing has an organic feel. Bubbles rise to the surface like jellyfish (as Kirschner wrote). The network of iron crystals resembles a bush. Now and then pieces break off, or whole branches, causing thicker and thicker clouds of dust to rise, gradually throwing a shadow over the scene.
Electricity runs through the sculpture of wires. The current causes the wires in the liquid to grow and transform. The process is an interactive one: the growth of the network changes the routes and directions of the electric current, which has consequences for the development of the network. It is not a process in which one actor acts on another and that actor subsequently reacts, but rather one in which the various actors continuously influence each other. This process plays out in a liquid that functions, one might say, as the surroundings, the environment, that makes specific interactions possible.
Kirschner makes the process of the network's growth (and deterioration) audible. The wires are connected to a computer, and the voltages at the ends of the iron crystals are sent through resonance filters, which convert the current into sound. With the visual connection to the iron crystals in the fluid, it creates the impression of an orchestra of bubbles rising to the surface -- even though a 4/4 pulse is programmed in the software.
Roots' background and the implicit statements it makes about the development of technology and its links to the philosophy of technology may also be of interest. The idea of an environment could be a reference to the ideas of the French philosopher Simondon, who outlined an very idiosyncratic view of the development of technology in Modes des existences des objets techniques (1958). Simondon considered the development of technology to be an evolutionary process comparable to biological ones -- with which he sees parallels as well as differences. In contrast to most technophilosophy of his time, he did not consider nature and technology opposing terms. For Simondon, technology is never just an instrument or a machine. Rather, it consists of ensembles: relationships between instruments and machines, between people and machines, between people and the environments in which they use machines, and between people and the materials they interact with. Interaction between an open or closed system and its environment is also central in his view. Maturana and Varela would describe a similar process in the 1970s as 'autopoesis'; Simondon used the term 'individuation.' He emphasized that it concerns a process of continuous change, influenced by formative and informative impulses from the environment, and adaptation to it. Technology, likewise, is not a finished product but a continuous process that forges new connections again and again, and reconfigures and re-produces its relationships with the environment and people. Simondon's philosophy does not assume that there are stable systems, nor even that systems search for equilibrium; rather, he assumes a situation in which everything is metastable -- stable on the verge of instability.
In this context, unstable is a positive term: it denotes a system or network that is able to change, adapt and continuously develop. This is how it manages to survive. The outcomes of processes in such a network are not fixed -- they depend on interactions and exchanges between the (changing) elements in the network and (new) elements from outside with which the network enters into a relationship.
What Simondon approaches in a philosophical manner, Roots shows in an artistic way. Kirschner himself explicitly states that he owes a debt to the work of the excentric English cyberneticist Gordon Pask, who died in 1996. Pask's ideas -- for example, his theory of conversation, knowledge construction, and interaction between actors -- are currently being rediscovered, mainly by artists. In 1961, in An Approach to Cybernetics, Pask argued that it was possible to build chemical computers. Specifically, he argued that chemical computers are made possible by the fact that an active evolutionary network develops out of interaction between electrochemical processes. In the 1950s, Pask built machines with sensors that made them sensitive to outside influences. He regarded a computer as an open system. Kirschner's Roots is a homage to this idea of Pask's, and a concrete representation of it -- what takes place in the tank of liquid is an electrochemical process through which a network evolves. It is also a tangible reminder of an era in which people were far from certain what a computer was or what it should do, and dreamed of computers coming to life.
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Who shows the greatest disregard for the danger of injury? Who can keep a cool head the longest? Human beings can keep up appearances, carrying on while their bodies tells a different story -- when you become anxious, nervous or frightened, you begin to sweat. The collective 5VOLTCORE, made up of several artists whose interests include circuit-bending and lo-fi technology, have built a machine for testing how well you keep your nerves under control. You place your hand on a table under a machine to which a knife is attached. You splay your fingers, and the knife starts to tap the table between them, slowly at first, and then faster and faster. The table measures the moisture on your hands. When you start to sweat, contacts are activated and the machine starts to act strangely and is disrupted. This is direct interaction -- based not on conscious choices by the user but on physiological data over which he or she has much less (or no) control. The system is simple, but the machine challenges you.
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World Wide Ensemble, by the French software artist Antoine Schmitt, is an abstract, programmed landscape of visual elements and sound. The visual elements, white, and gray on a black background) move quickly up and down or back and forth or make continual quarter turns against a black background. They are a kind of small automata, each with its own simple behavior. Sometimes they seem to join together to form a motor, an electrical diagram, or a rudimentary blueprint for a machine. They move past slowly as the viewer watches through a hole in the wall, as if looking out on the universe through the porthole of a spaceship. The only interaction between the viewer and the work takes place by means of a trackball he or she can use to navigate and investigate other parts of the landscape. Because the relationship between image and sound is not completely synchronous, and the consequences of the interaction are not processed immediately, a certain tension arises, allowing the user to form thoughts on the generative aspects of the work. We can read its elements as actors that make up a world and move together against their endless black background.
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