Architec Tradure

Category: art

  • 02AugAuto-Vision

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    p

    A still picture made out of the Texture of Light system

    Today at Siggraph I presented my second research poster session on ‘The Texture of Light’ which is research on lighting principles and the exploration of life feed video metamorphosis in the public space using reflection of light on transparent materials.

    My poster

    I chatted with Kenneth Brecher, professor of Astronomy and Physics, Director, Science and Mathematics Education Center at Boston University.

    He is the author of Project Lite that is about light inquiry through experiments. We discussed longely my Texture of Light project and we shared some exciting experiment results.

    He mentioned the work of Karl Gerstner «Auto-Vision» who experimented with plexiglas sheets and images coming from TV.

    Between 1962 and 1963, Gerstner made his first attempts at optically distorting television images with lenses made of Plexiglas. In 1964, he exhibited his results for the first time in an installation that used 12 television sets, each one shown wearing a different pair of so-called «glasses». ( Exhibition: «Crazy Berlin» at Haus am Lützowplatz, Berlin) Also from 1964 comes the oldest existing version of «Auto-Vision» for a single television set. A new housing for the black-and-white TV set closes at the front, with a square television, and can accommodate six differently formed Plexiglas lenses, with everything meticulously packed in a crate for its transport. In this form, the perfection of design and presentation makes Gerstner’s «Auto-Vision» function as the prototype for a possible serial production. (…) «The name identifies the difference from television. The aim is not to broadcast programs, but to create programs directly. For this we use daily television programs that are abstracted through a ‹pair of spectacles,› and alienated to the point of being non-representational,» is Gerstner’s comment on the process(1) These Perspex ‹spectacles› have something in common with Op Art. They can be swapped around, and each pair creates a different effect.

    By Media Art Net

    (1) Cited in Johannes Gfeller, «Frühes Video in der Schweiz,» in Georges-Bloch Jahrbuch des Kunstgeschichtlichen Seminars der Universität Zürich, 1997, pp. 224f. Gfeller provides a comprehensively researched account of Gerstner’s TV works.

    In Tangible Vision


  • 02AugAuto-Vision

    If you’re new here, you may want to subscribe to my RSS feed to receive the latest Architectradure’s articles in your reader or via email. Thanks for visiting!

    p

    A still picture made out of the Texture of Light system

    Today at Siggraph I presented my second research poster session on ‘The Texture of Light’ which is research on lighting principles and the exploration of life feed video metamorphosis in the public space using reflection of light on transparent materials.

    My poster

    I chatted with Kenneth Brecher, professor of Astronomy and Physics, Director, Science and Mathematics Education Center at Boston University.

    He is the author of Project Lite that is about light inquiry through experiments. We discussed longely my Texture of Light project and we shared some exciting experiment results.

    He mentioned the work of Karl Gerstner «Auto-Vision» who experimented with plexiglas sheets and images coming from TV.

    Between 1962 and 1963, Gerstner made his first attempts at optically distorting television images with lenses made of Plexiglas. In 1964, he exhibited his results for the first time in an installation that used 12 television sets, each one shown wearing a different pair of so-called «glasses». ( Exhibition: «Crazy Berlin» at Haus am Lützowplatz, Berlin) Also from 1964 comes the oldest existing version of «Auto-Vision» for a single television set. A new housing for the black-and-white TV set closes at the front, with a square television, and can accommodate six differently formed Plexiglas lenses, with everything meticulously packed in a crate for its transport. In this form, the perfection of design and presentation makes Gerstner’s «Auto-Vision» function as the prototype for a possible serial production. (…) «The name identifies the difference from television. The aim is not to broadcast programs, but to create programs directly. For this we use daily television programs that are abstracted through a ‹pair of spectacles,› and alienated to the point of being non-representational,» is Gerstner’s comment on the process(1) These Perspex ‹spectacles› have something in common with Op Art. They can be swapped around, and each pair creates a different effect.

    By Media Art Net

    (1) Cited in Johannes Gfeller, «Frühes Video in der Schweiz,» in Georges-Bloch Jahrbuch des Kunstgeschichtlichen Seminars der Universität Zürich, 1997, pp. 224f. Gfeller provides a comprehensively researched account of Gerstner’s TV works.

    In Tangible Vision


  • 27OctVolume and Light

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    Three states

    This semester I follow a sculpture class taught by Helen Mirra at Harvard University, VES.

    I am a big fan of light, from perceptive to illusory, such as in the work of James Turell. For my second assignment I integrated the playful intervention of light within my sculpture. It also integrates the three numbers that define my volume as stated in the assignment.

    scenario





    I calculated my volume to determine the number of boxes and shadows.



    I installed light boxes made out of brown paper in a cubic room. I controlled the direction of the light sources to build consistent shadows around the boxes and bring the light in and out of the boxes.

    Out of the three boxes, the third box moves to create different cubic light patterns on the walls, e.g. from three to two patterns.



    Material: brown paper, wooden sticks, strings.

    In volume, light and sculpture


  • 27OctVolume and Light

    If you’re new here, you may want to subscribe to my RSS feed to receive the latest Architectradure’s articles in your reader or via email. Thanks for visiting!



    Three states

    This semester I follow a sculpture class taught by Helen Mirra at Harvard University, VES.

    I am a big fan of light, from perceptive to illusory, such as in the work of James Turell. For my second assignment I integrated the playful intervention of light within my sculpture. It also integrates the three numbers that define my volume as stated in the assignment.

    scenario





    I calculated my volume to determine the number of boxes and shadows.



    I installed light boxes made out of brown paper in a cubic room. I controlled the direction of the light sources to build consistent shadows around the boxes and bring the light in and out of the boxes.

    Out of the three boxes, the third box moves to create different cubic light patterns on the walls, e.g. from three to two patterns.



    Material: brown paper, wooden sticks, strings.

    In volume, light and sculpture


  • 23NovThe shadows of objects

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    Playing with light and shadows, artist can give sens to a magma of clothing, metal, clouds and so forth.

    Simple elements of design, yet strong impact. Playing with our expectations of what an object can and/or cannot do, artists can impress us. I discovered the work of Fred Eerdekens on the blog of Etienne Mineur.



    Life itself is not enough, 1999, Clothing, glass, steel, light projectors, 700 x 120 x 90 cm by Fred Eerdekens


  • 23NovThe talking machine

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    This is what I call sound art. An very simple design that can have such an impact.

    I believe we forget what an object can naturally do without computing technology. By simply reproducing the vocal tract and pushing air through it, artists can make a acoustic speech synthesizer such as what Martin Riches achieved with his Talking Machine.

    While I was voicing the pipes for a mechanical organ I noticed that when they were playing incorrectly they would sometimes make sounds quite similar to human speech. I wondered if it would be possible to make special speaking pipes and whether it would be possible to make them talk.The result was the Talking Machine — an acoustic speech synthesizer.The speech sounds are produced using a flow of air and resonators just as in natural speech.The machine has 32 pipes, each one a simplified version of the human vocal tract. They reproduce the spaces which are formed in the mouth, nose and throat when we speak.The pipes are built according to measurements of X-Ray photographs taken of a person speaking. In other words, the E-pipe reproduces the narrow shape of the human mouth saying E, the OO- pipe has something like the small round OO-shaped lips and so on. S, F, Sh and similar sounds are produced by special whistles which reproduce the shapes made by the lips, tongue and teeth. The valves which control the flow of air are operated by a computer.

    More info

    Audio from the talking machine


  • 02DecAn outside of the dysmorphic body

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    Screenshots from the video

    In this sculpture the dysmorphic body is reappropriated to create an outside of the body and therefore exemplify its disproportion.


    Screenshots from the video

    For this video, I arranged lights and shadows to create a positive out of a negative impression that I carved in the mold. I reappropriate the dysmorphic body and through the camera I confuse the eye of the viewer and create the illusion of a body being carved. Finally, I end the video by using a string to present the illusion trick to the viewer, the string is a link between the inside and the outside.


    height=”255″ codebase=’http://www.apple.com/qtactivex/qtplugin.cab’>

    controller=”true” loop=”true” pluginspage=’http://www.apple.com/quicktime/download/’>

    Video

    Material: plaster
    Video: Raw data with no editing


  • 12JanRemembrance of an absence

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    In my sculpture work, I combine the material representation of a souvenir and its effect over time. I print on plaster molds a series of clothing on life-sized frames. The pieces of clothing carved in the plaster come from people I care for. Their prints represent their passage in my life at a point, and the mold essentially keeps the shape and the textural significance of the clothing.



    final installation (2007)

    More pictures.

    My paper on a selection of sculptures for Helen Mirra, VES, Harvard University, (Cambridge, MA, USA. December, 2006). Remembrance of an absence


  • 23FebMarisa Jahn

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    Artist Marisa Jahn gave a talk at the MIT Media Lab, in the Tangible Media Group.

    Her work explores ways to engage people in gaining knowledge, from literacy, to environmental literacy. She designed tools and methods to invite people in a comparative analysis of information and self-reflective process. She collaborates frequently with Steve Shada and Natalie Jeremijenko.

    Interested in how human interact and communicate with each others, she designed wearable musical instruments.

    video

    For her master thesis in the visual studies department at MIT, she designed a game called Set. Elements of the set can be regrouped, labeled and organized and shared within the players.

    video

    Project most easily understood through direct engagement, boxSET is a game played as an intervention into any existing collection of objects (archives, record albums, a heap of junk—anything). Involving multiple players, some of whom may not have any prior relationship with the objects to be sorted, the game asks players to develop categories that describes a grouping of objects. However, the creation of order occurs simultaneous with disorder: a player may choose to remove an object from another player’s collection in order to place it in his/her grouping. This rapid taxonomic metabolism encourages players to narrate out loud (or ’show-and-tell’) their categories with the anticipation that it may soon disappear. Further, through taxonomically engaging with different kinds of objects, players become aware of what kinds of objects (data) are better for certain kinds of analyses (formal, textual, psychoanalytic, etc.). As the game evolves, players become aware of the difference in interpretation, the subjectivity of order, and the contingent production of knowledge.



    She created throw-n-Sow a new way for people to think about and engage with their environment. Frisbees deposite seeds while in the air…

    Throw-n-Sow is a flying disc toy similar to a Frisbee that uses the centripetal force generated in the act of throwing to distribute seeds into the environment. Manufactured as a toy made from environmentally-friendly, biodegradable plastics, Throw-n-Sow consists of a main body and a separate container that slides and locks under the disc. This container contains adjustable holes of different diameter to accommodate variant seed sizes. In other words, Throw-n-Sow is a literally empty container into which individuals and communities emplace selected seeds.

    Throw-n-Sow is interactive eco-art project that engages diverse communities in each step of the project (manufacturing, seed-selection, site-selection, plant stewardship, art education), Throw-n-Sow raises questions about the expanded field of drawing, indigenous ecologies vs. selective human cultivation, landscape evolution and succession, ethnobotany, agronomy, etc. Throw-n-Sow ultimately aims to valorize distributive intelligence and interdisciplinary learning.

    Throw-n-Sow is the kind of art that literally passes between two or more individuals. Leaving behind a trail of seeds as it sails through the air, Throw-n-Sow essentially imprints moments of play into the landscape. Individuals carrying the Throw-n-Sow disc from one place to another develop an affective relationship to the toy and to the sites in which it is deployed.


  • 02MarRobotic furniture design

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    Woojuin



    Woojuin magazine table

    Designer Victor Vetterlein works on robotic furniture. His Woojuin (2007) is a light fixture inspired by pod architecture & robotics. In the Woojuin magazine table, the reference to robotic is clear, and proposes a critique on automated lives in a digital age.

    More pictures on Moco Loco and Archinect