Installation by Kimchi and Chips features a polygon web of nylon strips, projected on to great effect - video embedded below:
An architectural web of threads subtends a null space. It hangs abstract and undefined, a set of thin positive elements segmenting the dark negative space between. Dynamic imaginary forms are articulated into the physical volume by the material of this thread, and the semi-material of the light. The visual gravity of the filaments occupying the space between.
A 2D canvas is reduced from a surface piece into a line segment, but then constructed into another dimension, a volume. Light creates contrast and order on the lines to articulate digital matter. Digital forms inhabit the interconnected boundaries of space, moulding visual mass,
The artists reference Picasso’s light painting, and Reticuláreas of Gego who’s work offers a contemplation of the material and immaterial, time and space, origin and encounter and art and technology.
You can find out more at Kimchi and Chips’ website here
Audio / Visual installation by Miles Polaski lets users mashup 42 pop songs (vocals / instrumentals), providing 441 different musical combinations, with a projection mapped audio visualizer - video embedded below:
This interactive audio and visual installation, utilizing the contemporary art of Mashups and Projection Mapping, features 42 songs (21 instrumental tracks and 21 vocal tracks) assigned to 42 buttons giving its user the opportunity for themselves to create over 400 unique combinations while the video before them pulses and moves along to the music. The MASHine was created by Barter Theatre’s resident sound and video designer, Miles Polaski, and is part of the William King Museum’s Artist by Trade exhibit in Abingdon, Virginia.
In mid autumn, when the nights get longer in the northern hemisphere, we encounter numerous light festivals. And indeed, within the last ten years, more and more light festivals have globally emerged. The reason for the success of light festivals is simple, as the German curator Bettina Pelz concludes: “It’s actually fairly easy, because whenever you do something with light in cities in the night, then people do come. If you do it good, they come twice.”
As Pelz points out, light is an apt medium for evening events, since it easily attracts people. Communities have discovered the potential of lighting for city marketing, and the closer they plan their date to Christmas, the more they merge their illumination with the festive blinking lights of commercial Christmas markets.
I have no idea who this guy is… They were all like copies that I didn’t want or bad prints… Sort of baffled that they couldn’t figure out it was me considering most of those photos are already on the Internet. Just Google my real name ‘Amalia Soto’… I always talk about ownership and letting go of ownership once you put something on the Internet, so it’s interesting that this is happening IRL too.
"What’s He Building In There?" Sundance 2013 New Frontier
A veteran of the inaugural 2007 edition of New Frontier, Ricardo Rivera and Klip Collective return to Sundance to transform the entire front of the New Frontier venue into a 3-D projection-mapped parable, inspired by the Tom Waits song. Sip a hot beverage in the outdoor lounge and watch the walls and windowpanes dissolve into a story about a man on a mysterious mission inside the building.
The installation uses contact microphones, passive sonar and waveform analysis to recognize information of touches. ie where a surface has been hit or how a hand has made contact with the wrist, fingers or the fingernails. The sound received from the contact microphones is digitally “resonated” to produce a melodic note from the original acoustic impulse. The wrist and fingernail hits trigger classic 808 Kick and Clap sounds instantaneously and the audio can be recorded and played back with a custom built loop pedal. The LEAP Motion controller was used to manipulate these sounds with various hand gestures that importantly avoid contact with the table. The projections were designed to visualise the impulses and vibrations generated from playing the Contact table, creating a live audio visual performance instrument.
Piezo sensors and Arduino are used to locate volume transients. Volumes between signals are compared and mapped to X&Y. The mics are connected to an audio interface to process detailed frequency information of surface vibrations in Ableton Live and Max/MSP. Finally the Max patch compares the signals, relative distance value and sends it to Processing via OSC to map to screen. In addition, there is a foot pedal connected to Processing via an Arduino uploaded with firmata.