Data Mapping of 2016 U.S. Presidential Election Twitter Activity
Weidong Yang, Jiayi Young and Shih-Wen Young / USA University of California, Davis jiayiyoung.net
The proposed installation transforms the 2016 United States Presidential Election data into a large-scale immersive environment to provoke thought as to how social media assumes form and dominates the shaping of the future of a nation. By mapping election data into flickering lights, ticking sounds, and the exchange of fluid between IV bags, the installation recounts Twitter activates on the topic from February 2016 to the election date of November 8, 2016. It exposes the inner mechanisms of a world where true human tweets and tweets generated by Twitter Bots mutually influence each other and propagate inseparably as a combined voice. The installation allows the examination of the machine world infiltration that shifted the generative entropic propagation of social media influence on this U.S. election, and provides a physical space for contemplating the significant challenges social media post in our understanding of the social fabric and the radical transformation of the ways in which we now relate to each other.
Distiller of the Self is an interactive installation made out of glass, which reads the pulse of a person through a mobile app and turns it into bits, waves, and particles to tell a short story about the science and the soul. The artwork, based on neuroscientific studies, represents the transition to a truly scientific thought, questions the relation between beliefs, discrimination and conflict, and proposes how to confront our human existence with its unavoidable lack of certainties.
Created at the Berlin University of the Arts in 2016.
Hive Mind connects an active beehive in the Santa Cruz mountains of coastal California with a gallery installation built of over 1750 individually programmable LEDs in a creative, abstract visualization. The beehive is tracked in real time with sensors monitoring the temperature, humidity, sound level, activity level, population, honey reserves, and, via cameras and computer vision algorithms, the arrival and departure of each bee as it forages. This information streams live from a small computer at the hive to another computer at the gallery which uses the data to control LEDs hanging from an aluminum frame in a 3D configuration. It is wall mounted with core dimensions of 193cm x 160cm x 61cm.
Alejandro Jimenez Londoño and Liliana Maria Vergara Zambrano / Brazil
Pontificia Universidad Javeriana - Cali
An extensive visual experimentation and new languages that relate to different technologies from basic informatics have marked XXI Century. This new media meets with multiple visual representations that generate effects and changes in the image’s symbolic construction so that education and communication models art transformed. Digital art as a new expression media, where digital image has turned, within these few decades, in the new iconographic form. It has allowed technical procedures such as Video Mapping exploration to boom and constantly evolve in diverse contexts both graphic and audiovisual, yielding relevant changes in space and image perception, technique and interactivity, therefore promoting a progressive digital culture.
Two years of reflection and a few seconds in zero gravity were the origins of a series of artist works that have been completed at the Yuri Gagarin Cosmonaut Training Centre in Star City, Russia. There, on board the iconic Ilyushin 76 MDK, 9 artists and 1 scientist from Mexico were subject to an environment of weightlessness. A few seconds were enough to experience eternity, to tell a story, to break a paradigm, to liberate a molecule, to have an illusion, to experience movement without references, to create poetry out of falling bodies, to make the useless become useful and to search for the impossible embrace.
Scientific photography aims to record and illustrate data and experiments that differ according to specific disciplines. Although scientific photography can be considered non-aesthetic, since its main purpose is not to convey beauty but rather accurate information, its ability to record material in addition to that which is merely informative allows it to also serve expressive, subjective, and aesthetic purposes.
In my project, I use scientific photography to achieve an objective (scientific) resemblance of individual water drops to their subject, but the resulting images are highly selective in what they show and how. I try to create ‘expressive portraits’ of water drops.
A furniture-device is the device having a furniture appearance and physical input and output functions. The Escaping Chair is a furniture-device capable of having physical and dynamic interaction with a subject to create self-awareness toward the intent of their actions and personification of the furniture-device. The chair interacts with the bystanders by trying to move away from nearby people. By doing this, the device tries to make a person unable to sit on it, stimulating their perception toward their sitting action, while also making the person consider the Chair’s "personality".
Anatomía para el movimiento: línea 3 is a project where you can see wire that has the characteristic of being composed of two materials (Niquel and Titanium) that react differently when they are exposed to a certain temperature. This makes that this object, called generically Muscle Wire, appears to be an object gifted with life that twists itself when stimulated with electricity as if it was a little Frankenstein.
The act of observation has become scarce in this fast-paced world. In Anatomía para el movimiento, the author turns this wire in an observation subject, in the same way that the scientists comtemplate a flower, an animal, a part of the body or any natural phenomena; to then translate these observations to a medium that can make that act (the observation) to last through illustrations.