oneone

Daniel Belton / New Zealand

OneOne has been described as a masterwork of beauty and power – radical in its combination of innovative new media and ancient cultural knowledge. The human figures in OneOne shift through geometric virtual stone-form containers and suggest the presence of breath in the soundscape. This creates a pictorial representation of air movement inside the river stones, which are blown and drummed to make sound.

Human figures become holographic when processed through the digital, the binary. Their movement establishes a hieroglyphic language of dance that synchronizes with the sounds of nature, Taonga Puoro and the hollow stone flutes of the Maerewhenua River. OneOne reflects an ancient elemental energy – ancestral memory unfolds in a digital cloak of projected bending light and sound. The Maerewhenua River stones are 23-25 million years old.

They have inspired the artistic research and creation of OneOne in its delivery as interactive museum installation, expanded cinema transmission, architectural projection mapping and AV Liveset stage performance. Selected stones have been carefully scanned and 3D modeled to become spectral Waka, or vessels that transport the human figure in time and space. They evoke kinetic Polynesian navigation charts, cetaceans and islands. OneOne explores the twin acts of voyaging and coming to land.

The Waka (traditional Maori canoe) is a monument, and the product of an entire community coming together with sacred rites. Ancestral knowledge is reborn again through the long corridors of time when song and chant connect past and present. The tree symbolizes rootedness in culture. The Waka is a very female element. Male and female together journey forward. In One One the female figure is the navigator – the internal gaze.

The female dancer is a messenger between worlds in this ocean oriented anthology/ontology. For the closing episode she is cradled inside a great geometric basket or ship that glides like a gigantic whale. We hear the call of cetaceans. Membranes that convey the geometry of sound, constellations, tides and corals take form, with hollow stones like bones of the earth.

.

  • Date
    May 22, 2017

    BuildingToBirdsLCD10kfps.cine

    Billy Sims / USA
    A single image serves as the onset for potentially continuous chain of phantasmagoric imagery. Using Google's image recognition in the search-by-image feature, the video moves through over 50,000 images from throughout the internet, crossing boundaries of professional and sociocultural utility. In reconciling these different modes of use, the search engine must swim across disciplines of visualization, evincing a semiotic coherence to parlay with that with the user. This transformation of content is depicted twofold. Firstly, in one view, a hyperactive slew images progresses over 31 minutes, exposing unexpected topological shifts in rapidly near-anonymous content. Secondly, at an alternatively precise scale, the first 2.6 seconds of the video is scrutinized with a high-speed-camera while being played on an LCD screen. The brief moment is magnified over 14 minutes and 36 seconds. At this speed the transition between images becomes apparently processual, and the association of content all the more conspicuous.
  • Date
    May 22, 2017

    Transmission: Contagion as Art

    Adam Zaretsky and Kira Decoudres / USA
    “I Want Your Ugly, I Want Your Disease” – Lady GaGa What are the grotesque potentials of disease transmission as a form of bioart and bioterror? How can transmission be framed as a form of non-enhancement based posthuman aesthetics making? Can intentional disease acquisition be considered an act of rebellion? Through palimpsests of media remixing, Transmission: The Art of Contagion explores the fears of bio-invasion, bodily co-habitation with contagion and disease as design.
  • Date
    May 22, 2017

    What Do We Know Of Time When All We Can Know For Real Is Now?

    Andrea Williams / USA
    What is time from inside, what is time from outside? The Moments project investigates the length of 'a moment' of attention and of the tension between the internal and the external experience of time. Using real-time algorithms this dynamic dual-screen installation situates the viewer in the center of the emotional, philosophical and phenomenological debate on the substance of time and lived experience. The project collated video for a year, recording close to a thousand separate clips of noticing, interstitial glances that show a moment occurred. Contrasting this is a series of extended walking self-portrait video 'derives' through the streets of Hong Kong. In the material a central character moves through the neon cityscape and crowded back alleys in continuous framed shots. The video is treated, graded and re-processed and frames re-played by algorithmic editing in real-time in any order, at any speed, in any direction. On one screen the works shows discrete moments of sense and attention, on the other screen a central figure surrounded at every moment by a maelstrom of temporal shift in one of the most complex cities in the world. Positioning the viewer in the center of the argument for time.
  • Date
    May 22, 2017

    Deeper than Digits: Tepid Night Erased

    Michael Krzyzaniak and Britta Kallevang / USA
    arizona state university
    NetArt
    michaelkrzyzaniak.com
    Deeper than Digits: Tepid Night Erased is a poetry generation algorithm with humans in the loop. It composes and displays a new short poem every few minutes to enrich the thoughts of passersby. Additionally, anyone may edit the poems generated by the algorithm or suggest new words or phrases. Not only will these edits be displayed until the next poem is composed, but the algorithm will re-use them when composing future poems. In this regard, the human is influenced by the poems written by the computer, and the computer is in turn influenced by the human, resulting in a collaborative relationship. Likewise, subsequent people that edit the poetry then also interact with the previous people who did so through the algorithm, and the resulting poetry is a sort of crowd-sourced collective intelligence as mediated by a machine.
  • Date
    May 22, 2017

    @ISEA_bot_2017

    Ana Jofre / Canada
    OCAD University
    NetArt
    onewomancaravan.net
    ISEA_bot_2017 is a bot that will live indefinitely on Twitter, a pseudo-life-form that subsists and consists of the work presented at ISEA2017. The bot bases its tweets on the papers from the proceedings of ISEA2017, and re-generates the texts using a Markov chain algorithm.
  • Date
    May 22, 2017

    Through the Aleph: A Glimpse of the World in Real Time

    Jing Zhou / USA
    Monmouth University
    NetArt
    www.jingzhoustudio.net
    "Through the Aleph" is a networked art project that offers an unprecedented visual and interactive experience, in which many places on Earth and in space can be seen simultaneously in an instant, visualizing the diversity of human civilizations ( microcosm) and the unity of Humanity without Borders in the ever-changing universe (macrocosm), which draws the connections between individuals and the global environment, Earth and outer space, eternity and time, and art and With an unexpected focus on surveillance cameras and global networks, this media web uses live data to create an abstract landscape in an open source environment, which not only embraces the dream of peace on Earth, but also explores the link between humanity and nature through time and space in the present.
  • Date
    May 22, 2017

    COME/IN/DOC

    Arnau Gifrea-Castells / Spain
    Open Documentary Lab MIT
    NetArt
    agifreu.com
    COME/IN/DOC / Collaborative Meta Interactive Documentary / is a transmedia meta-documentary that reflects on the interactive documentary. It consists of 3 interconnected parts: a documentary series, a multimedia platform and exhibitions. This is the result of four years of intensive research (2012-2016) conducting interviews with experts in the field of interactive documentary with the aim of answering a basic question: what is an interactive documentary? The idea is to reflect on this emerging field using different platforms. The project could be described as a “meta-interactive-doc”, an experimental interactive documentary that reflects itself on the new genre. COME/IN/DOC is a collaborative project because many people selflessly worked on it in one way or another. But especially thanks to the experts in interactive documentary who made the project a collaborative work in the broadest sense. COME/IN/DOC is a meta-documentary that attempts to explain a kind of documentary based on that current genre. COME/IN/DOC is interactive because its platforms and interfaces, social networks and training make it possible for people who are interested to participate, contribute and even generate content. COME/IN/DOC is a documentary created through theoretical and applied research and has become a unique and valuable tool for training and teaching.
  • Date
    May 22, 2017

    Equidistant Subjects

    Israel Alejandro López García and Fátima Edith Ramírez Domínguiez / Mexico
    University of Guanajuato
    www.nullpixel.portfoliobox.io
    Is a video installation, in which the data becomes the conceptual axis of the creative process, they are the source of the visual discourse, through a reappropriation of the source of information. This piece is part of the process of co-creation with different areas of knowledge derived from the DALA project, (Digital Arts in Latin America), which establishes the various experimental ways of approaching data visualization, Generating a visual landscape that refers us to technological Processes that deal with new ways of interpreting data, appealing to rhizomatic visions which become contractual and despair, we approach the deconstruction of epistemic process of technological condition.
en_USEnglish