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 synchronises 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 modelled 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 symbolises rootedness in culture. The Waka is a very female element. Male and female together journey forward. In OneOne 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.
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- Fecha
- 22 mayo, 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 a 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.- Fecha
- 22 mayo, 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.- Fecha
- 22 mayo, 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 centre 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.- Fecha
- 22 mayo, 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.- Fecha
- 22 mayo, 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.- Fecha
- 22 mayo, 2017
Through the Aleph: A Glimpse of the World in Real Time
Jing Zhou / USA
Monmouth University
NetArt
www.jingzhoustudio.net
“A través del Aleph" es un proyecto de arte en red que ofrece una experiencia visual e interactiva sin precedentes, en la que muchos lugares de la Tierra y del espacio pueden ser vistos simultáneamente en un instante, visualizando la diversidad de las civilizaciones humanas (microcosmos) y la unidad de La humanidad sin fronteras en el universo siempre cambiante (macrocosmos), que dibuja las conexiones entre los individuos y el medio ambiente global, la Tierra y el espacio exterior, la eternidad y el tiempo, y el arte y la ciencia. Con un enfoque inesperado a cámaras de vigilancia y redes globales, esta web mediática utiliza datos vivos para crear un paisaje abstracto en un entorno de código abierto, que no solo abraza el sueño de la paz en la Tierra, sino que también explora el vínculo entre la humanidad y la naturaleza a través del tiempo y el espacio en el presente.- Fecha
- 22 mayo, 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 about this emerging field using different platforms. The project could be described as a “meta-interactive-doc”, an experimental interactive documentary that reflects himself 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 actual 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.- Fecha
- 22 mayo, 2017
Equidisant Subjects
Israel Alejandro López García and Fátima Edith Ramírez Domínguiez / Mexico
Universidad de Guanajuato
www.nullpixel.portfoliobox.io
Is a video installation, in which the data become 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.
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