Imagine surfaces start to communicate with you. Your mobile gets goose skin when your lover texts you. Your WiFi controller changes the look and feel of it’s surface according to different game situations. Your sofa gives you a short massage as a warm welcome when you return home from a hard day of work. Your laptop feels dried out when battery status is getting low.
.fluid is a concept study of an interacting, changing surface. While getting Input from the hands of its spectators, it’s surface changes from liquid to solid, from plain to three-dimensional symmetric patterns. It provokes you to get in touch with it, to play with it’s open interface and to collaborate with other people to find out how far you can push it.
This object was the result of the two week project »Talk to me – Form follows mood« supervised by Prof. Andreas Muxel at KISD (Köln International School of Design).
The emotional state of each and every one of us is conditioned by impulses and stimuli from the outside world, from the people we relate to and from our experiences, constantly modifying our perception of ourselves and what lies around us. Ever more often, these interactions take place through digital social channels and networks, turning into data which may be listened to, interpreted and used. Suffice to access a social network, pick up a smartphone or simply surf the web to make personal and private information public, thus feeding ‘Big Data’: enormous pools of information containing all that which is inputted into the network. The news and thoughts of users spread across social networks in real time. And so an event with worldwide implications immediately involves millions of people sharing their own opinions and emotions: happiness, anger, sadness, disgust, amazement or fear. Thus, imagining Internet as a living organism, we might think that its emotional state may be given by the overall emotions shared by users at any given time.
AMYGDALA listens to shared thoughts, interprets states of mind and translates the data gathered into an audiovisual installation capable of representing the collective emotional state of the net and its changes on the basis of events that take place around the world.
The aim is to make visible the flow of data and information that are constantly being created by users, and that may be heard and interpreted by anyone, in the attempt to stimulate a reflection on the opportunities and dangers of the digital revolution that we are currently going through. Big Data may in fact be used to monitor the spread of an epidemic in real time, or to prevent a crime and improve the safety of a city; likewise, they may also be exploited by companies and institutions to store – often unknown to us – infinite quantities of information on our own private lives. We believe that gaining awareness of these mechanisms may be of help in the protection of individual and collective free speech.
Demonstration of my “Macro-Cymatic Visual Music Instrument” which transforms sound into fluid motion and light.
Built April 2016 at Djerassi Resident Artist Program.
Materials: Epoxy Resin, Acrylic Plexiglas, Programmable RGB LED’s controlled by Arduino
More info see www.mariellejakobsons.com
Polystyrene is traditionally characterized by high stiffness, tensile strength, and low weight, making it advantageous for many industrial applications. I have programmed polystyrene to transform autonomously by printing active material on fully cured flexible polystyrene and applying heat as an activator. In each, a single piece of plastic transforms its shape to create aerodynamic advantage and tunable performance. Contrary to traditional mechanical activation, this method requires no complex electronics, sensors, or actuators; it decreases the total weight and minimizes failure-prone mechanisms.
Flat sheets of custom printed polystyrene can be designed to self-transform in controlled and unique ways. While I used light as
a medium for activation, I imagine that I can also create polystyrene composites that radically adapt to extreme environmental conditions.
Blooms designed by John Edmark.
These 3-D printed sculptures, called blooms, are designed to animate when spun under a strobe light. The placement of the appendages is determined by the same method nature uses in pinecones and sunflowers. The rotation speed is synchronized to the strobe so that one flash occurs every time the sculpture turns 137.5º—the golden angle. If you count the number of spirals on any of these sculptures you will find that they are always Fibonacci numbers.
For this video, rather than using a strobe, the camera was set to a very short shutter speed (1/4000 sec) in order to freeze the spinning sculpture.
John Edmark is an inventor/designer/artist. He teaches design at Stanford University.
Visit John’s website here: http://JohnEdmark.com
and Vimeo site: https://vimeo.com/johnedmark/videos
To learn how blooms are made visit: http://www.instructables.com/id/Blooming-Zoetrope-Sculptures/
And more about the Pier 9 Artist in Residence program here: http://www.autodesk.com/air
Cinematography and editing by Charlie Nordstrom
Music – “Plateau” by Lee Rosevere – http://freemusicarchive.org/music/Lee_Rosevere/Farrago_Zabriskie/Lee_Rosevere_-_Farrago_Zabriskie_-_03_-_Plateau
http://www.maddmultimedia.com – Reuben Margolin, a Bay Area visionary and longtime maker, creates totally singular techno-kinetic wave sculptures. Using everything from wood to cardboard to found and salvaged objects, Reubens artwork is diverse, with sculptures ranging from tiny to looming, motorized to hand-cranked. Focusing on natural elements like a discrete water droplet or a powerful ocean eddy, his work is elegant and hypnotic. Also, learn how ocean waves can power our future.
ADA – analog interactive installation / kinetic sculpture by Karina Smigla-Bobinski. Music by Mohammad Reza Mortazavi.
Complete documentation: http://www.smigla-bobinski.com/english/works/ADA
Similiar to Tinguely’s «Méta-Matics», is “ADA” an artwork with a soul. It acts itself. At Tinguely’s it is sufficient to be an unwearily struggling mechanical being. He took it wryly: the machine produces nothing but its industrial self-destruction. Whereas «ADA» by Karina Smigla-Bobinski, is a post-industrial “creature”, visitor animated, creatively acting artist-sculpture, self-forming artwork, resembling a molecular hybrid, such as a one from nano biotechnology. It developes the same rotating silicon-carbon-hybrids, midget tools, miniature machines able to generate simple structures.
«ADA» is much larger, esthetical much complexer, an interactive art-making machine. Filled up with helium, floating freely in room, atransparent, membrane-like globe, spiked with charcoals that leave marks on the walls, ceilings and floors. Marks which «ADA» produces quite autonomously, athough moved by a visitor. The globe obtains aura of liveliness and its black coal traces, the appearance of being a drawing . The globe put in action, fabricate a composition of lines and points, which remains incalculable in their intensity, expression, form however hard the visitor tries to control «ADA», to drive her, to domesticate her. Whatever he tries out, he would notice very soon, that «ADA» is an independent performer, studding the originaly white walls with drawings and signs. More and more complicated fabric structure arise. It is a movement exprienced visually, which like a computer make an unforeseeable output after entering a command. Not in vain « ADA» reminds of Ada Lovelace, who in 19th century together with Charles Babbage developed the very first prototype of a computer. Babbage provided the preliminary computing machine, Lovelace the first software. A symbiosis of mathematics with the romantic legacy of her father Lord Byron emmerged there. Ada Lovelace intended to create a machine that would be able to create works of art, such as poetry, music, or pictures, like an artist does. «ADA» by Karina Smigla-Bobinski stands in this very tradition, as well as in the one of Vannevar Bush, who build a Memex Maschine (Memory Index) in 1930 (“We wanted the memex to behave like the intricate web of trails carried by the cells of the brain”), or the Jacquard’s loom, that in order to weave flowers and leaves needed a punch card; or the “analytic machine” of Babbage which extracted algorithmic paterns.
«ADA» uprose in nowadays spirit of biotechnology. She is a vital performance-machine, and her paterns of lines and points, get more and more complex as the number of the audience playing-in encreases. Leaving traces which neither the artist nor visitors are able to decipher, not to mention «ADA» herself either. And still, «ADA’s» work is unmistakable potentially humane, because the only available decoding method for these signs and drawings , is the association which our brain corresponds at the most when it sleeps: the truculent jazziness of our dreams.
© Arnd Wesemann, Berlin, 2011
An opportunity to dance with yourself “cheek to cheek”.