One for those lucky enough to enjoy the Australian summer whilst we’re freezing up here in London- Olafur Eliasson’s Take Your Time exhibition is now on at the Museum of Contemporary Art (MCA). Not that we Londoners have anything to complain about really, as we got his Weather Project back in 2003, and judging by the number of people that chose to lie on the floor underneath it, we liked it. It looks like i’ll be in Sydney myself for a couple of days in March, and Take Your Time @ MCA is number 1 on my list of things to check out whilst i’m there.
One-way colour tunnel, 2007
Take Your Time is the first large-scale exhibition of works by this Danish-Icelandic artist to be presented in Australia. Raised partly in Iceland, Eliasson’s practice is informed by that country’s landscape and spectacular weather. He draws upon elements such as light, water, ice, fog, arctic moss and lava rock to create works that shift viewer perception and sense of place. From light-filled environments to walk-in kaleidoscopes, Eliasson’s unique, experiential works explore the intersection between nature and science, and the boundary between the organic and the artificial.
Notion Motion, 2005
Take Your Time opened earlier this month and will go through until April 11, 2010. It’s almost impossible to capture the beauty of the works in photographs, which leaves one choice – go and check it out. Stay tuned for more words from me once i’ve made it over there myself!
Sound is an integral part of the way we understand the space surrounding us. Size, quality, timbre, texture and the atmosphere of a space can all be inferred by the way in which we experience sound. Based on ideas from the Suffolk island of Orford Ness, Ric Lipson’s acoustic theatre ‘Hear Here” has been developed over a preoccupation with the acoustic qualities of circular spaces and ambient sonic landscapes. His work features in ‘Digital Architecture: Passages Through Hinterlands‘.
Ric Lipson’s Hear Here concerns itself with sound and the body aiming to generate a physical construct that, while taking physics, music and architecture into account, sets out to explore how space can be understood through sound. If architecture is the manipulation of space, then the built form is a way of capturing the ambient. At the core of this question is the way space is experienced as a function of the sounds found both within and around the space, and the sounds that result from occupancy of the space.
The building is the final movement in the score of this experiential journey concerning itself with sound and the body. By giving concepts physical form, the experience can be explored. It is a tourable, demountable structure. By exploring concepts of resonance, reflection, absorption, forced and natural, the work creates a ‘sonic geography’ framed within a physical construct that invites you to explore, listen, improvise and experience.
Comprising a monocoque, aluminium, open cone wrapped within a closed, tensioned, plywood structure, the two spaces act in combination to echo the form of the ear. The outer ear is the space in-between the wooden and aluminium skin, and it has a soft acoustic. Sounds reflect around the walls in a whispering gallery-type nature. The audience follow the sounds around the dark outer corridor and are ‘cleansed’ of what John Cage would describe as the “chaos of the everyday sounds”. The journey around the structure leads the audience into the inner drum. The aluminium cone is open to the world. It is bright and metallic, both in form and acoustic.
This ‘Acoustic Theatre’ combines the world of manufacture, with the ephemeral nature of the ambient. The structure becomes a frame for the sound to exist. The audience are invited to enter and listen. The inner metal skin acts as an instrument, listening to the outer world and playing it back through a set of speakers. These sounds reflect and reverberate around the space. Essentially the pavilion is an ear capturing sounds from its immediate environment. Its geometries can intensify, resonate and distort these found sounds and act as a passive instrument, playing sounds of the city based on the occupier’s position within the structure.
The final piece in the Emergence Exhibition is “Sniff” by Karolina Sobecka and Jim George. Sniff is an interactive projection: an animated dog follows passers-by, discerns their behavior as friendly or aggressive, tries to engage them and forms a relationship with them based on the history of the interaction. As the viewer walks by the projection, their movements and gestures are tracked by a computer vision system. Sniff is an exploration of the moment of engagement.
It partly grew out of interest in philosophical discussion about the mind and mind theory, particularly in what’s termed the “commonplace” understanding of mental states and inferring of agency. Our automatic interpretation of behavior as social interaction is especially emblematic in a non-linguistic engagement with the ‘other’, which in case of Sniff produces a hybrid space of virtual and real emotions, social guess-work and mind modeling. Sniff is an attempt to trigger an intense, playful and insightful level of engagement at which we solve the “other minds” problem in everyday life. Sniff is inserted into our physical reality and follows its rules.
Another piece of work from the Emergence Exhibition “Propagations” by Leo Nunez is a system of cellular automatons, made up by 50 robots. Different states emerge from this complex system. These states are defined not only by the interaction of the robots with the spectators, but also by the interaction of the robots with their neighboring pairs. I’ve been looking into CA based physical environments for a while with a few of my students who’ve been building them at the Bartlett’s Adaptive Architecture & Computation course (Marilena Skavara & Kensuke Hotta) but Leo Nunez’s piece deals with the interaction of CA systems in such a wonderfully analog way which is rarely seen today.
This work system also tries to investigate the man machine relation. The robots are unmanageable objects; thus, the control of these escapes the individuals and remains in the system itself, in the propagation of the information between the objects. The interaction of the users is mediated by a luminous interface keeping the body of the user away from the robots. This distance emphasizes the notion of the unmanageable objects, establishing a man-machine relation only mediated and more and more distant.
Each automaton is molded into a small robotic sculpture. The shape is given by the different electronic components necessary for its functionality. All the robots share the same electronic circuit design, but in their formality they are all different. Each cell or robot is constructed with Low-tech technology. This decision seeks to create a speech that establishes itself in a context of social criticism, generating an argument on the difference in the technology availability between the countries of the first world and the Latin American countries.
Leo Nuñez studied Systems engineering and image and sound design. He is currently finishing a degree in Electronic Arts at the UNTREF (Tres de Febrero National University, Buenos Aires). He works as a professor at IUNA (National University Institute or Art) offering programming and Electronic Art Workshops.
I’ve just returned from California where I’ve installed Performative Ecologies at the Beall Center for Art + Technology for the Emergence Exhibition alongside the work of Marc Bohlen, Leo Nuñez, Karolina Sobecka and Jim George. Over a couple of posts I’m going to give a run down of the work on show but I recommend if your in the area to see it in the flesh. The exhibition opens to the public on the January 9th until May 7th 2010.
Curated by David Familian & Simon Penny, “this exhibition features international artists exploring both the biological and computational manifestations of emergent behavior arising from dynamically changing, interactive sculptures. We as human beings are created and create through a process of emergence. Whether these emergent forms originate organically or are man-made, they can illustrate to us the rich variety of mutating systems with all their variety and ability to adapt to a changing world.”
The Universal Whistling Machine, Marc Bohlen.
Marc Bohlen
Under the moniker REAL TECH SUPPORT, Marc Bohlen has been designing and building, over the past decade, information processing systems that critically reflect on information as a cultural value. He calls this “REAL TECH SUPPORT because technology, the dominant vector in the 21st century, cannot solve all the problems generated in its wake; its needs support. REAL TECH SUPPORT attempts to contribute to such a support system.”
Marc’s huge series of investigations over the past decade.
His work is informed by a long apprenticeship in the crafts (stone masonry), humanities (art history) and the engineering sciences (electrical engineering and robotics). The systems he designs are experiments and artworks found here and here and his texts are critical reflections on the works and the contexts they operate in.
The Universal Whistling Machine
Whistling is a communication primitive in most human languages. Whistling is a kind of time travel to a less articulated state. Inhabitants of Gomera, one of the Canary Islands, use a whistling language, el Silbo Gomera, to communicate from hilltop to hilltop. Their powerful whistles travel farther than the spoken word. We share whistling and song with many animals. Mammals and birds carry the means for whistling in them. Just as we carry physical remnants of our bodily evolution in us, we carry the capacity for whistling in us.
U.W.M (The Universal Whistling Machine) is an investigation into the vexing problem of human-machine interface design. Whistling is much closer to the phoneme-less signal primitives compatible with digital machinery than the messy domain of spoken language. As opposed to pushing machines into engaging humans in spoken language, U.W.M. suggests we meet on a middle ground. Whistling occurs across all languages and cultures. All people have the capacity to whistle, though many do not whistle well. Lacking phonemes, whistling is a pre-language language, a candidate for a limited Esperanto of human-machine communication. Beyond alternatives to computer interfaces, U.W.M. also offers the potential for a new approach to human-animal communication. U.W.M. is capable of imitating certain bird whistles as easily as it can synthesize human whistles. Could this lead to new forms of human-machine-animal exchanges?
Last week the V&A in London opened a new show titled Decode – Digital Design Sensations. The exhibition, co-curated by onedotzero, showcases the latest developments in digital and interactive design, from small screen based graphics to large-scale installations.
Exhibition poster: Prototypes from the Flowers series, 2009 Daniel Brown
I was lucky enough to get my hands on a ticket to the opening and whilst not everything in the show was my kettle of fish, a few works really stood out. I’ll focus on those.
Daniel Rozin’s Weave Mirror installation was one of the highlights for me. Ok- I’ve seen about a million pictures of it (check out Troika’s Digital by Design book, for instance) but I’d never seen it in person. Beautifully done- the work had a really organic feeling to it despite the somewhat complex network of electronics carefully integrated into the back. If there was one ‘I put my hand up, you show me putting my hand up’ installation I’d want in my house, it’d be this one.
Equally worthy of mention was Troika’s Digital Zoetrope, originally commissioned for onedotzero’s 2008/09 festival. From Troika’s website:
“The idea for the zoetrope comes directly from the festivals ‘adventures in motion’ payoff and this year’s theme ‘Citystates’.”
“We wanted to create a container that both celebrated the heritage of motion arts as well as its digital present while affording us a very literal medium for the content – the idea of altered states through motion.”
At the slightly more aggressive end of the scale, Ryoji Ikeda’s piece in the show was probably my favourite. Ok. Equal favourite. I saw him Live at the Paradiso in Amsterdam a couple of years ago and whilst I must say that I can generally handle experimental music, this really tested me. The set was about half an hour long and after 20 minutes I was unsure if I was going to make it to the end. I loved every second of it, but it was so intense.
He describes his work at the V&A, data.scan, as an attempt to materialise the vast quantities of data surrounding us in our everyday lives. It is part of Ikeda’s ongoing datamatics series, a collection of works that investigate the minutiae and infinite qualities of data.
For the sound element of the work, Ryoji opts for high frequencies which cut through even the chaos of the opening night, in a room which was probably already a little over-crowded with works before it was filled with people.
Decode is on now at the V&A and runs through to April 11, 2010. I’ll definately be back to check it out one more time. I’m curious what Jason Bruges created in the garden. On the night of the opening they closed if off before I made it out there.
