Apologies in advance to anyone who has grown bored with the stream of posts about Generator.x 2.0, but the project isn’t quite over even though Club Transmediale ended nearly 3 weeks ago. Here are a few updates:
- At the vernissage in Berlin we had some visitors from Turin, including Bruce Sterling who is the guest curator of the Piemonte Share festival. The theme of Share this year is “manufacturing”, so discussions quickly began about the possibilities of taking the Generator.x 2.0 exhibition to Turin. As a result, Generator.x 2.0 will open in Turin March 11 as part of the Share festival.
- Regine Débatty just posted a very favorable review of the exhibition on We-make-money-not-art. She says it’s “the best show in town right now”, which is most welcome praise indeed.
- Quite a few videos from the vernissage have been posted online. Eno Henze has a good walkthrough of the exhibition, but there are also videos from MovingWeb, WatchBerlin and VernissageTV.
- Institut HyperWerk HGK FHNW was one of the partners for the Generator.x 2.0 workshop in Berlin. It now looks as though this collaboration will continue with a potential presence at the Ars Electronica festival later this year. Meanwhile, a generative fabbing workshop is currently underway at HyperWerk, with results being posted to Flickr.
Commonwealth: Testing For.
The Generator.x 2.0 event ended almost two weeks ago, and we are busy trying to catch up with other things. The project was a big success, culminating in the exhibition opening which saw maybe 200 people turn up to look at the strange objects on display. Audiences responded enthusiastically to a show about digital media that did not have a single piece running on electrical power.
While most of the works in the show literally did not exist the week before, there were a few pre-selected pieces by people like Jared Tarbell, Theverymany (Marc Fornes and Skylar Tibbits) and Commonwealth.
An experimental studio straddling the divide between architecture, industrial design and pure research, Commonwealth’s work is marked by an amazing attention to surface as well as structure. Their contribution to Generator.x 2.0 is a prototype for a series of tables. CNC milled in Corian, the two panels feature patterns optimized both for visual detail and material transparency.
The following is their own description of the project (also, see Flickr):
Through the variation of embedded cells, this project explores pattern, tactility, and transparency. The exhibited prototypes are examples of material testing used in the development of a series of tables designed by Commonwealth in 2007.
Where the cells become deeper (and reciprocally the skin spanning each cell becomes thinner,) more light is passed through to the table top surface. As the cells become less deep, the graphic effect on the table surface is darker. A three-axis mill was used to test the process against the material properties of white, semi-transparent Corian, a grainless resin composite. Through minute increments of interconnected cell variation, a graphic gradient is produced.
Flickr: Commonwealth: Generator.x 2.0
Commonwealth vs Kenzo Minami: Closer
Commonwealth’s genius lies in the ability to marry pure form with graphic treatments, to the point where visual elements can’t be separated from the form itself. An excellent example is “Closer”, their collaboration with Kenzo Minami. Their response to Minami’s explosive graphics is a darkly erotic wall tile, its alien topography engraved with omninous visual details. The sheer tactility of these objects belies their origin as digital models, successfully disconnecting them from the world of the virtual.
CTM.08 / Generator.x 2.0: Audio-Visual
Fri Feb 1st, 20:00 – 23:00, Ballhaus Naunynstrasse
- Alexander Rishaug / Marius Watz
- Keiichiro Shibuya [JP]
- alva noto [DE]
CTM.08 and Generator.x present an evening of audiovisual concerts, consisting of three projects that use generative methods for live performance.The artists’ work is based on program code that integrates processes that develop over time autonomously. Music and image are therefore not “composed” in the usual sense of the word; the artists at most structure audio and visual output but without determining its every detail. The visual and acoustic material available to them is not pre-processed; it exists rather, only as matter to be subjected to and modified by certain development principles and rules of transformation in real time. Therefore chance and stochastic processes are major factors, while images can be mapped on audio parameters, and vice versa.
Alongside Alexander Rishaug’s audio miniatures in interaction with Marius Watz’s drawing machines, and Japanese Keiichiro Shibuya’s digital noise based on cellular automata, Carsten Nicolai aka alva noto will present his new project, “xerrox”, in which he explores the artistic potential and unpredictable results of copy processes. Nicolai demonstrates that the act of copying is itself a source of interesting, artistically valuable mistakes and mutations that permit each new generation of a copy to further liberate itself from the original and ultimately become an independent artwork with new meaning. In “xerrox” alva noto works exclusively with samples of Muzak – the wraparound sound ubiquitous in department stores, advertising, film scores and entertainment software – yet uses his own specially developed copying techniques to alter its melodic (micro-)structures beyond recognition.
Generator.x 2.0: Audio-Visual was curated by Jan Rohlf of the Club Transmediale.
[text from Club Transmediale]