09:57
Ralf Baecker: The Conversation, 2006
250×250 cm, Solenoids, strings, custom electronics, cables, wood
“The Conversation” is an autonomous apparatus, consisting of one analogue and one digital part. These elements, which are almost inseparably tied together, simultaneously attempt to adapt to one another. As the process follows no linear program, it is not obvious which part is controlling which.
Even if Baecker describes the arrangement as a “Pataphysical Processing Environment” and declares it nonsense or else a machine without a purpose, we can nevertheless read it as a cybernetic diagram. Cybernetics employs the same method to describe both machines and living organisms as information processing (communicating) objects. In this, circular causal and feedback mechanisms play a crucial role. Through a feedback loop, the installation constantly supplies itself with the data on its deviation from “inner equilibrium.” The state of the apparatus, which in theoretical discussion is generally represented as a ‘black box’ and remains hidden, is visible in “The Conversation” as a relation of tension, so that we may view the machine talking to itself.
This text is taken from the NODE10 catalogue, written by Eno Henze and Marius Watz and edited by Valérie-Françoise Vogt. Please read the introductory curator text for an overview of the exhibition topic.
07:39
This is the first in a series of posts about the exhibition “abstrakt Abstrakt – The Systemized World”, which was part of the recent NODE10 festival in Frankfurt, Germany. The exhibition was curated by Eno Henze and Marius Watz to explore the use of abstract systems as artistic strategy and focus of aesthetic investigation.
This post consists of the curator text by Eno Henze. It will be followed by a series of posts describing all the works in the exhibition.
abstrakt Abstrakt – The Systemized World
NODE10 – Forum for Digital Arts
Frankfurter Kunstverein, Nov. 15-20, 2010
Artists: Ralf Baecker, FIELD, Ben Fry, Leander Herzog, Robert Hodgin, Thilo Kraft, Brandon Morse, Louise Naunton Morgan, John Powers, Patrick Raddatz, SOFTlab, Jorinde Voigt, Zimoun
The way of the world is increasingly controlled by relations and conditions that reside on an abstract plane. Cause and motivation for many events remain secret, because they trace back to invisible sets of rules that permeate our society and guarantee its functioning.
The two complementing events of the festival, exhibition and symposium, seek to analyze the nature and effect of such systems of abstraction. The exhibition draws upon artworks as visual evidence for the changing conditions of production in an abstract world. The symposium approaches the topic from a more theoretical perspective, facilitated by contributions from economists, scientists, artists and philosophers.
At first, abstraction appears as a method to contain certain properties of the world in a new medium. Formalized in this manner, these properties can be edited in a completely new way, demonstrating the power of abstraction as a productive tool. By these means the things of reality become transformable in an unprecedented way. This also implies a reversion of causality: the motivation for ‘real’ events now resides in an abstract place, in a certain constellation of values of the formalizing medium.
09:05
Andy Huntington/ Drew Allan: Cylinder (”Seahorses”, “Designed”, “Market”)
Cylinder by Andy Huntington and Drew Allan is an elegant series of data sculpture based on sound analysis. A mapping of the frequency and time domains produces cylindrical forms representing the spatial characteristics of the sound input. Physical versions of the digital 3D models are then 3D printed using stereolithography.
The idea of mapping sound to space is not unfamiliar. The Cylinder project shows similar strategies to those used in the exhibition Frozen, which showed sound represented as a continous space rather than as a one-dimensional signal. However, Cylinder is from 2003, predating Frozen and making it somewhat of an early example of the data sculpture genre.
There is a tangential similarity between Huntington’s pristine objects and Booshan & Widrig’s Binaural object. But in fact the spiky geometries of both works are a result of the numeric data underlying the form. Any data set will yield inherent patterns, and in the case of digital sound two “defaults” present themselves: The waveform (a 1D graph) and the spectral map found through FFT analysis, which represents a 2D map of spectral energies in the time domain. Any translation of these numeric representations into visual form must grapple with the fact that while they may be faithful representations of the data, they rarely give a good idea of how the sound is experienced by a human listener.
The Cylinder series show a range of different waveforms, some showing an apparent orderly structure with others suggesting a noisier sound input. Titles like “Seahorse”, “Design” and “Breath” imply the source sounds used to produce the forms. Their success as aesthetic objects derive from their complexity as well as from the clean quality given by the 3D printing process.
07:52
Fischer & Maus: Reflection, Widrig & Booshan: Binaural
5 Days Off MEDIA: Frozen
Wed 2 through Sat 26 July 2008
Melkweg Mediaroom & Paradiso, Amsterdam
- Andreas Nicolas Fischer & Benjamin Maus (DE)
- Leander Herzog (CH)
- Marius Watz
- Daniel Widrig & Shajay Booshan (UK)
- Sound: Freiband / Frans de Waard (NL)
- Sound: Alexander Rishaug (NO)
Frozen (part of the 5 Days Off MEDIA festival) is an exhibition of experiments in the representation of sound in media beyond the auditory. It examines the sound signal as a virtual space, presenting possible mappings that visualize or interpret the structures contained within the soundwaves.
Frozen was proposed and commissioned by Jan Hiddink and the 5 Days Off MEDIA festival in Amsterdam, and consists exclusively of original work. It was conceived with Generator.x 2.0 as a conceptual reference (all four artists in the show were also involved in Generator.x 2.0), but with a clearly defined focus: The representation of sound as spatial structures, realized as physical objects through the use of digital fabrication technologies.
For more information, see the documentation in the Frozen Flickr set, Leander Herzog’s FFT set or the blog posts by Benjamin Maus and Andreas Nicolas Fischer.
Leander Herzog: Untitled / Marius Watz: Sound memory (Oslo Rain Manifesto)
Over the past years, there has been an enormous development in the field of live-presented audio-visual performance art. Owing to digital techniques, image and sound are connected in a way that was previously unthinkable. Frozen is headed in the opposite direction. Frozen pulls the plug and presents audio art, prints, and sculptures as independent, but interconnected works of art.
In the Mediaroom at the Melkweg multi-channel sound pieces can be experienced over an advanced speaker setup, accompanied by sound in a "frozen" form: Images and sculptural objects made using sound as input. These artworks use audio analysis and custom software processes to extract meaningful data from the sound signal, creating a mapping between audio and other media. Frozen will feature digital prints as well as four "sound sculptures" created using digital fabrication technology such as rapid prototyping, CNC and laser cutting, which allow for the direct translation of a digital model into physical form.
Frozen arose in collaboration with the Norwegian artist and curator Marius Watz, whose Generator.x project investigates the implications of generative systems and computational models of creation. The recent exhibition Generator.x 2.0: Beyond the Screen brought together artists and architects to explore the potential of this new mode of creation.
‘Audio sculptures’ will be on display by Andreas Nicolas Fischer (DE) & Benjamin Maus (DE), Leander Herzog (CH), Marius Watz (NO) and Daniel Widrig & Shajay Booshan (UK). These sculptures are based on audioworks by Freiband (Nl, Frans de Waard), and Alexander Rishaug (No).
Frozen is presented in the Melkweg Mediaroom and at Paradiso.
5 Days Off MEDIA is part of the 5 Days Off festival for electronic music from Wed 2 through July 6. 5 Days Off MEDIA presents three themes: Crosswire, Frozen and Roots. Locations: Melkweg, Paradiso, Dutch Institute for Media Art and Heineken Music Hall.
23:28
Paul Prudence: Talysis live in Venice (see also pt. #1 and #2)
Paul Prudence is known as the author of the excellent Dataisnature, but also increasingly for his impressive output of generative artworks. Having migrated from Flash to the more powerful VVVV, he’s now focusing on audio-responsive generative systems that evoke organic 3D spaces. A good example of his work is Talysis, shown above in live performance during the "Tomorrow Now" event at the Fondazione Bevilacqua La Masa in Venice, Italy last year.
Talysis mimics analog video feedback systems, recursively transforming a geometric form through a series of render passes until a crystalline form emerges. The patterns produced seem unstable, constantly about to morph into new configurations. The strict symmetry evokes a sense of folding and unfolding movement, as though one was watches fragments of a 4-dimensional form projecting into Cartesian space.
Be sure to read Paul’s own post about feedback: Chaotic fingerprints and space-time labyrinths. There is also a clip #1 and #2.
21:04
Brandon Morse: Procedural animation
The stark videos of Brandon Morse present the viewer with excercises in tension, set tableaux in which structures morph and twist under physical constraints. Stripped-down architectural forms that ought to exhibit the rigidity of highrise buildings instead engage in a tug-of-war, the result of a string simulation distributing kinetic force through a network of nodes.
Morse seems to delight in setting up scenarios where seemingly ordered constructs rapidly degenerate under the influence of virtual force, which can only be observed through the dramatic effects it exerts. The end result is a state of irrecoverable chaos, brought about by causal simulated chain of action and reaction.
Unlike software-based generative artworks that exhibit endless timelines, Morse’s videos (created in the high-end animation package Houdini) display a clear dramaturgy. But rather than being a side effect of their status as “canned” video, the presence of an explicit beginning and end is here part and parcel of the work’s logic, reinforcing the movement towards the inevitable.
Favorite setups include explosions and collapses, dryly observed through an impartial camera that merely records the inevitable. Work titles like Cumulus_1 and Big Bang refer to physical simulations. Others, like Preparing for the inevitable (a particle system tornado bearing down on a wireframe house), are more explicitly apocalyptic. But while the implication of doom is clear, the image is deliberately kept abstract and artificial. Lacking a focus for projected empathy, the viewer is left with the sense of observing a scientific experiment, a computer-generated Armageddon minus the carnage.
Brandon Morse: "¡" (still from procedural animation)
Brandon Morse is represented by Conner Contemporary. For more examples of his work, visit his site Coplanar.org.
The video shown above was posted on Morse’s Flickr stream as a test of the new Video on Flickr feature. Hopefully more videos will start appearing on the Generator.x Flickr pool as a result, although the Generator.x channel on Vimeo is still our official choice for posting animated work.
12:18
Skot (Frank / Gmachl): aka (audio by General Magic) from Tina Frank on Vimeo.
We have posted about the Vienna scene and the Austrian Abstracts here on previous occasions, but the video work that was central to that movement has generally not been available for viewing online. Therefore, it’s with great pleasure we see that Tina Frank has posted some early videos to Vimeo. Let’s hope other artists follow her initiative, it would be nice to have an online archive of these early experiments somewhere.
Shown above is the video AKA by Skot, produced for Gasbook 4. Skot was the name used by Tina Frank and Mathias Gmachl for a number of collaborations from 1996 to 2000. Gmachl is also one of the founders of farmersmanual, a collective that was central to the Vienna scene. “Aka” means “red” in Japanese, and the video was made with Image/ine software from Steim, one of the very first softwares to support realtime processing of video on a regular computer.
Frank created the video "iii" below by taking digital audio files of the music by Peter Rehberg (Pita) and opening them as raw pixel data in Photoshop. An oval image mask was superimposed, giving a more specific form to the resulting video. The result is classic glitch, taking a signal of a given form and deliberately misinterpreting it as something else.
More videos on Tina Frank's Vimeo stream.
Tina Frank: iii (audio by Pita) from Tina Frank on Vimeo.
13:10
NODE08 is a new festival for digital art set to to take place in Frankfurt April 5-12. The near-final programme is now out, and it is shaping up to be a powerful event indeed. While the topic is realtime art in general, the event is loosely based around the VVVV tool, making it the first VVVV-centric festival ever. With a full week of workshops, exhibits, concerts and live visuals, it should be a treat not just for VVVV aficionados, but for anyone interested in digital art.
The lecture program yields heavy-hitting names like Casey Reas, Herbert W. Franke, Paul Prudence, Verena Kuni, Theverymany and Berthold Scharrer. The many workshops will feature hands-on topics like “vvvv for Beginners”, “Shader Programming” and “Microcontroller And Sensor Handling”. Not all the workshops are about VVVV, for instance Casey Reas will give a tutorial on printing-related strategies using Processing. In any case there should be plenty of practical input to take home.
On the performance side of things generative VJs like Onoxo, Desaxismundi and Elektromeier promise to make the evening events interesting. The ever-present VVVV guru David Dessens aka Sanch will be performing under the new project “VA” with Nushitzu.
NODE08 is part of the Luminale light art festival, which will feature works by NODE08 participants. Have a look at the NODE08 web site for details on the programme as well as ticket booking. It’s guaranteed to be an event worth catching.
Clarification regard VVVV: Joreg from the VVVV group has asked us to clarify that VVVV is no longer produced by Meso, but rather by a group of 4 developers known as the “VVVV group” (two of whom work at Meso). This is a change from the early days when VVVV was maintained directly by Meso.
As a total malapropos, Meso has one of the best company mottos we’ve seen in a while: “Unimpressed by technology since 1982″.
06:51
David Dessens: Foldable fractal / Daniel Widrig: Object01
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.
09:51
Concerts: Rishaug / Watz, Keiichiro Shibuya, alva noto
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]
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