"&&float" by Siddharth Mankad and Sunil Vallu

Video removed.

Using only Processing and a wide angle webcam, this code base creates an interactive installation. Check out Github.

"Memory Vapor" by Gelfand and Domnitch

Every second, Earth’s inhabitants are bombarded by billions of charge carriers, arriving from every possible direction in outer space. As they traverse the supersaturated gas within a cloud chamber, these subatomic messengers, known as cosmic rays, macroscopically disclose their identity and the plenum underlying the empirical void. In Memory Vapor, a particle-accelerating cloud chamber is scanned by a white laser sheet, turning its -200° C contents into a dynamic prism. Ionized nuclei, muons, antiprotons, electrons and positrons are trailed by threads of glimmering condensation droplets.

And more from their website:

Dmitry Gelfand (b.1974, St. Petersburg, Russia) and Evelina Domnitch (b. 1972, Minsk, Belarus) create sensory immersion environments that merge physics, chemistry and computer science with uncanny philosophical practices.

"Supersymmetry" by Ryoji Ikeda

Here's more Ryoji Ikeda, even if it's only a short preview.

Given the excitement around the discovery of the Higgs Boson, most people will know of the European Organization for Nuclear Research (CERN), the largest particle physics laboratory in the world. But did you know they had an artist-in-residence programme?

Ikeda was the 2014 resident and produced one of his trademark black-and-white flashing data and crunchy post-digital composition. Find out more by reading Arts@CERN.

Ryoji Ikeda: the Planck universe

Ryoji Ikeda is well known for his large-scale media projects, triggered in some way from his post-digital sound. This project ran at ZKM in Karlsruhe, Germany last summer. In two parts.

Want to look cool? Flash the lights.

"Great Good Places IV" (2011) by Ailbhe Ní Bhriain

Ailbhe Ní Bhriain's "Great Good Places IV" borrows its title from the Henry James short story. It draws on the slippage between dream and reality captured in the story and its strange atmosphere – at once mundane and hallucinatory. James's "Great Good Place" is an impossible but obscurely familiar refuge to which the overworked and the overwhelmed find themselves magically transported. This work reimagines a series of generic settings as such sites of suspension and displacement. It uses simple collage devices alongside CGI and chromakeyed elements to combine locations and play with the uncertainty of image-space. In a sense it proposes the image itself as a Great Good Place - a displaced elsewhere and an imaginative escape.

"Great Good Places" has been staged in different contexts, most frequently as a four-screen installation. Each film features its own soundtrack, mixing instrumental and natural sounds. The four films are looped and of varying length, creating a changing soundscape and set of image combinations.

09:28 min, Video & CGI composite, colour, looped, sound by Pádraig Murphy

artist website

News flash: Ailbhe Ní Bhriain wins 2020 Golden Fleece Award

visuals for "air india [redacted]" (2015) by John Galvin

The opera air india [redacted] was presented by Turning Point Ensemble (Vancouver) in 2015. Composed by Jurgen Simpson, directed by Tom Creed, libretto by Renee Sarojini Saklikar. Visuals by John Galvin.

artist website

"Radiant Live" (2019) by HC Gilje

The premiere of the live performance Radiant Live took place on Feb 23rd 2019 at Paradiso in Amsterdam. It was commissioned by Sonic Acts as part of the Expanded Experience program for the 25th year anniversary of the festival.

A large scale light painting in constant change using laser and phosphorescent paint.

A white laser beam moves over a large surface and draws lines and curves which are only visible for a very short moment before they disappear, except that the ray of light leaves traces: The surface is covered with phosporescent pigment which captures light and then emits a green shimmer which slowly fades out. The simple forms projected in bursts of light from the white laser are layered onto a constantly evolving web of green shimmering lines.

The relation between the always moving point of light and the ability of the surface to absorb and emit light creates a tension between the quick and the slow, the present moment in contrast to longer stretches of time, what is built up and what breaks down, layers of time being constantly overwritten.

Commissioned by Sonic Acts. Part of Re-Imagine Europe, co-funded by the Creative Europe Programme of the European Union.

artist website

"Myconnect" by Saša Spačal

Myconnect is an interspecies connector that emerged as an aspiration to enable human beings to transgress their own species and connect with them on perceptive and physiological level. By entering the installation one is in becoming with the otherness, another multiplicity i.e. the fungal mycelium.

Saša Spačal is a media artist from Ljubljana, Slovenia. website

"Cluster" by Playmodes Studio

Cluster is an immersive audiovisual site-specific installation that explores relationships between space, time and perception. Geometric schematization of architecture using light instruments transforms the space into a container for the abstract language of light and sound.

The audiovisual discourse generated in real time using software created by Playmodes, researches the possibilities of formal clusters of oscillators applied to the control of light, sound and atonality to the limits of synaesthetic perception.

Made with ShowJockey fixtures. Pixelmap by MadMapper

website

"483 Lines" by Mimi Son and Elliot Woods

483 Lines from Mimi Son on Vimeo.

From World War II up until the recent end of analogue broadcasts, decades of living imagery had been constructed using the NTSC standard. This standard represents a moving image frame as 483 lines of modulated light stacked from the top to the bottom of a television screen, within each line there is an analogue continuum, like the groove on a record player. From Nam Jun Paik to the moon landings, pictures were being represented, archived and seen within this format, until the line made way for the pixel and the digital video revolution.

The artwork 483 lines magnifies this analogue video picture until it is 16 meters wide, and then folds this image several times so that it fits vertically into the gallery space, therein adding oscillations of depth into the image which can be activated by 'tuning' the projected video to match these waves. At this scale, each line of video can be individually inspected as its own agent beyond its contribution to the total image. This follows a common motif within the artists work, to create 2 scales of experience, this time the beating panoramic imagery contrasts the delicate physicality of the fine thread elements.

The strictly arranged lines can be illusionary, creating a confusing architecture of horizons, whilst the video played through it displays a parallel past, present and future.

website

"Infinity" by Refik Anadol

Project is an integral part of artist’s ongoing Temporary Immersive Environment Experiments which is a research on audio/visual installations by using the state called immersion which is the state of consciousness where an immersant’s awareness of physical self is transformed by being surrounded in an engrossing environment; often artificial, creating a perception of presence in a non-physical world.

In this project ‘infinity’ chosen as a concept,a radical effort to deconstruct the framework of this illusory space and transgress the normal boundaries of the viewing experience to set out to transform the conventional flat cinema projection screen into a three dimensional kinetic and architectonic space of visualisation by using contemporary algorithms.

website

LIGHTFORM // DAY (2018) by Annie Mitchell and W.G. Rickel

A wind and solar powered refraction experience in development at our studio in Louisville, KY.


ANNIE/M/me (Annie Mitchell) is a light artist with a background in UX. Website.

noids by Cas Zeegers

noids is a collection of rhythmic instruments placed throughout a room. Each instrument has its own rhythm, sound and movement. Together they create a composition, with the room as their sound box. By playing with the phases and tasks of the four instruments, the musician is able to create a composition, like a drummer playing his drums. During his performance, the audience is invited to walk through the room and encounter with the music composed by the musician. Because the instruments are scattered through the space, the audience is able to engage and recognize the different layers, patterns and tasks of the rhythmic phase music – by simply moving through space.

website

Syzygryd

Syzygryd is a town square for the collaborative creation of music. It’s a public space, it’s a sculpture, and it’s a professional musical instrument. It’s the most beautiful expression we can imagine of the joy we take in community, music, technology, fire, sculpture and architecture.

Three large custom hardware grid sequencers. Each controls a single instrument and they share a clock, so they’re all synchronized. By controlling time, pitch, and harmony, these devices make it easy for people with no musical training or talent to create melodious compositions.

The consoles are arranged at three equidistant points around a 60′ diameter circle, far enough apart that the participants can see one another but can’t communicate verbally. Each console reflects the state of the others. Three people collaboratively create a continuously evolving piece of music without communicating, except through the music itself.

The center of the circle is a huge metal tornado of cubes, pulsing with synchronized sound, light, and fire.

website

"Change Your Stripes" by Ann Cleary and Denis Connolly

Change Your Stripes by visual artists Ann Cleary and Denis Connolly will put the public into the picture with an artwork that only comes to life as you walk past. Playful, thought-provoking and promising to be thoroughly addictive, Change Your Stripes references the traditional fairground Hall of Mirrors, optical illusions and abstract art.

website

Mechanical Techno by Graham Dunning

Originally a studio project for making recordings, I now also perform live using the Mechanical Techno method. Several looping records spin on the same axle, ensuring they stay approximately in time with each other. I layer up locked groove records, audio triggers to analogue sytnhs, mechanically played percussion such as a cowbell or a cymbal, and mechanically triggered drum machines. I take all these inputs and perform a live dub, mixing down to two channels live in one take.

Lee Scratch Perry described Dub as "the ghost in me coming out" – Using Mechanical Techno set-ups I aim to release the Ghost in the Machine. Each set-up is unique. The technique is inherently clumsy and delicate, leading to frequent and multiple mistakes and accidents. The chance elements and unpredictable aspects lead to compositions I would never think to deliberately make.

website

Sound Architectures by Zimoun

Using simple and functional components, Zimoun builds architecturally-minded platforms of sound. Exploring mechanical rhythm and flow in prepared systems, his installations incorporate commonplace industrial objects. In an obsessive display of simple and functional materials, these works articulate a tension between the orderly patterns of Modernism and the chaotic forces of life. Carrying an emotional depth, the acoustic hum of natural phenomena in Zimoun's minimalist constructions effortlessly reverberates.

website

LuX by Jan Sedlacek

LuX is an interactive sound and light installation that enables the visitors to manipulate the sonic and visual environment of a room. Featuring multichannel audio, 24 lights and 48 controls, LuX invites the users to unleash their curiosity in order to explore, collaborate and play.

Created by Jan Sedlacek, who makes music as Johnny Farmer.

"Blueprint" by Joanie Lemercier

The work examines the notion of blueprint as the intersection of ideation and architecture, a map that leads from formlessness to form. It explores the view of architecture as both the endless repetition of the cosmic order, and as a shelter from the infinite, a human construct that brings the capriciousness of nature into perspective.

With Blueprint, Lemercier translates the immateriality of space, architecture, and causality into a choreography of structural elements. The installation is formed from a central monolithic tower that is flanked by two large screens and activated by light projection and sound. Together, these tell a story of the cosmos and architecture, climaxing in an anamorphosis.

The audio component comprises contrabass materials recorded at EMS in Stockholm by Yair Elazar Glotman which have been processed, augmented and fused with electronics by James Ginzburg in his Bristol UK studio. The piece is inspired by the architecture of the venue, a former Phillips factory in Eindhoven Netherlands, and communicates the grandeur of the building and space, mirroring the relationship implicit in all architecture: the relationship between order and chaos.

website

"Parallel" by K. Michael Fox

Parallel is a music installation which represents the synthesis of MFA thesis work for artist K. Michael Fox surrounding computer music, granular synthesis, and real-time generative music systems. The installation is manifest as a mobile device app, which calls upon its user to collaborate in the create of musical material. When present in the installation setting, the devices may also be networked to communicate information with each other. This positions the audience simultaneously as audience and performer, or listener and speaker, or emitter and receiver, or creator and consumer. The app’s interface is presented to the user as a biologically inspired digital creature that is manipulable by the user, which subtly impacts the qualities of the sound produced on each device. Fox collaborated with artist Raven Kwok, who designed the visual components of both the mobile app and the installation.