Sacha Welbroek, The infinite particle collider, interactive installation
The infinite particle collider is an installation that originated from a school project, (sacha is a student of Saxion). The installation is based on her fascination for details, the better you look, the more you will see and the more complex the animation becomes. The public is in control of the sound and the visuals! Keep looking :)
Jasper Schutz & David Scheidler, Tapeloop machines, audiovisual installation, produced by Sickhouse LAB
Especially for the immortality edition of the festival, Jasper Schutz and David Scheidler created an audiovisual installation reflecting on digital enhancement, infinite loop, system of memory/recording… This installation is presented as part of Sickhouse Lab, our new interdisciplinary research platform for professionals. The Lab consist on presentation and working sessions with specialists of different disciplines coming together to combine their skills and reflect on the festival theme through the year.
Tapeloop machines is the result of a collaboration between Jasper Schutz (musician and sound artist) and David Scheidler (mixed media artists). The installation consists of 3 interactive pieces: two monoliths of retro-futurism (Jonathan and Andrew) and one Frankenstein-machine (Esther). Each of the pieces uses reel-to-reel recorders in an unconventional way to create intriguing soundscapes. The three pieces share a retro esthetic with futuristic digital enhancements. Woodgrain electronics are combined with LED plexiglass extensions.
Machine 1: Jonathan
Jonathan allows you to overdub and erase on a long tape loop. The long tape loop provides a writable medium that loops endlessly. The base reel-to-reel recorder is mounted below a LED enhanced plexiglass plain with many extra rollers, which provides a much longer route for the tapeloop to follow. The reel-to-reel player has an announcement microphone to enable new content to be added to the continuous tapeloop. The microphone is also augmented with a controllable eraser head to erase the content at will. The combination creates dark dystopian soundscapes with eerie recognisable vocal patterns and sound bits.
Machine 2: Andrew
Andrew brings a message of digitally enhanced life. Andrew starts out with a long tape loop running through many extra rollers on a LED enhanced plexiglass plain. The tapeloop contains a message of life, which can be digitally enhanced through controllable audio effects. The controller for the digital audio effects is a repurposed wood grain equalizer with 10 faders. The faders are connected to an Arduino which translates the fader movements to MIDI messages. These MIDI messages control digital audio effects in a computer, which processes the sound of the tape loop. The processed sound is not written to tape, so the tape loop can always be heard in its original form and the effects processing can be added at will.
Machine 3: Esther
Esther brings noise from controllable feedback loops. Esther looks like a mechanical mess with rollers, read- and write heads, connectors and lots of bare electrical parts from many different reel-to-reel players. A tape loop runs from machine to machine and provide a continuous recording medium for the internally created feedback noise.
The internal feedback from the machines is controllable by unmarked knobs for the tone, gain, panning and speed controls. These controls have been externalised and made accessible for tweaking. Since the feedback control is very unpredictable, Esther really is a noisy machine. And by using the original parts of the reel-to-reel players, the noise that is created is unmistakably analog, as old transistors, tube valves, tape and crackling knobs all add to sound.
Telemagic- Tele fortune Spinner – installation
Acting as an open media-lab, art-meets-tech collective Telemagic creates manifestations, art interventions, and tools that focus on a closer human connection towards tech developments. With Tele Fortune Spinner, you get to discover your Telefortune and Digital Dharma.
PussyKrew- VR experience – 2018- Concordia: Physical Digital
Ewelina Aleksandrowicz and Andrzej Wojtas are digital media artists and video directors working under the moniker Pussykrew. Creating multimedia installations, audio-visual experiences and sculptures, Pussykrew explores spaces in between digital and physical realms blending fluid identities and futuristic landscapes through experimentation with 3d animation and 3d scanning. Their fascination for virtual environments and physical experiences motivates them to play with deconstructed digital images and cinematic poetry, using the traditional language of painting. By merging with these various planes of reality, they create new forms that are constantly in the process of evolution.
Andy Lomas – Cellular Forms- animation video -2014 – Concordia: Physical Digital
Andy Lomas is a computational artist, mathematician and Emmy award winning supervisor of computer generated effects. His art work explores how complex sculptural forms can be created emergently by simulating growth processes.
The animations use digital simulation of a simplified biological model of morphogenesis, with three-dimensional structures generated out of interconnected particles to represent cells.
Each form starts with a initial spherical cluster of cells which is incrementally developed over time by adding iterative layers of complexity to the structure. The aim is to create forms emergently: exploring generic similarities between many different shapes in nature rather than emulating any particular organism, revealing universal archetypal forms that can come from growth-like processes rather than top-down externally engineered design.
Matias Brunacci – Virtualshamanism
“Virtualshamanism: Towards an alternative digital reality of consciousness” is an interactive installation based on modern concepts such as technoshamanism, ancestral-future and neo-paganism, among others. The Virtualshamanism operates between two worlds, the modern one, mental and scientific, and the ancestral one, intuitive and shamanic, generating an approach between both sides through its role as a nexus and peacemaker, placing itself as a powerful mediator between these two dual forces.
PWR – Pandæmonium – video- 2017 Concordia: Physical Digital
Pandæmonium is a logistical nightmare. Pandæmonium is a pancomputational dream sequence. Pandæmonium shows a future where digital networking has merged with fundamental reality. Everything is an interface to something else. Everything is connected to everything else. Everything is inhabited by autonomous agents acting according to opaque programming. Human hands manipulate physical matter to grasp control. Pandæmonium follows a process along the supply chain where it is unclear who is producing and who is consuming – what is useless – what is valuable.
This Could be You
With: Claire Hentschker (US), Jessy Jetpacks (ARE/ UK), Martina Menegon (IT/AUT), Zeesy Powers (US)
VR exhibition curated by Peggy Schoenegge (peer to space)
Today we communicate via several digital applications, and present our identity on the Internet. Social VR enables us to meet our friends’ avatars in a virtual space independently from our body’s actual place. Thus being evocative of the plot of the Sci-Fi movie Matrix (1999), in which the physical body stays in a bunk while the consciousness acts in a virtual place. In 1991, Hans Moravec wrote in his essay The Universal Robot that the human body is disused and won’t be necessary in our future anymore. He said it would be possible to download one’s consciousness to a computer. By transferring the mind to a technological medium the body would becomes insignificant. As a result human beings would not be embodied and their existence would not depend on biological mortality anymore. Consequently human beings would become immortal. With recent technological progress Moravec’s idea no longer seems completely absurd. Virtual Reality (VR) as a technological and artistic medium enables users to experience disembodiment.
The exhibition THIS COULD BE YOU. Disembodiment in Virtual Reality is dedicated to the feeling of incorporeality. The title refers to Zeesy Powers’ eponymous VR artwork, in which the user inhabits the body of an old woman. Over the course of time the body of the old woman becomes the body of the user. Entering a virtual world allow users to immerse themselves in a completely different place without a physical body. There, users can be everyone and everything. Feeling present in the virtual space, makes them forget about their bodies in reality. VR experiences implicate future living scenarios but also reflect the current state of our society and its relation to technology. Claire Hentschker shows a deserted world without any humans. While reflecting the presence, her work gives an impression of what a disembodied future of formerly inhabited places could look like. Jessy Jetpacks plays with the re-embodiment in the virtual room and questions whether our bodies have a memory and if such an experience has consequences. Martina Menegon and Zeesy Powers also confront the users with bodies that are not theirs. While Menegon provides her 3D scanned face as a mask-like object, the users interact with; Powers mirrors the user as a 90 years old woman. By doing so, they create a vision of what life with an immaterial body could be like and what it might or might not feel like.
Mike Pelletier – Still LIfe – animation video – Concordia: Physical Digital
Mike Pelletier is a Canadian artist based in Amsterdam, Netherlands. Working in mediums such as 3D animation and kinetic installation, his work bridges the divide between digital and physical space. With Still Life, Mike Pelletier is playing with our senses, confronting what we expect of a realistic representation of objects with the possibilities of 3D animations.
Nature Morte as interpreted by finite element simulations.
Ian MacLarty – Southbank Portrait – video game installation- Concordia : Physical Digital
Ian MacLarty is a game developer/artist with an interest for experimental design. In his games, the simplicity of the gameplay equal the intensity of the graphics. Southbank Portrait was made during Multiplicity Game Jam (when creator get together and create games in one weekend). Using photos he made from the surrounding of his location (South-Bank Melbourne in Australia), MacLarty created a tickling ride through a shifting landscape.
In Jessy Jetpacks’ work the user is supposed to sit down – in the virtual as well as in the physical room. In the virtual space the user sits in a room, in which the roof and the 4th wall is missing. This opens the view to a deserted, surrealistic-looking landscape with a sped up day-night-cycle. A corresponding music follows the day and night rhythm and underlines the atmosphere and thereby intensifies the experience. By creating a similar situation in the physical and virtual space the borders between both worlds become blurred. As a result the viewer’s mind struggles to locate their physical presence. Being visually in the virtual the users are given a surreal surrogate. A cloud of light particles appears and begins to form the lower half of the user’s virtual body. Becoming milky and watery a pair of legs emerge, grow across the room, shrink back into the body and eventually disperse as sparks floating in the darkness. The limits of the real are crossed.
Physical Digital- Exhibition @Concordia
Aside the festival, The Overkill presents an exhibition in Concordia : “Physical digital”. In this exhibition we selected digital artworks that should provoke physical reactions and tickle your senses. The space is transformed into a sensoriel playground with videos from PWR, Mike Pelletier and Andy Lomas, a videogames from Ian MacLarty and a VR installation from Pussykrew.
opening, 10 November, 15:00
Teyosh – Bananza!
‘Bananza!’ is a two-layered story that explores growing up in a digital age. The symbols of a digital culture are incorporated organically, through bananas, a favorite fruit for both kids and grownups. While kids intuitively accept the environment, the parents are invited to read the symbolism that bananas are carrying – the symbols of ever-present digital culture in children’s lives. The project was made for Cinekid Festival 2017 where it won the Golden Lion Audience Award.
Geoffrey Lillemon – Like to Death
Geoffrey Lillemon brings an absurdist writing and visual style to technology to reinterpret artistic form. As one of the leading artists in digital practices, Lillemon has consistently foregrounded the interplay between the digital and physical world in his work, blending traditional mediums with modern vfx capabilities to craft new worlds and fantasies.
Geoffrey Lillemon and Stööki’s ‘Like to Death’ is a subversive project that explores Facebook’s digital shelf-life. Inverting Facebook’s most popular interactive mechanism–the omnipresent “like”–the project actually disintegrates a bit with every thumbs up, whereas not liking it will preserve the project from experiencing an untimely digital death.
Mischa Daams – Respire
Mischa Daams is a interdisciplinary artist that lives and works in The Hague, the Netherlands. Daams’ artistic practice consists of experiential environments, performances and films in which simple choreographies unfold complex & chaotic behavioral patterns in diverse media such as kinetic motion, moving images, light and sound.
‘Respire’ is a process based experiential art installation on the border of space, sculpture and cinema. It embodies a transforming architectural space as a breathing entity: transient as fluid it evolves from one state to the next. The tunnel serves as a metaphor for the way in which we translate, interpret and project onto our surroundings and the feelings that arise as we experience the world.
Zeesy deals with the conditions of Virtual Reality. The technological and social framework of contemporary VR is an infinite space and a prison at once. It has the aesthetics and rhetoric of infinity because you can be anyone, anywhere, doing anything. At the same time VR implies practices of confinement such as restricted mobility, limited access, embedded surveillance. The virtual space is characterized by an ambiguity. In This Could Be You the user inhabits the undressed body of a 90-year-old woman, trapped in an environment full of trash from the digital era. The actions of the woman are mirrored by the movements of her twin – the user. As a result of live motion capturing a direct interaction between the virtual and real body emerges. Powers’ work gives the user the opportunity to experience the feeling of being in a different body, come out of one’s own body and thus discover the ambiguity of the virtual.
Claire Hentschker works with film stills, which she puts together forming a subjective map of former places. Hentschker’s piece Merch Mulch portrays a three-dimensional photogrammetric amalgamation of abandoned shopping malls, digitally reconstructed from YouTube videos taken prior to the sites’ destruction. Once places of entertainment and bustling activity, these malls now appear empty. Hentschker creates a room in which the user, although familiar with these places, is confronted with the unreal. The user not only experiences a bodiless surrounding but also a incorporeal self. In a disembodied world, as Moravec imagined, there won’t be physical corpuses anymore. As a result places like shopping malls will change and thus become deserted places. Consequently these places become an image of a former time when humans physically met at an actual place.
Mattis Dovier is a french illustrator and animator living in Paris who likes to explore the relation between music and visuals in a dark and playful way with particular reference to early internet aesthetics, manga and contemporary gif culture.
all around me are familiar faces is a VR experience that immerses the user in a dimly lit environment, filled with numerous virtual self-portraits of the artist based on a 3D scan of her face. Around the central area, new faces pop-up randomly, accompanied by eerie drones as well as breathing and crackling sounds. The user can freely move but is constantly observed and followed by a cloud of faces, that continuously obstruct the view. The image of the artist’s face is also attached to each controller. By pressing the trigger button and moving the controller the user can clone the faces endlessly and is able to create three-dimensional sculptures. The artist’s identity multiplies and vanishes, becoming a virtual three-dimensional brush for everyone else to use and reinvent. Thereby the question of the meaning of the virtual body with regard to the real body arises.
Danse Macabre – video installation
Enclosed in a spherical world we travel simultaneously in three different points both models, but miniature and gigantic at the same time. The scenes represented by the model are ghostly and immobile vestiges of the medieval iconography which are deformed, transformed and destroyed to finally reborn. The meeting of three disproportionates human skulls, vanities, triggers perturbation up to chaos. Skeletons dance to announce this change. A cycle of continual construction and deconstruction takes place.