UVA: United Visual Artists
Sunday, February 28, 2010
UVA: United Visual Artists
Wednesday, February 24, 2010
Teige and the other members of Devetsil would have certainly liked the ulterior declination of Abeceda built by Larsen. The Turinian group, active for more than ten years (a passage documented by six albums, the last and most recent being Seies), that communicate an eclectic and multi-disciplined approach to musical material. Specimen, in that sense, the work done years ago by Winsor McKay with his cartoons, put to music by Larsen under the wording of Cartoanimalettimatti (a project premiered in 2002 during the festival Rimusicazioni) and in general the stateless attitude with which the quartet measures the codes of rock, after the zeroing of the same rock provoked by punk, as such to make Larsen more appreciated abroad than in their own country. Reasons for which the artistic interlocutors of the Turinian group tend to place themselves beyond borders. American are both the labels - Young God and Important Records -- that have released their music so far, and many of their partners seen often by their side, Jamie Stewart (Xiu Xiu) - in the configuration called XXL, or Matmos and the ex-Swans Michael Gira and Jarboe. All icons of the independent music scene across the ocean.
Some of these accomplices will play with Larsen on Abeceda : David Tibet, brain of the british "apocalyptic" project Current 93, project that also involves Baby Dee, transgender cult icon from the Manhattan off scene, same underground the cello player Julia Kent, of Antony and The Johnsons, belongs to, whereas Johann Johannsson, musician and producer that has worked with Marc Almond and Barry Adamson, comes from Island. Also on stage with the band will be the russian performer and choreographer Snejanka Mihaylova; together with Larsen, and the visuals by the Bellissimo team inspired by Tiege's Abeceda, they will set up a concert/performance in 25 movements, one for each letter of the latin alphabet; elaborate and fascinating staging, exclusive worldwide preview for the Torino Settembre Musica festival and its audience.
Tuesday, February 23, 2010
Monday, February 15, 2010
The project is built around the general philosophy that every place is distinct and engaging if seen from a unique perspective. With this foundation, Yellow Arrow enables every place to become an attraction. Stories are always tied to unique details such as back-alley murals or unique street markers, as well as classic locations like the Empire State Building in New York or the Reichstag in Berlin. Overall, the aim is for Yellow Arrow to provide a frame and platform to see the world in a new way.
When the project was first introduced in 2004, renowned Stanford archaeologist and cultural theorist Michael Shanks wrote that Yellow Arrow was an example of "deep mapping cultural experience - a cartography of the intimate, the everyday, the monumental, the ephemeral, the epochal."
HOW IT WORKS
Participants place uniquely-coded Yellow Arrow stickers to draw attention to different locations and objects - a favorite view of the city, an odd fire hydrant, the local bar. By sending an SMS from a mobile phone to the Yellow Arrow number beginning with the arrow's unique code, Yellow Arrow authors connect a story to the location where they place their sticker. Messages range from short poetic fragments to personal stories to game-like prompts to action. When another person encounters the Yellow Arrow, he or she sends its code to the Yellow Arrow number and immediately receives the message on their mobile phone. The website yellowarrow.net extends this location-based exchange, by allowing participants to annotate their arrows with photos and maps in the online gallery of Yellow Arrows placed throughout the world.
With mobile technology we are now able to integrate the social potential of networked experience with the immediacy and relevance of the physical world. As Jean Baudrillard writes in response to student strikes in France of May 1968:
"The real revolutionary media were the walls and their speech, the silk-screen posters and the handpainted notices, the street where speech began and was exchanged - everything that was an immediate inscription, given and turned, spoken and answered, mobile in the same space and time, reciprocal and antagonistic. The street is, in this sense, the alternative and subversive form of the mass media, since it isn't, like the latter, an objectified support for answerless messages, a transmission system at a distance. It is the frayed space of the symbolic exchange of speech - ephemeral, mortal."
In a networked age, different communities across the globe have very different access to technology, but mobile phones have become widely available across all social classes. By perceiving a network as something that is inherently a combination of physical, social, and technological components, the project hopes to bring these elements together under a paradigm that honors the type of vibrant exchange Baudrillard found so inspiring.
Trace is a permanent sound installation for the historic maze at Hampton Court Palace. As visitors pass through the maze they trigger a series of sounds that capture the intrigue and mystery of the maze's rich heritage.
Visitors to the installation space are requested to think of a word. Any word at all. They are handed a white cube, which they hold. As they speak their word in to the box, the box begins to glow with a gentle blue light.
They are then invited to explore what appears to be a large empty space, delineated by a red line around its edges. As they wander off in to this area they realise that in fact, invisible to the eye, there is a rich sonic environment to explore, full of words that are nestling amongst trees, flitting around pools of water, or hiding out in caves.
Some of these words live here permanently, and some have been dropped by people walking through the space. If the visitor wants to do this, they simply tip over their box, the light drains away, and their word falls out, living in that area for several hours, for others to discover.. When they are done, they return the box, to be filled by another word.
Wednesday, February 10, 2010
Sunday, February 7, 2010
We made two different visualizations of the same data set. We intended not just to visualize the data in a readable way, but also to express its meaning, with the use of metaphors. In the Walls Map piece, car counts are represented by 3D vertical columns emerging from the streets map, like walls. The Traffic Mixer piece, where noise is the metaphor, is an hybrid of a visualization and a sound toy. The first piece focuses more on showing the data in a readable and functional way, while the latter focuses more on expressing the meaning of the data and immersing the user into these numbers. Both pieces try to complete each other.
- SOFTWARE USED
- Both pieces were built in Processing. The Walls Map makes use of the geomerative and OCD libraries. The Traffic Mixer uses the minim library.
- Data scrapping and handling was done in Ruby, with a blend of builder, hpricot and rexml.
- The editor to draw the polygons on the map and link them with the data set was built in Macromedia Flash.
that show the time in a digital manner. They also developed a typefont on this basis.
'The Clock Clock' will be shown at rhosska design museum in gothenburg from
june to mid august 2009.
Wednesday, February 3, 2010
Tuesday, February 2, 2010
Monday, February 1, 2010
"I am looking at how the feeling of loneliness or the disconnection between social groups in a city could be relieved if only slightly by an online community visualisation that presents no information about any of its users.
When something universally humorous happens in a public space, it momentarily changes your relationship to strangers around you, relieving the feeling of disconnection if only for a moment. However, your anonymity remains intact.
I am focussing on the romance tied up within the idea of particular cities and how this visualisation could utilise that romantic value in order to relieve disconnection. London is an ideal example of a city with a high romantic value to utilise.
Despite being surrounded by isolated examples of a busy city as we walk down the street or travel in a bus, we are never able to visualise it in its entirety. We certainly experience the feeling less when sitting in an office all day.
The image above left is a still moment from a hacked version of an ecosystem application by Annie Spinster. I have been looking at how physical inputs can be incorporated into such an application using for example the light sensors in the user's Mac Book Pro which may isolate a particular type of user within the community.
The image above right is an early IP address mapping ecosystem that I was concepting with W Blutt. Here, the ecosystem substrate is the IP address activity, the mapped location of each dot is based upon the four sets of numbers present in an IP address. The growth of the ecosystem is dependent on the quantity of IP addresses which would act as substrate at the bottom level of growth. Therefore, parameters control the extent, but the ecosystem itself is organic which creates the interest, in a similar way to looking into a fish tank".
Blogging with bar graphs
Limited Edition Poster
A series of daily blog posts that explored the visual language of self–documentation. It was part of a larger project about the contrast between individual and group intentions on the internet and the rise of both the monologue and the conversation in the form of blogs and group applications respectively.
It was also an attempt to reduce my textual output into the blogosphere. The system for deciding the theme of the blog was such that I could decide at a whim in the same way that any blog author would.
24 hours of colour: A photograph taken every nine minutes
throughout my day
The day I noticed that I often take the colours of my surroundings for granted during the winter months as the daylight is often grey and muted. I visually documented the colours of my day by taking a photograph every nine minutes of what I considered to represent the average colour of my surroundings. I obtained an average colour for each photograph by rescaling it to 1 pixel in width.
The following list documents the reasons for the changes in the
colour of my surroundings on a sunday in April:
01. Battle with the snooze button.
02. Reply to email. Preparatory work for photoshoot. Procrastinate on Facebook.
03. Wait outside to be picked up with equipment. Text ex–girlfriend to arrange when I can pick up belongings.
04. Drive to Pitﬁeld street. Receive angry text from ex–girlfriend.
Continue my conversation with the driver as if I had not.
05. Walk to red brick tenament blocks on Arnold Circus.
06. Reach location. Begin to set up.
07. Catch bus to ex–girlfriend’s house. She is not in.
08. Continue the shoot behind Columbia road ﬂower market.
09. Lunch in cafe close to Arnold Circus.
10. Walk back to car on Pitﬁeld street.
11. Catch bus back to Camberwell.
12. Work at the ﬂat in natural light.
13. Realise it has suddenly become dark and turn on light. Wonder if many other people ﬁnd themselves accidentally working all seven days of the week. Quickly realise that the
answer to this is yes. Continue working.
This is the result of over a year of late nights and weekends and the desire to completely disregard implementation and my current skill level when thinking up the concept for a piece.
Naturally much of the time was spent scratching my head and had I done it again now I would probably finish it in a much shorter time, but this is also a reason why I wanted to do it, the next time I make something I might get that extra bit closer what is in my head.
You know what they say about aiming for stars and hitting treetops.
During my time at the Fraunhof Gesellschaft - Institut für Medienkommunikation, I participated in the development of the netzspannung.org Knowledge Maps. The basic idea behind these Maps is to graphically present and communicate the content of the netzspannung.org database as well as visualising metadata about the content. The graphical visualisation presents the data in a intuitive way, so the constellations of the data form a statement about their contextual sourroundings. They are part of the
The Knowledge Maps are part of the
Boris Müller has put online documentation of Poetry on the road 2006, a poetry festival for which he creates a computational design identity every year. A specific text is used as raw material, then treated by Müller’s software in some way to create a visual representation. This visual is then used for posters and other publicity materials, including the book that is released every year.
Eschewing the more magical approaches of previous years, the 2006 edition has seen Müller has gone firmly in the direction of information visualization. Words in a poem are given a numerical code by adding the values of their letters together. This number gives the word its position on a circle, which is marked by a red dot. Gray lines connect the dots in the sequence the words they represent appear in the poem. The diameter of the circle on which the dots are placed is decided by the length of the poem. In this way several poems can be represented in a single image.
"This year, our concept is based on a very old concept of encoding text. We assigned a numerical value to every letter of the alphabet. Adding the values of all letters, one gets a number that represents the overall word. (For example, the number 99 would represent the word »poetry«.)
Using this system, an entire poem could be arranged on a circular path. The diameter of the circle is based on the length of the poem. So you can see the short poems in the centre of the poster, while the longer ones form the outer circles.
Red rings on the circular path represent a number. As many different words can share the same number (»poetry« shares the 99 with words like »thought« and »letters«), most rings represents different words. The thickness of the ring depends on the amount of words that share the same number.
Finally, gray lines connect the words of the poem in their original sequence. So solid lines represent repetitive patterns in the poem.
Like in the years before, the computer program was not only used to generate the image for the poster. It was also used for brochures and the cover of the book that accompanies each festival. Furthermore, the program was used to generate the divider pages in the book. So the poems of each wirter are introduced by an abstract visual representation of themselves".