Tvor (the creature) is a lamp endowed with artificial intelligence. With the help of sensors, it moves towards the darkest place in the room. It seeks out darkness relentlessly and its illuminating presence transfers the darkness to another place. Tvor is thus doomed to endless travel.
Tvor Beta made its debut in June 2010 in the Gallery of the Academy of Arts, Architecture and Design in Prague
Reuben Margolin, a Bay Area visionary and longtime maker, creates totally singular techno-kinetic wave sculptures. Using everything from wood to cardboard to found and salvaged objects, Reubens artwork is diverse, with sculptures ranging from tiny to looming, motorized to hand-cranked. Focusing on natural elements like a discrete water droplet or a powerful ocean eddy, his work is elegant and hypnotic. Also, learn how ocean waves can power our future. Learn more about Reuben at http://www.reubenmargolin.com/
SITUATION
Field Work
Miwon Kwon One Place After Another
Action and Public Space
Hannah Arendt: The Public Realm
Michel de Certeau ‘Spaces’ and ‘Places’
Krzysztof Wodiczko Strategies of Public Address: Which Media, Which Publics?
Rosalyn Deutsche Uneven Development: Public Art in New York City
Vitto Acconti:Leaving Home: Notes on Insertions into the Public
Simon Sheikh: In the Place of the Public Sphere? or, the World in Fragments
Place and Locality
Lawrence Weiner HERE THERE& EVERYWHERE
Marc Auge From Placces to Non-Places
Arjun Appadurai The production of Locality
http://portal.acm.org/citation.cfm?id=1254982
Can creative visualizations of real time energy consumption patterns trigger more ecologically responsible behavior? Media art that displays the real time usage of key resources such as electricity offers new strategies to conserve energy in the home and workplace. This paper details the development of a public art project created for the National Center for Supercomputing Applications that measures electricity usage in real time for the purpose of education and curtailment of power usage. A version of this piece will be on view in the exhibition, Speculative Data and the Creative Imaginary, a component of the 2007 Creativity and Cognition conference.
http://tiffanyholmes.com/current-ecoart/7000-oaks-and-counting/
on follwoing paper
http://andrewjohnsonhci.blogspot.com/2010/03/nourishing-ground-for-sustainable-hci.html
http://dl.acm.org/citation.cfm?id=1518701.1518763&coll=DL&dl=ACM&CFID=43637906&CFTOKEN=18648348
http://tiffanyholmes.com/current-ecoart/drinking-the-lake-2010/
Metastasis or Metastaseis (“dialectic transformations”), is an orchestral work by Iannis Xenakis, a Greek composer-architect and a major figure in the postwar development of musical modernism worldwide. He is particularly remembered for the pioneering use of stochastic mathematical techniques in his compositions, including probability (Maxwell-Boltzmann kinetic theory of gases, aleatory distribution of points on a plane, minimal constraints, Gaussian distribution, Markov chains), game theory, group theory, Boolean algebra and Brownian motion.
Metastasis was inspired by Einstein’s view of time (a function of matter & energy) and structured on mathematical ideas by Xenakis’s colleague Le Corbusier. The 1st and 3rd movements don’t have a melodic theme to hold them together, but rather depend on the strength of this conceptualization of time. The 2nd movement does have some sort of melodic element. A fragment of a 12-tone row is used, with durations based on the Fibonacci sequence (1,1,2,3,5,8,13,21,34…)
The preliminary sketch for Metastasis was in graphic notation looking more like a blueprint than a musical score, showing graphs of mass motion and glissandi like structural beams of the piece, with sound frequencies on one axis and time on the other. In this video I tried to display this by presenting the frequency spectrum (0-20.000Hz) of the piece and how Xenakis actually “drew” music.
SWF Symphony Orchestra
Hans Rosbaud, conductor
October 1955
Social Bits is an international research group based in Linz, Austria and Tokyo, Japan focusing on the artistic output of social interactions in real world locations; specifically in urban environments, public spaces and unique architectural complexes. Social interaction is a sustained presence in all societies throughout history; however, the methods of interaction have radically evolved in recent years, aided and augmented by both technological developments and the sense of comfort generated by these developments. Our research studies and analyzes the collective information cloud created by humans worldwide, as well as introducing new mediums, materials and platforms to present the artistic results we discover.
Social Bits is not solely interested in the social data itself. Rather, it is the means of producing the data, and how it can be reflected back on society that interests us. The process of turning a human thought into digital information, then in turn putting the information in a physical context is what is intriguing.