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/
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
Have you ever found refuge from a summer shower under the eaves? This piece shows that it is not safe even under a roof. Lightening and shadows of trees surround the windows. It shows you things normally not visible, creating a storm that can really be felt.
A computer controls the flow of water, the lights, the strobes, and the fans, etc. An ambisonic sound track plays through 8 hidden speakers and 2 hidden subwoofers. The piece begins as the storm approaches, with no water hitting the windows, then proceeds to the incredibly loud, floor shaking climax. As the storm dissipates the sound of someone moving and coughing in the next room is heard and then the piece starts again. This work was created in a deserted dentist’s office in a traditional Japanese house near the city of Tokamachi, Japan as part the Echigo Tsumari Art Triennial 2009.
All Photos from: Echigo-Tsumari Art Triennial 2009 | Takenori Miyamoto + Hiromi Seno
Pulse Room in Aarhus, Denmark,2009
About 100 (analog/classic) light bulbs are hung from ceiling of the installation site.
The bulbs plays a sequence of blinking. Every singe bulb represents and actually repeats heartbeat of past participants as 1 by 1 correspondence.
Sequence of how new participant joins is as following.
One of audience grabs a handle which heartbeat sensor is embedded.
It takes a short while until the sensor stabilize its readout. When it is done, whole order of pulses of bulbs shifts 1 (the oldest is now gone). And the new beat joins.
(Aug 2011)