Thursday, 31 March 2011

(Annarita)

Wednesday, 30 March 2011

Martin Inda

Love the projection videos below, especially the idea of a projected movement over a static made garden, this could bring all our specialisms together nicely. Martin Inda's projections brings together the natural and structured..looks almost kaleidoscopic. watch his video at this link-http://vimeo.com/9427593

Tuesday, 29 March 2011

Léopold Rabus

Monday, 28 March 2011

Theodore Watson

http://vimeo.com/5269088

"Terrarium is an interactive, sonic ecosystem whose source of energy comes from the sounds people make interacting with the work. The sounds of the participants voices come into the world via the sound vents. These sounds are too raw for the environment so they are sucked in by the Seed Spitters who process the sounds to more manageable particles which are then expelled into the environment. These processed sound particles help spawn and sustain life within the ecosystem, providing food for the fish in the water and creating frequency sensitive plants on the land. The voice also triggers changes to the Pattern Bush who adapts the shapes of its leaves to the sounds it hears."

Click the link above to see the video.

Marie Sester

Frieder Weiss

http://www.frieder-weiss.de/

Looking at interactive technology in art form. Interactive digital surroundings that react to movement.

(Laura)

Sunday, 27 March 2011

http://www.thecoolhunter.co.uk/article/detail/1775/lexus-sculpture--ct-umbra

Squidarella color changing umbrella by UrbanTrim.com

Shape Memory Textiles

http://www.tumblr.com/reblog/4119393502/7UZjGL2m?redirect_to=%2Ftagged%2Fseasons%3Fbefore%3D1301189998

http://www.thecoolhunter.co.uk/article/detail/1858/tom-fruins-outdoor-sculpture--kolonihavehus

Friday, 25 March 2011

Illusion of protectionBy A

Marble Run 2

Falling Water kinetic sculpture by David C. Roy © 2008

Yaacov Agam, "Transparent Rhythms II," Hirshhorn Museum

I I O - interactive media wall

"Weave Mirror" (2007) by Daniel Rozin

piksol

Here's a few Illusion Fences I've come across : ) xx Annarita

Thursday, 24 March 2011

Making a Camera Obscura -The Genius of Photography- BBC Four

http://www.youtube.com/watch?v=Xcv4CxQ1I-A&feature=related

using the grass/natural elements but confining it...visible layers

Prism reflection sculpture just off regents street- changes in the light and varies on viewers perspective

illusion/layers

ROBYN ALBUM COVER

November 2010 Suspended from a delicately constructed coat hanger construction floats a seven layered paper pixel textile of electro-pop icon Robyn, with the real Robyn knitted amongst her seven other selfs. Constructed over two days by Lucy and the Dream Team Robyn's third epic album is borne! Watch out for the release of her Indestructible music video! www.robyn.com
....................................................................................................

PHILIPS DESIGN PROBES

Lucy consulted as a Body Architect in the Probes Programme at Philips Design. The programme accelerates a vision for next generation sensitive technology. The Skin Probe dresses explore emotional sensing technology conceiving dresses that blush and shiver. Clive van Heerden - Director , Jack Mama - Creative Director, Team - Nancy Tilbury, Lucy McRae, Rachel Wingfield, Matthias Gmachl, Stijn Osserfort, Bram Osserfort, Ollie Niemi , Oliver Gondorf, Sita Fischer www.design.philips.com/probes

Captivating, entrancing and engaging, the tactile and visceral experiences of Anish Kapoor’s last exhibition at the RA, wonderfully explore and investigate self reflexive optical effects and immersive surfaces, tools that were perhaps once common place in Architectural lexicon. Upon entering the exhibit we are immediately confronted by one of Kapoor’s signature elliptical voids fabricated from an impressive weight of Coreten steel. The surrounding material around the vagina like opening fills our entire peripheral vision convincing us that it is a giant solid volume penetrated by a sensuous hole. As we begin to circumambulate the structure expecting it to occupy the entire room we realise the illusion created by filling our peripheral vision; the solid volume reveals itself as a thin facade and we see the solidity of the void. This is a great example of an architectural Ganzfeld effect.

The Ganzfeld, German for entire field, is more commonly associated with parapsychology experiments where test subjects experience homogeneous and un patterned sensory stimulation to produce effects similar to sensory deprivation. The lack of discernible sensory input is conducive to internal imagery is comparable to the technique of ‘Scrying’ (which appears in many traditions in various forms) where smooth, polished, translucent and reflective surfaces are used to facilitate visions believed to be from a God, Spirit or divine realm.
Kapoor’s sculptures echo and use this very tool of homogenous and un patterned sensory stimulation to produce art works that encourage states of ‘inwardness’ that feel somewhat surreal and other worldly or Spiritual.

His giant reflective blobs and mirrors certainly produce this effect and are some of the most engaging and entertaining pieces in the exhibit. Kapoor describes the effect of the highly polished reflective concave and convex surfaces as seeming to ‘reverse, affirm and negate’ the space and view. The objects have a threshold and a presence that one enters into and the slightest movement of you head and body, i.e. your perceptual position, creates a dynamic and fluid reflection that is totally absorbing.

But Kapor is not the first to use these optical techniques on such a scale. The ‘Architectural Ganzfeld’, has been around for millennia, and has often sought the most intensive craftsmanship and production techniques for its execution. The first that springs to mind is the hypnotic geometric patterns found in the fractal mosques of the middle east.

Here intricate Islamic geometry is used over such a large architectural scale that the individual detail and intense pattern is lost until close examination and an engulfing, homogenous surface that the eye can’t quite settle on is created. The shimmering fluctuating effect produces responses akin to the ‘inward projections’ of the Ganzfeld and it is clear to see why such an architectural tool would be used in a place of worship.

Kapoor’s work also combines other optical effects to create these giant immersive fields. One of his most refined techniques is the use of pure colour and pigment to create surfaces with immense spatial and expansive qualities. The perceived depth in the colour of Kapoor’s work reminds me of the depth of colour techniques employed by the Tibetan monks in their Shrine rooms.

Śūnyatā, in Mahayana traditions of Buddhism literally means ‘emptiness’ and refers to the insight that arises from realising the impermanent nature of all form. The concept of formlessness, impermanence and emptiness often manifests itself in the processes used to create Buddhist vernacular buildings. Woodwork panels, walls of shrine rooms as well as traditional Thangka paintings often go through a laborious process of colour application that is symbolic of Śūnyatā and has effects akin to pigment works of Kapoor. Bright colour, made from pigment collected from natural materials and stones is mixed with egg yolk and painstakingly applied on to surfaces in extremely thin layers. Often a complimentary colour such as green, is first applied to a surface that will eventually be red. The layers of colour are built up slowly, sometimes between 50 – 100 layers, and result in a colour so intense the eye can not rest on the surface and an incredible perceived depth occurs. In Thangka paintings Buddhas and deities appear to have shimmering auras, when used in the architectural scale - rooms appear to subtlety pulsate with colour and the walls seem less solid and more ephemeral.

susan derges, masssivveeeeee archwys...reflections caught and then photoshoped, optical illusion of ground and floor.....

Richard Wilson

20:50

1987
Used sump oil, steel

Dimensions variable

Richard Wilson’s 20:50 is truly a contemporary masterpiece. The work is the only permanent installation at the Saatchi Gallery and has been continuously shown in each of the gallery’s venues since 1991. Currently on display in Gallery 13 – a room custom built for the piece – 20:50 transforms the gallery into a site of epic illusion.

Viewed from the entrance platform 20:50 appears as a holographic field: simultaneously a polished floor, infinite clear pool, an expansive and indefinable virtual space that clinically absorbs and mirrors the gallery architecture. The room is in fact entirely flooded in oil.

Visitors are invited to examine the piece close-up via a walkway that extends into the lake, placing the viewer, waist deep, at the centre of a perfect mathematically symmetrical scope. Through this altered perspective 20:50’s phantasmical aura is enhanced, amplifying the disorientating and mesmerising experience of the space, and further confounding physical logic.

20:50 takes its name from the type of recycled engine oil used. It is thick, pitch black, and absolutely indelible: please take extreme care with your clothing and belongings, and no matter how tempting, please do not touch. 20:50 often has to be demonstrated to be believed: the liquid can be seen by blowing very gently on the surface.

Fences and flooring/seating with the seating of others...interactive sculture below-projection onto sculpture to interact with publics drawings..cause own illusion-modification of object

NAOMI CAMPBELL

STAinTUESQUE

Statuesque is the word for Naomi Campbell, an icon of our time who, it seems, can inflame opinion in any observer. Statuesque is also the word for Naomi - Nick Knight's 25-foot interactive sculpture that formed the centrepiece of the exhibition SHOWstudio: Fashion Revolution at London's Somerset House.

Inviting viewers to utilise Naomi's body as a conduit for global communication, exhibition goers and online viewers alike were able to 'graffiti' across her with projected light, while microphones placed in and around her body picked up visitors' audio responses and broadcast them worldwide.

This project documents both the final installation - showcasing a ten-minute extract of over three hours of footage captured over the three-month exhibition run, alongside a tour narrated by Nick Knight of the exhibit itself - and also the all-important process behind scanning Naomi in three-dimensions and recreating this Supermodel, super-sized.

Materials That React To Their Surroundings

Thermochromic inks and fabric dye

Heat sensitive fabric

http://www.youtube.com/watch?v=OZmxeJdDnjg

These ceramic tiles are fully interactive and heat sensitive

Hahaa.

Tomas Saraceno

Saraceno constructs a network of habitable platforms floating in the air. The inspiration for Saraceno’s soaring architecture stems from nature’s complex geometric shapes and the sky. His constructions consist of airborne gardens and inflatable plastic modules as alternative, futuristic habitats. Saraceno’s almost Utopian sculptures and installations challenge our experience of the environment and the social landscape.

http://sweet-station.com/blog/2011/03/tomas-saraceno/