![]() Origin is a large matrix of lights programmed to produce patterns that mimic ones that are more familiar to us in the real world, swarming and flocking behavior, for example. Using Cellular Automata systems, including our favorite, Conway’s Game of Life, to control LEDs he produces massive, visually complex works such as Origin. Pattern recognition heads, myself one, will have a field day perusing the work and ideas of this Albuquerque based light sculptor. The inherent need to decode and make meaning from patterns in systems is utilised to the max in Leo Villareal’s light works which most recently have be controlled by computational systems. WiiWiiWiiWii was produced by Claudio Midolo, Edgar Castellanos, Natan Sinigaglia & Pedro Mari. The representation of sound comes in the form of a branch like structure with ‘notes’ growing from it – a kind of real time evolving organic score. WiiWiiWiiWii looks like fun – it uses the Wiimote and Nunchuk to produce sounds and their graphical counterparts. Its motion sensing capability in 3D space is perfect for mapping into your X, Y and Z’s resulting in a fun and novel way of controlling your animationsīringing together 3 Software’s – VVVV, Max/MSP and Reason the WiiWiiWiiWii thesis project provides a system allowing for a set of Wiimotes to become a syneasthetic musical instruments. Designed for gaming but easily hackable to control your favourite software – be it Processing, Max/Msp or VVVV. Recently the importance of the midi controller with generative systems has been proven, but a new kid on the block is the Wii controller (Wiimote). ![]() Sometimes a keyboard for control is not enough, you require a tangible interface to communicate with your parameters. Elsewhere we find the Book of Life, a ‘little machine that writes urban architecture in space’ – hermetic grids and structures illuminate each page, networks both microscopic and macroscopic are implied. The Other Spaces series contain rectilinear grids that have been distorted to become liquefied, a set of ‘post fish eye lens’ spaces which ‘contain elastic boundaries, extreme runways, and liquid structures that expand our common perception of space and time. Many of the pieces involve custom built software to produce real-time animations and transformations via simple rule-based algorithms. Inevitably the work insinuates aspects of the real world, utopian architecture, liquid runways and roads, but also, as referred to in her artist statement, political boundaries and territories. Shirley Shor expresses her interest in space via a variety of works that bend, stretch, convolve and renew three dimensionality to produce a body of work with sharp compositional aesthetics and considered colours.
0 Comments
Leave a Reply. |
Details
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |