Digital #MediaArt(s) Numérique(s)

In the 19th century a lot of devices, such as Thamatrope, Phenakistiscope or Zoetrope, that displayed images were invented.

These devices are unique in shape and process of how to display images itself.
In the process of generalization and optimization,the shape and process of the display converged to a stereotyped figure such as flat , square or fixed.

It is one of the most efficient shapes to transmit information correctly, but it`s unsatisfying in terms of a device to create expression.

There should be a diversity and more room for creation.
dis:play(bias) is a experimental trial to create devices dedicated to transmit not information, but expression.
dis:play(bias) is based on the principles of polarization.
LCD(liquid crystal display) consists of 4 layers, top polarizing film, liquid crystal, bottom polarizing film and backlight.
dis:play(bias) also has 4layers, but top polarizing film is separated from LCD display.
To separate top polarizing film from display, so that top polarizing film can be designed any shape.
Images are visible only through cubes and plates attached polarization film on.

Si l’on parle quasiment toujours des lines-up de Peacock Society, on s’attarde plus rarement sur les acteurs des différentes scénographies numériques innovantes qui font de ce festival une expérience multi sensorielle, qualifié à juste titre de «festival des cultures électroniques (…) de la musique aux arts visuels». Ces scénographies révolutionnent notre façon de vivre, de penser et de ressentir la musique en mettant le spectateur au centre du processus créatif.

Depuis sa création, l’agence WE LOVE ART – à l’origine du festival – œuvre pour la culture de demain dans les domaines de la musique, de la scénographie, des arts numériques et de la technologie en proposant des événements novateurs où les nouvelles technologies sont mises au service de la création et du public. Et ce n’est pas un hasard si l’agence a proposé deux années des créations dans le parcours officiel de la nuit blanche – en 2010 en collaboration avec 1024 Architecture ; et cette année sur le Pont des Invalides, pour une performance bluffante...

Une fois tous les deux mois, Beat à l’air vous emmène à la découverte des meilleures scénographies immersives mêlant art sonore et visuel.

Kimchi and Chips have just released a video of their 483 Lines Second Edition exhibited at the Asian Cultural Centre (ACC) last year and presented during the first edition of ACT Festival curated and co-organised by HOLO/CreativeApplications.Net team.

Two scenes of kevlar rope face one another tensioned to 5000kg. The audience is presented with highly parallel lines which contrast the darker space, building panoramic moire patterns. Video projection is used to address each line with digital pixels, activating visual matter within the volume of string.

This second edition of the 483 Lines was commissioned by the ACT Festival, Gwangju 2015, continuing to celebrate and interpret the non-constructive aspects of the NTSC television format.

via http://www.creativeapplications.net/news/483-lines-second-edition-kimchi-and-chips

Le 31 mai, le KIKK et le TRAKK vous invitent à la soirée "Light + Tech", qu'ils organisent aux Abattoirs de Bomel. Venez découvrir, en 3 talks de 20 minutes, des projets inspirants mêlant la lumière et les technologies 3 intervenants venus de Bruxelles, Paris et Lyon présenteront leur travail :

- Romain Tardy, artiste, réalisateur et directeur artistique abordera ses travaux de mapping, utilisant projection et installations lumineuses physiques. (www.romaintardy.com)
- Félicie d'Estienne d'Orves, artiste numérique, présentera certains de ses travaux, dans lesquels la lumière occupe toujours une place centrale, tant par l'utilisation du laser, de la réfléxion ou de la projection. (www.feliciedestiennedorves.com)
- Gilles Flouret, l'un des organisateurs de la Fête des Lumières de Lyon, présentera le festival et son fonctionnement, ainsi que plusieurs projets phares qui y seront exposés en 2016. (www.fetedeslumieres.lyon.fr)

GRATUIT et ouvert à tous.

Yann Kersalé is an artist who uses light to create art, as others may use various materials of expression. He picks nighttime, key setting for sensitivity, as a field of experimentation. He offers new tales to the contemporary city, while bringing altogether spaces and constructions in movement.

Yann Kersalé seeks, throughout specific sociological, historical, geographical or architectural elements, a base of creation to then extract a narrative theme. He next creates light fictions in urban surroundings, geo-poetical wanders in nature or elaborates his own light – substances. Most of his projects are conceived this way.

For the past thirty years, Yann Kersalé travels worldwide and explores different forms of landscape from dusk till dawn. He was born 17th February 1955 in France.

Take hold lightly, let go lightly.
By Pavitra Wickramasinghe (pavitraw.com)
2013

Installation; laser-cut paper, motors, metal, plastics, electronics, light & shadow.

Electronics & Mechanics by Jonathan Villeneuve (jonathan-villeneuve.com) & Pierre Gaudet.

HC Gilje works with installations, live performance, set design and single channel video.

Gilje has presented his work through different channels throughout the world: in concert-venues, theatres and cinemas, galleries, festivals, outdoors and through several international dvd releases, including 242.pilots live in Bruxelles on New York label Carpark and Cityscapes on Paris-label Lowave.

http://hcgilje.com

Deux matrices à cristaux liquides interagissent par le biais d'un miroir pour permettre l'affichage en trois dimensions d'un plan perpendiculaire aux écrans, qui semble surgir des parois et traverser tout l'espace disponible, à l'intérieur du dispositif, pour venir se fondre dans la paroi opposée. Ondulant telle l'interface séparant l'air de l'eau, ce plan théorique revêt deux aspects différents selon qu'on l'observe par l'une ou l'autre face, qui se présentent sous des teintes complémentaires.

S'il s'agit bien d'une forme d'illusion d'optique, le dispositif nous donne l'occasion d'approcher l'étrangeté de la lumière que décrit la physique quantique : à la fois onde et particule, elle n'est ni l'une ni l'autre, mais correspond finalement à une troisième réalité, somme des deux précédentes, que nous ne savons pas penser, car nous ne pouvons la concevoir d'après notre expérience du monde tangible.

speculaire.fr

Trained at the University of Lyon II and ARFIS Guillaume Marmin is a French visual artist.

His work, connected from the beginning to the music scene and performing arts, is part of a revival of the visual creation by overcoming traditional forms of storytelling and traditional performing media. Influenced by experimental filmmakers such as Len Lye or Stan Brakhage, Guillaume Marmin is looking for a new synaesthetic alphabet, a common language between images and sounds, rhythms, contrast and sleek moving figures.

In order to offer new media on this new language, the work of Guillaume Marmin is taken away from the traditionnal screen to test all types of media: mapping on 3D sculptures and buildings, projection on photography and screen printing, bodies in motion and smoke. His immersive works in public space consisting of collaborations between architects, musicians and lighting designers.

“Phase=Order” is a kinetic light installation in which 96 screens move, reflect, and organize to create an abstract field of shadow and light. The installation is the physical output of a research into self-organizing processes in nature and programming these nature-like behaviors into artificial material.

Where a lot of research in this field focuses on the rules of behavior within these systems, Phase=Order focuses on the audio-visual beauty of these phenomena and how to compose an organic choreography based on swarm behavior. Through studying the elements of light, sound and movement the work is created as a multi-sensorial experience.

www.macular.nl

Circularium is both a light&sound show and an interactive art installation open to public testing through a gestural controller without contact.

Circularium is a kinetic and interactive work of 4 meters high whose architecture is based on the circle and the concept of circular light. With this panoptic scenography and its spatialized sound, the artist immerses the audience in a multi atmosphere: 360 degrees of light and sound. The project is to use the cylindrical profile of the device for circulating light frames and orient the eyes and the senses in all directions, mysteriously revealing the heritage and raising bridges with the collective imagination. The work has an impact architecture and extract stone sensitive qualities contributing to vibrate in sympathy heritage and visitor, past and look alive.

Co-production: CreArtCom (Creative Art Company) and Château de Blandy-les-Tours
Design, Art Direction, sound & programming: Derrick Giscloux
Making: Kalash Agostini, David Strickler, Arthur Suzuki
Illustrations, photos: Eléonore Sabaté, David Strickler

Michael Candy s’intéresse dans ses œuvres à ce qu’il nomme « instinctive engineering » (ingénierie instinctive). Il s’agit d’utiliser les technologies, la physique ou la biologie pour mettre en perspective des questionnements liés à des phénomènes de société, à l’écologie, à l’accroissement et à la portée technologique. Ainsi, notre développement en tant qu’espèce et notre rapport avec l’environnement et ses autres habitants, ou l’impact des technologies sur nos sociétés, sont interrogés dans des propositions artistiques souvent liées à des phénomènes naturels. Ou bien encore, il crée des installations conçues sur le modèle des bombes artisanales de la guérilla et du terrorisme, ou fait des digressions artistiques et conceptuelles sur le mobilier urbain.

http://www.prixcube.com/prixcube2016/michael-candy-laureat-du-prix-cube-2016

UNDER WAY metaphorically transposes the building which houses it into a ship at sea, and sets the encounterer free on a voyage to uncharted shores. 

THE INTERVENTION uses a series of inversions to create the perceptual conditions that allow the “ship” to set sail. It installs a moving horizon, with its ocean and stars, into the space, suggesting to the visitor that it is in fact the building which is moving. The instrument of this horizon is an illuminated, kinetic loudspeaker assembly, inspired by marine chronometers, the essential instruments of navigation. In the days of square-rigged sailing ships, the chronometer was suspended in a basket of gimballed rings, so that as the ship moved, the chronometer remained static, enhancing accuracy. Here I invert not only the building, moving its horizon to its interior, but also the chronometer, so that it tilts continually on its gimbals and drives the motions of a horizon projected onto the walls. The reimagined compass, no longer an introverted guide, projects an altered reality into the entire space. 

THE INSTALLATION: A 12” speaker is mounted on gimbals so that it can move freely in 2 axes. Movement is initiated entirely by the soundtrack playing from it, via a small wire pressing on its membrane. On top of this floats a ring of mirrored film, and it is surrounded by a fixed ring of spotlights, directed inward, forming a continuous shadow line around the walls of the room, thus creating the horizon. Then, as the speaker moves, so moves the horizon. The mylar ring reflects the lights upward, projecting a celestial map overhead, rocking with the motion of the waves. 

THE SOUND is a 5 channel electroacoustic composition (a quad array is hidden in the base). Recordings from the inside of a bottle at sea play from the moving speaker and produce moving nodes and doppler shifts. The fluttering of heavy cloth plays from the base, and, by using phase differentials, seems to emmanate from the floor and walls.

http://douglashenderson.org

SEI = Star 星、Silent 静、live 生, is a Japanese homophone. SEI: Stella Octangula is 13 foot high, large-scale interactive LED sculpture designed for the Manhattan Bridge archway during the 2014 Dumbo Arts Festival. The installation is brought to life through the public's interaction. By placing a finger over one of eight different sensors, a viewer activates the dormant installation from a still light star into a moving light symphony.

http://www.imagima.com