¿A que huelen los átomos?. Instalación audiovisual inmersiva de arte generativo con la que el visitante puede adentrarse en las profundidades de la materia, en este caso del grafeno y poder percibir el color de los átomos que lo componen así como su sonido análogo, despertándole así nuevas sensaciones.

El grafeno es un nanomaterial compuesto por carbono puro, con átomos dispuestos en un patrón regular hexagonal y formando una lámina de un átomo de espesor. La forma hexagonal del cajón hace referencia a la disposición de los átomos del grafeno, y lo que se ve en el monitor de su interior es una abstracción en movimiento continuo, realizada mediante el empleo del software libre processing, del color de la luz que emiten los átomos de carbono que lo componen. El carbono emite luz en una longitud de onda de 424,66 nanómetros, que corresponde a un color violeta. El audio que se escucha, es una composición sonora que nos adentra a la profundidad de la materia, realizada en base al sonido análogo asociado a la longitud de onda del color de la luz que emite el carbono. En este caso un sonido de 11.882 Hz.

El uso de la mirilla y la acción de mirar a través de ella, supone un acercamiento hacia la metodología empleada en el estudio del mundo microscópico, donde hay que observar la materia mediante el uso de diferentes herramientas, con lentes que amplían o modifican la imagen. Además, hace referencia al concepto de puerta, como un objeto que permite el paso de un lugar a otro, que facilita el acceso a nuevos espacios, en este caso al nanoespacio.

¿Qué pasaría si fuéramos del tamaño de un átomo?,
¿cómo veríamos y percibiríamos el mundo que nos rodea?,
 ¿de qué color es la materia a esa escala?. Una escala, que para nosotros en principio es invisible, se nos deviene como un refugio imaginario en el cual nuestra mente puede viajar e imaginar libremente, facilitando la producción de sensaciones cromático-sonoras. De ahí que sea inevitable plantear la siguiente

pregunta: ¿cómo representar el espacio que no vemos, así como la materia y energía que lo conforma?.

tag: softwareart

A classical problem in mathematics is about the maximal number and type of singularities, that a surface described by a polynomial of a given degree may have. This work is based on recent research in algebraic geometry concerning nodal and other kinds of singularities. The interest of this explorations in the arts starts only when an anti-genealogy emerges. The project title may be regarded also as an allusion to a collection of essays by the spanish poet José Ángel Valente.

URL home page, (Internet address for download)

tag: softwareart

The World Mountain Machine shows architectural morphology as a historical process and translates it into a visual language. The spectator is offered a view of a process that develops over the course of the whole exhibition: A world mountain [a mythological expression of world “as it is” in its cosmic order in form of a concrete architecture] is created that transcends through different stages of evolution based on the sensory input coming from the venue of the exhibition and methods derived from computational biology and fractal geometry. The spectator thus becomes the active participant of the evolution of the architecture that is presented to him while at the same time he is only displayed a snapshot of the whole development. The work highlights the ephemeral nature of a historical process while at the same time creating an abstract mathematical model for process morphology throughout the exhibition. It shows the ongoing development of the architecture that will be completed on the last day of the exhibition.
technicaldates: Interactive audiovisual installation (projection space 2x3m) and 268pg book, in collaboration with Ulrich Gehmann, 2014
cvteam: Martin Reiche is an audiovisual artist living and working in Berlin, Germany. He is co-founder and former head member of the Laboratory for the Analysis of Social Networks (LASN) at Karlsruhe University of Arts and Design, co-founder of the Subformat Research Group with research on theory of space and spatial digitalization phenomena and is regularly presenting on professional computer science and digital art and gaming conferences.

tag: generativeart

For 5 weeks, I took the top 10 videos of YouTube and resynthesized the #1 video using the remaining 9 videos.  I aimed to continue until one of the smashups ended up in the top 10.  However, despite their abstract nature, most smashups were the subject of copyright violations.  The process, “Smash Up”, learns tiny perceptual fragments of video using a computational model of perception.  The process is not copying the file, but synthesizing it from entirely different material.  This work attempts to highlight the nature of what can and cannot be copyright-able, as algorithms become increasingly more intelligent.

tag: generativeart

Lifefloor is an immersive and interactive installation based on the Game of Life, which is the most well-known cellular automaton (mathematical simulations of intelligent cellular systems) created by the british mathematician John Horton Conway in 1970. This algorithm is used by scientists, mathematicians or economists as a simulated example of self-organization and for the development of complex systems through the implementation of simple rules. It has the power of a Turing machine; that is, anything that can be computed algorithmically can be computed within Conways’ Game of Life.

As a visitor to the space, you influence the sound and visual ecosystem, invading and modifying the development of cellular generations in real-time and affecting the artificial life within the installation.

Every step and movement in the system is tracked and displayed alongside internally produced data, inviting the visitor to have a relation with the environment both inside and outside the space. This also allows the algorithm to be the protagonist and enabler of the installation.

Located within the context of a deconsecrated church, the piece seeks to appropriate the same spaces used for the rite for which it was created to symbolically perform a new cult: the cult to science, to mathematics, to the technical and scientific theories in the pursuit of the empirical truth.

tag: generativeart

ZIL
Nuremberg. Alemania
www.zil-zil-zil.tumblr.com
https://vimeo.com/user8975984

Proyecto: SILVER LIGHT

SILVER LIGHT is made with a variety of techniques. ZIL created the film with smooth, formal, abstract forms by multi-layer editing including animations of Vince McKelvie which can be seen in combination with the music of Zoy Winterstein. The abstraction is the main aspect in the video. The core content of this work is nature, elements, the divinity and the infinity. Life is always moving forward, always changing-the animated torus which appears in the middle of the video symbolizes this infinite force that constantely flows and creates all life surrounding it in an abstract way.

tag: generativeart