Date: Saturday 30 October to Sunday 31 October, 2010
Time: 2pm to 5pm
Cost: FREE. OPEN TO PUBLIC
Location: Critical Path, Rushcutters Bay More information
SEAM 2010 presents an exhibition at Critical Path featuring Christian Ziegler's wald forest, Volker Kuchelmeister's Double District and Brad Miller's augment_me.
Time: 2pm to 5pm
Cost: FREE. OPEN TO PUBLIC
Location: Critical Path, Rushcutters Bay More information
SEAM 2010 presents an exhibition at Critical Path featuring Christian Ziegler's wald forest, Volker Kuchelmeister's Double District and Brad Miller's augment_me.
Deconstructing Double District Volker Kuchelmeister
Deconstructing Double District based on the multi channel stereoscopic video installation Double District (2008) with dancer/choreographer Saburo Teshigawara, this work explores a process of deconstruction and subsequent remodelling of a dancer's body in motion. The result is a fragmentation of the body into discrete volumes which are visualised within a computer graphic application. By doing so it is possible to bypass the point-of-view restriction of traditional video/film recording, space and linear time become variable properties and multi-dimensional visualisation becomes reality.
In this project this process is utilised to create an abstract representation and depiction of the dance performance in form of an interactive installation and a filmic work.
web site: http://www.kuchelmeister.net/prj_voxel.html
wald forest Christian Ziegler
Chris Ziegler a media artist based at the ZKM centre for art and media in Karlsruhe, has created a media installation with his piece wald - forest that uses these ambivalences and invites the visitor to take part in an interactive light and sound environment.
The forest is architecture as well as an organism. Beyond civilization, it is an ambivalent place, setting both fantasies and anxieties free. Whereas the black forest - where Chris Ziegler was born - is dark, this forest emits light.
His media space functions as a performance environment where dance, light and electronic sounds are interwoven in constantly changing constellations.
In an interactive sound architecture, composed by Sandeep Bhagwati, the visitor of "wald - forest" remixes a piano piece according to position and movement speed. Finally the space becomes a walk - in instrument, where the user generates and interacts with the forest's sounds and light traces.
www.movingimages.de
augment_me Brad Miller
Augment: To increase the size or value of something by adding something to it. (Oxford Dictionary)
augment_me is a responsive visual database; a memory machine of sorts but a live and developing one.
The images constituting the database are a sequence of photographs and videos, collected over the past 8 years and tracks my relationships with people, things, places, scenarios. They are sequentially embedded with contextual associations arranged (initially) by time and date. This, combined with being able to access and make those images move, appear and disappear – by anyone or anything within view of the camera/sensor in the space where the installation is exhibited, makes manifest the metaphor of memory.
Eight years ago, I bought a cheap digital stills camera on my way to China in 2000 for a brief trip. I took photos as an outsider, of what, to me, was a foreign environment. When I returned to Sydney, I continued taking photos but they were relatively unconsidered. What I mean by ‘unconsidered’ is that I took them as most people, not artists necessarily, take a photo – to record a moment, a person, a thing, a place. Moreover, I had no intention to use these images as art. In that way, I described them as “found” images because despite taking the photographs, the context in which they were ultimately used was other than what was intended.
The "unconsidered" aspect seems to have changed over time, with other influences on the image taking and collecting. I soon began to take my camera everywhere with me and took photos. As they accumulated, I reflected on the material I had already taken and certain patterns/themes began to emerge – architectural details, the state of my bed, signage, faces, abandoned urban spaces, gaps between buildings, friends and lovers, landscape, social events. As well, I bought a new camera and new lenses. This, and the continuing development of the work (augment_me) altered the way I took photos. As they accumulated, and were organized, they triggered associations and meanings, which the individual photo did not. They also functioned as a reminder of things, people, places, I would never remember. The work became a database of memories.
augment_me uses a granular synthesis system - a basic sound synthesis method that operates on the micro sound time scale and uses sound samples thus creating a live soundscape.
With the movement of visitors, the system is responsive to motion via a video camera and used to subtly change, influence, affect, the movement of the images. The motion also affects the dynamics (eg loudness, volume and frequency) in the audio.
http://www.staff.cofa.unsw.edu.au/~bradmiller
Creative Collaborators:
Programmer: Adam Hinshaw
Composer: Ian Andrews
Producer: Kate Richards.
augment_me was made possible by the generous support of the VACB and the Music Board of the Australia Council.
The three artists will discuss their work in a public forum at the close of the exhibition. More information about the artists here.
Image: Double District, 2008, a collaboration between iCinema and Saburo Teshigawara, developed with Volker Kuchelmeister, virtual human-scale duet choreography stereographic/3D multi-channel video installation. Image courtesy Volker Kuchelmeister
augment_me Brad Miller
Augment: To increase the size or value of something by adding something to it. (Oxford Dictionary)
augment_me is a responsive visual database; a memory machine of sorts but a live and developing one.
The images constituting the database are a sequence of photographs and videos, collected over the past 8 years and tracks my relationships with people, things, places, scenarios. They are sequentially embedded with contextual associations arranged (initially) by time and date. This, combined with being able to access and make those images move, appear and disappear – by anyone or anything within view of the camera/sensor in the space where the installation is exhibited, makes manifest the metaphor of memory.
Eight years ago, I bought a cheap digital stills camera on my way to China in 2000 for a brief trip. I took photos as an outsider, of what, to me, was a foreign environment. When I returned to Sydney, I continued taking photos but they were relatively unconsidered. What I mean by ‘unconsidered’ is that I took them as most people, not artists necessarily, take a photo – to record a moment, a person, a thing, a place. Moreover, I had no intention to use these images as art. In that way, I described them as “found” images because despite taking the photographs, the context in which they were ultimately used was other than what was intended.
The "unconsidered" aspect seems to have changed over time, with other influences on the image taking and collecting. I soon began to take my camera everywhere with me and took photos. As they accumulated, I reflected on the material I had already taken and certain patterns/themes began to emerge – architectural details, the state of my bed, signage, faces, abandoned urban spaces, gaps between buildings, friends and lovers, landscape, social events. As well, I bought a new camera and new lenses. This, and the continuing development of the work (augment_me) altered the way I took photos. As they accumulated, and were organized, they triggered associations and meanings, which the individual photo did not. They also functioned as a reminder of things, people, places, I would never remember. The work became a database of memories.
augment_me uses a granular synthesis system - a basic sound synthesis method that operates on the micro sound time scale and uses sound samples thus creating a live soundscape.
With the movement of visitors, the system is responsive to motion via a video camera and used to subtly change, influence, affect, the movement of the images. The motion also affects the dynamics (eg loudness, volume and frequency) in the audio.
http://www.staff.cofa.unsw.edu.au/~bradmiller
Creative Collaborators:
Programmer: Adam Hinshaw
Composer: Ian Andrews
Producer: Kate Richards.
augment_me was made possible by the generous support of the VACB and the Music Board of the Australia Council.
The three artists will discuss their work in a public forum at the close of the exhibition. More information about the artists here.
Image: Double District, 2008, a collaboration between iCinema and Saburo Teshigawara, developed with Volker Kuchelmeister, virtual human-scale duet choreography stereographic/3D multi-channel video installation. Image courtesy Volker Kuchelmeister
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