Dutch Electronic Art Festival, R'dam
Heeft geen reet met metal van doen maar toch erg gaaf, vanmiddag geweest.
Hou je van creatieve en vooruitstrevende digitale toepassingen, ga dan kijken. De meest bizarre 'kunst' dat gebruikt maakt van video, geluid en communicatie zijn er te vinden. Bij vrijwel alle kunstwerken is het de bedoeling dat je als bezoeker er iets mee doet. Erg leuk allemaal.
Het is in de Van Nelle ontwerpfabriek (groot wit gebouw vlakbij die fata-morgana moskee in west). Neem bus 38 (richting Schiedam) vanaf CS.
Zeer de moeite waard.
http://www.deaf04.nl
Deaf 2004
Ga zeker de installatie MUSH zien! (in de kelder) Beter nog, onderga het (dus volunteer om het stokje aan te pakken).ouwe schreef:Hier moet ik donderdag verplicht heen.. Het is dus wel de moeite? Ben stiekem toch wel benieuwd...
1 woord: Kankerherrie. Te meesterlijk.
M.U.S.H. (Multi-User Sensorial Hallucination) is an interactive audiovisual space in which two people in different locations (DEAF04 in Rotterdam and STEIM in Amsterdam) are connected to each other by means of telepresence equipment.
The user enters a dark, silent room. S/he can use a navigation stick to activate sound and image. This brings the system into a "hyperkinetic" state: there is a chaotic play of sounds, ghostly images flash, shadows appear and disappear ... If the user moves the navigation stick back and forth long enough, rapidly and slowly, the image of the person in the other Mush-Room will gradually appear on the large screen. The users' movements create the opportunity for a virtual meeting between two strangers. M.U.S.H. is based on synchronicity and creates the conditions for the testing of telepathic possibilities.
The navigation stick is a wireless movement sensor that registers the changes in the speed at which the viewer moves it. On the basis of this signal the computer changes the "choreography" and the play of sound and image.
HAHA neen.
deze is ook erg gaaf (althans voor de meer sportieve mens):
RUN MOTHERFUCKER RUN
Run Motherfucker Run is a trip through nocturnal Rotterdam in installation form. The visitor's running rhythm determines the speed of the treadmill, and this drives up the speed of the pictures. After every film fragment, one can choose between two more short films by turning left or right. In Run Motherfucker Run one is seized by an oppressive feeling. Running through the deserted nocturnal panoramas, one has the feeling one is being chased. While one thinks one has a certain control over one's running speed and the selection of the images, one ultimately realizes that one is being controlled by the machine.
Through an opening in the projection screen, a laser scanner determines the runner's position relative to the screen. When the runner changes position, the speed of the treadmill and the pictures is adapted. For example, if one runs faster, one moves further forward, and this is immediately registered by the computer. A signal is then sent to the treadmill to go faster, and to the pictures to move in faster succession. The sensor can also distinguish whether someone is walking to the left or right within the field of the treadmill. There are two beamers that project a life-sized picture in which the user is incorporated into the stream of images of streets, metro stations, roadways and railway tracks.
Marnix de Nijs demands the audience get involved in his art. Passively standing to the side is not an option in his interactive installations. In particular, he seeks to examine the power relations between humans and machines. De Nijs says, "I'm only offering the steering and the control to the audience to make them more involved, to let them ultimately find out that there is nothing else possible except what the machine dictates, thus actually what I want." The loss of control is something which is experienced as threatening. A feeling of fear is involved in many of De Nijs's installations, increasing the feeling in viewers that they have lost control of the situation.
RUN MOTHERFUCKER RUN
Run Motherfucker Run is a trip through nocturnal Rotterdam in installation form. The visitor's running rhythm determines the speed of the treadmill, and this drives up the speed of the pictures. After every film fragment, one can choose between two more short films by turning left or right. In Run Motherfucker Run one is seized by an oppressive feeling. Running through the deserted nocturnal panoramas, one has the feeling one is being chased. While one thinks one has a certain control over one's running speed and the selection of the images, one ultimately realizes that one is being controlled by the machine.
Through an opening in the projection screen, a laser scanner determines the runner's position relative to the screen. When the runner changes position, the speed of the treadmill and the pictures is adapted. For example, if one runs faster, one moves further forward, and this is immediately registered by the computer. A signal is then sent to the treadmill to go faster, and to the pictures to move in faster succession. The sensor can also distinguish whether someone is walking to the left or right within the field of the treadmill. There are two beamers that project a life-sized picture in which the user is incorporated into the stream of images of streets, metro stations, roadways and railway tracks.
Marnix de Nijs demands the audience get involved in his art. Passively standing to the side is not an option in his interactive installations. In particular, he seeks to examine the power relations between humans and machines. De Nijs says, "I'm only offering the steering and the control to the audience to make them more involved, to let them ultimately find out that there is nothing else possible except what the machine dictates, thus actually what I want." The loss of control is something which is experienced as threatening. A feeling of fear is involved in many of De Nijs's installations, increasing the feeling in viewers that they have lost control of the situation.
HAHA neen.