Archived entries for installation art

Rhizome | Means of Production: Fabbing and Digital Art

Rhizome | Means of Production: Fabbing and Digital Art.EXTERN_0000.jpg

By Greg J. Smith on Wednesday, March 4th, 2009 at 2:35 pm.

Image: Zaha Hadid & Parrish | Rash, Kartal Pendik Masterplan Installation, 2008. (photo: Bettina Johae)

Several years ago, while making the lecture circuit rounds, American architect William Massie described a key goal within his practice as moving towards a more direct translation between bits and atoms. Architecture has always thrived on the tension between representation and material assemblages and what he was addressing with this comment was the dawning of an era characterized by a new proximity between digital models and physical output. In selected contexts, artists, architects, and designers have been exploring these accelerated development cycles for a decade but the involved technologies are descending in price so quickly that, for example, 3D printers are now cheaper than laser printers were in 1985. A key question: how does the looming ubiquity of these tools and workflows apply to the production and display of new media art? This article will explore digital fabrication (aka fabbing) at a variety of scales which include the curatorial questions raised by these new hybrid industrial design/sculpture objects as well as the implications on the practice of individual artists. Before delving into either of these milieus it would be useful to acknowledge some common language and terminology associated with fabrication and recognize some important precedents.

I wish…

Screengrab

Screengrab

Exquisite movement Interactive Art

Este trabajo fue encargado por folly
en 2006 con el apoyo de NCCA,
Universidad de Bournemouth.

http://www.folly.co.uk/fwish2/spanish

Rafael Lozano-Hemmer

Image grab from the QuickTime Frequency and Volume

Image grab from the QuickTime Frequency and Volume


Frequency and Volume is composed of 48 radios, which can potentially all be tuned to different channels simultaneously. The 90-metre long arc of the gallery wall becomes a visual and sonic representation of London’s radio spectrum, constantly changing according to the physical position of its visitors.

On entering the space, participants’ shadows are cast on the wall. Monitored by a video tracking system, each shadow tunes in to a radio frequency, changing channels as it moves around the gallery. The outline of a projected shadow affects the tuning, while its size controls the volume, thus the human body becomes an antenna able to tune into different frequencies. The resulting sound environment is a continuously evolving composition created by multiple contributors .

Rafael Lozano-Hemmer

Frequency and Volume

9 October 2008 – 18 January 2009
The Curve