The installation VRMe explores the human body’s self-perception in virtual reality. A pair of virtual reality glasses is attached to a wall in the exhibition space. When the visitor puts on the glasses, he sees a virtual representation of the real exhibition space.
The wall itself is displayed in the center of the virtual space. Each time the viewer walks through the wall, he enters a new form of spatial representation in which he himself also appears in ever-changing constellations.
The representations use et al. spherical real-time video, stereoscopic dome photography, 3D laser scanning or photogrammetry, while the visitor is captured via two Kinect depth imaging cameras.
The viewer is forced to think about the relationship of his or her body with virtual and physical reality and thus to develop an intuitive understanding of the perceptual properties of these technologies.
Runners explores the personal experiences and memories of a group of runners, through their own spoken words, as well as the words, sounds and music of the composer (David Berezan).
A/V installation featuring a network driven by solar powered and interrupted square wave oscillators.
The network meditates on river trash, as an analog for non-human networks in nature and in data.
Carolin Liebl and Nikolas Schmid Pfähler
Using elements of kinetics and robotics, Liebl and Schmid-Pfähler create sculptures and installations that explore the effects of technical developments on aesthetic and social aspects of life. In their works, material qualities of a visual and haptic nature are just as important as programmed processes, algorithms and physical laws. As a duo, they graduated in Electronic Art as well as Sociology and Theory of Media at the Offenbach University of Art and Design in 2017. Liebl and Schmid-Pfähler founded the interdisciplinary studio house “Atelier Wäscherei”. The former laundry building in Offenbach, which they converted themselves, has since 2019 been the workplace of sixteen artists, as well as a platform for exchange and a venue for events.
Pots of Infinite Possibilities
The ‘Pots of Infinite Possibilities’ are a series of interactive ceramic works which explore the material characteristics and aurality of ceramic objects. The works use touch capacitance and proximity sensing on archetypal pots to generate or access electronic sound that is created by or of the pot and the user’s interaction. By exploiting the conductive nature of lustre, the ceramic objects, themselves become the interface, enabling us to extend our experience of familiar and mundane objects. This body of work created for EASTN DC is a continuation of research into how traditional making skills, ceramic materiality and digital technologies can link touch, sight and sound in a myriad of ways, using the habitual ways in which we handle familiar objects and materials to explore the infinite possibilities of objects as interface.
Staš Vrenko’s project Loops in Transmission deals with technical media that are capable of constructing specific modalities of measuring and recording time while also creating unique technology-based temporalities.
The sound installation Loops in Transmission is conceived as an interactive system of three identical sound devices or tools intended for the processing of sound and logical signals.
The foundation of each tool are smartphone applications developed for this specific purpose, extended with a selection of analogue-digital modular electronic circuits.
Through a system of (electromagnetic and data) feedbacks in individual devices and through feedback on the level of communication between devices via LAN connection, Loops in transmission resonate and sonify the microtemporal processes of analogue and digital tech media that are otherwise inaccessible to human perception.
In the textual world, and in each language, meanings are associated with specific geometries and their different conglomerations. Meanings have become visual entities. In a sense, ideal communication would be a frozen world of meanings, sounds and geometries. But would it be? In the text/ure participatory art installation the artists are trying to fluidly reform the relation of text and geometry. They vitalize parametric design and digital fabrication in order to re-visualize each word in relation to the phrase it appears in. In the textual world an utterance is a scratch, more a texture than a text, a text/ure.
Tilen Sepič is a multidisciplinary artist and designer working in the fields of new media, light art, design of lighting objects, and AV light installations. In his work he supports the open-source and DIY culture. With light-sound kinetic installations and light-based products he regularly participates in festivals and exhibitions: Vinterljus Festival of Lights (Linkoping, 2019), IZIS (Portorož, 2019), Ventura Future (Italy, 2019), Responsive 2019 (Canada, 2019), Interference Tunis Light Art Project (Tunis, 2018), Design without borders (Budapest, 2018), Collumina Light Art Project and EVI Lichtungen Light Festival (Köln and Hildesheim, 2018), Visualia (Pulj, 2017), Lighting Guerrilla (2013, 2014, 2019).
Voranc Kumar holds a Master’s degree in sculpture from The University of Ljubljana, where he received the Prešeren student award. Currently, Kumar is a doctorate student in philosophy at the Faculty of Arts in Ljubljana. His practice spreads between theatre, visual arts, and computer graphics. He works as a video maker, scenographer, visual artist and maker of 3D scenography and effects. He presented his work in several solo exhibitions; Landscapes and Maps (2018, P74 Gallery), A Few Minutes Later (2018, Škuc Gallery), Surface (2019, osmo/za), and festivals; International Festival of Computer Art (2019, Maribor), konS modul (2021, Novo mesto), konS modul (2022, Velenje).
Dr Jon Pigott
Dr Jon Pigott is an academic at Cardiff Metropolitan University whose research and creative practice sits within the art-science-technology arena and within the fields of sound art, kinetic sculpture and science and technology studies (STS). His research and teaching are often driven by a practice-based approach which includes various making processes such as digital fabrication and hand-made electronics
Heledd C Evans
24HRS is an hour-long soundscape reflecting on a 24 hour period. The piece is comprised of field recordings, composed sections and improvisations, all inspired by my relationship to different times of the day and how I experience them. A day can pass so quickly, or struggle along slowly. After feeling dissatisfied and frustrated with not feeling in control of how my time was passing, I started consciously examining my 24 hour period. I was taking note of what sounds surrounded me at different times, how sounds felt in the morning compared to the evening, what sounds I was seeking at different times, and how I felt over the course of the day. From this I began recording my surroundings and writing melodies that reflected upon these. I created this piece as a culmination of these personal musings, condensed into an hour piece that takes you through my day.
The project will explore the relationship between individuals and technologies, giving my usual soft-sculptures a breath of life – imbuing them with the ability to move, breathe and beat.
The work aims to demonstrate the value of technology, in particular for the disabled community, especially since Covid-19 has opened the doorway to virtual presence & remote-working.