Just discovered: a presentation by Instrument builder and sound artist Derek Holzer, in which he catalogues the history of optical synthesis. It is worth a look as it cites a number of fairly obscure (and fascinating) precedents of interest to anyone working in audiovisual design.
Created by Peter Burr, Mark Fingerhut, and Forma, DESCENT is a “spiraling interdimensional narrative”, a meditation on one of humanity’s blackest hours. The downloadable exe gives the user a brief glimpse of a world descending into darkness – an unrelenting plague indifferent to the struggles of the user.
The Technical Arts Department is looking to hire an individual who sees themselves as a highly collaborative and creative maker with a background in computer programming and 3D design.
Milla & Partner ist eine Agentur für Kommunikation im Raum. Kernkompetenz ist die Kreation und Umsetzung von Markenwelten, Ausstellungen, Messeauftritten und Events.
Artefact#0, Digital Necrophony is a recent installation by Lille-based artist Mathilde Lavenne that forgoes (burial and cremation) funerary convention in favour of sonification.
Created by digital design studio NEOANALOG , “Particle Flow” is a physical installation comprised of granules driven by gravity and topography forming an analogue particle system. A moving slanted plane and a grid of motorized stamps control the elements to form infinite variations of behaviours and patterns.
Drawing on multiple examples and historical precedents, media theorist Shannon Mattern explains the folly in Silicon Valley’s ambition to optimize cities.
Simon Alderson is looking for a collaborator to help complete installation at UNSW A&D. The painting robot has been built and I have an existing base code that can be added to or used as guidance if preferred.
Created by Studio Antimateria in collaboration with participating students at the workshop hosted by Presidio Temporaneo di Architettura, Shape in Scapes is an audiovisual installation that provides an abstract representation of students’ architectural projects.
Curator Jasia Reichardt introduces the “Cybernetic Serendipity” exhibition at the Institute of Contemporary Arts in London in 1968.
Come and help us make the most technologically advanced children’s books in the world.
We’re looking to build relationships with London-based freelance technologists, to help us prototype, install, and maintain our interactive projects.