RGB-D and “Clouds” needs no introduction on CAN but it is exciting that the project authors, James George and Jonathan Minard have just launched a Kickstarter to complete their interactive film and they need our support!
CAN featured the project a number of times already. First time on the interwebs back in February 2011, then only known as Kinect NYC Subway, followed by the first recordings of the film at the Art && Code event organised by the STUDIO for Creative Inquiry, then Eyeo Festival and their most recent participation at our own Resonate festival in Belgrade where James and Jonathan ran a workshop and completed a large number of recordings which constitute good part of the final project.
Over the last year the team has captured interviews with over 30 new media artists, curators, designers, and critics, using this new 3D cinema format called RGBD. CLOUDS presents a generative portrait of this digital arts community in a videogame-like environment. The artists inhabit a shared space with their code-based creations, allowing you to follow your curiosity through a network of stories. The interview subjects in CLOUDS include Bruce Sterling, Casey Reas, Daniel Shiffman, Golan Levin, Greg Borenstein, Jer Thorp, Jesse Louis-Rosenberg, Jessica Rosenkrantz, Josh Nimoy, Karolina Sobecka, Karsten “Toxi” Schmidt, Kyle McDonald, Lindsay Howard, Regine Debatty, Satoru Higa, Shantell Martin, Theodore Watson, Vera Glahn, Zachary Lieberman and many more.
The final CLOUDS documentary will come in the form of an application for Mac or Windows, presenting a full-screen, immersive, interactive audio-visual experience. If you are in the NYC area, consider also donating for a ticket to their launch at Eyebeam in Chelsea. There you’ll see the film presented as an installation, meet the filmmakers and catch a few CLOUDS participants in person.
So, enough talk, lets make it happen! Please Support today!
James George (@obviousjim) is a media artist using code to critically interact with the implications of emerging technology. In the process of creating installations and videos he shares his process open source so that others may express themselves using the tools he develops.
Jonathan Minard (@deepspeedmedia) is a new-media documentarian with a background in anthropology. His work follows cultural shifts at the frontiers of technology and art, and develops new cinematic techniques for crafting stories of invention and discovery.
- Kinect RGB+Depth Filmmaking [openFrameworks] Golan Levin was invited by the FITC conference to answer a series of "Ask Me Anything" questions posted by Reddit visitors. At the STUDIO for Creative Inquiry, Golan's video was created by Fellows James George and Jonathan Minard, artists-in-residence researching new forms of experimental 3D cinema. Their work explores the notion of "re-photography", in which otherwise frozen moments in time may be visualized from new points of […]
- RGB+Depth Workshop with James George and Alexander Porter – Barcelona, Spain / 28th April photo by TELLART In case you missed Resonate festival and live in Barcelona this is your opportunity to participate at RGB+Depth workshop lead by James George and Alexander Porter. Taking place this coming Saturday and Sunday (28th,29th April) at Hangar Barcelona-Spain, James and Alexander will introduce you to this exciting new form of filmmaking using Kinect and DSLR. "We will show how to use the new RGBDToolkit, an open source and cross platform (windows+osx) system for calibrating, capturing, and visualizing Kinect data combined with HD video creating a unique hybrid of video and 3d graphics. The workshop will be two days. The first we'll learn the RGBD workflow hands on, from camera mounting and calibration to shooting and rendering techniques. The second day we will use the data captured from the day before, openFrameworks hackers will pair up with designers and videographers to dig into the RGBDToolkit code. Together we'll create new expressive ways of remixing data with generative and dynamic effects." Price for Saturday and Sunday: 125 euros €25 per day Intended for audiovisual artists and filmmakers as well as software programmers, there is no coding experience necessary to take the workshop. For more information see gbdtoolkit.com/hangar.html and if interested send a RSVP note to […]
- ‘Drowning of Echo’ – The story of Narcissus The team behind 'Clouds' continue to explore the medium in the latest short film "Drowning of Echo", an interpretation of the Transformation of Echo & the story of Narcissus from Ovid's […]
- Interactive Wall at UD [openFrameworks, Kinect] Few months ago Flightphase were brought to this project by HUSH Studios as an Art and Technology Director to create, in collaboration with HUSH and 160over90, the image-based responsive environment at the University of Dayton. The 36-foot wall at the admissions center was to become an interactive attractor for the prospective students and their families. The result is an engaging live surface driven by simple elements beautifully choreographed. The project evolved from a basic element, the cube, used as a mechanism to both animate the screen and show videos. Cube, also being the visual language of UD cubes were used in their orthographic projections, no camera, no lighting, and frequently rendering one of the faces of the cubes with the same color as the background. Each face of each cube is rendered with a single color, but this color changes depending on the faces’s angle to the camera. The color is picked from pre-designed image gradient that constitutes a palette. Altogether, the entire field of cubes, with how they overlap and with the negative-space shapes formed between the cubes, created an opportunity to create a variety of looks and patterns giving more more structural and dimensional appearance that could ‘open up’, rather than just being on the surface of the wall. The fields of cubes were then animated with waves of activity. The designed Affectors start small and grow to their final size as they travel around. The longer the cube has been under the effect of the Affector, the more it is influenced by it. The gestural interaction is driven by 4 Kinect cameras, embedded in the ceiling in front of the wall providing viewer’s presence and movement. The software was built using openFrameworks. For video tracking the team used a modified version of TSPS (Toolkit for Tracking People in Spaces). 2 Mac Minis were used to get input from the Kinect cameras — each Mac Mini running the TSPS app blending the input from two Kinects, and sending the contour information over to the Mac tower. More details about the process with great insight into resolving both mapping and blending is available in the form of a case study on Flightphase's website. Client: University of Dayton, Agency: 160over90, Production Company: HUSH, Art & Technology Director: Flightphase FLightphase credits: Creative Direction, Interaction Design, Bespoke Software Design Creative Direction/Design: Karolina Sobecka, Technical Direction: James George, Jeff Crouse, Lead Sofware Development: Jeff Crouse, Additional Software Development: Caleb Johnston Project Page Flightphase is an art and design studio based in Brooklyn. We are dedicated to creating work that is engaging and evocative, creating a unique design and format solution for any challenge. We develop a variety of art and commercial projects, embracing emerging technologies, interactivity and new media as well as all the traditional tools of creative expression from pencils to film to product […]
- GLI.TC/H 2011 [Events] After 5 successful days of glitchy art, hacking/coding workshops, discussions, screenings, lectures and audio/video performances in Chicago in 2010, GLI.TC/H is spreading this year to include 3 different cities; from Chicago on NOV: 4TH, 5TH, & 6TH, Amsterdam on NOV 11 & 12 to Birmingham in the UK on NOV: 19. To make this happen, GLI.TC/H needs your help! Posted only hours ago, GLI.TC/H is now on Kickstarter seeking support. Please donate as little as $4 to make this great event happen! GLI.TC/H was a simple idea that was hatched upon the notion of folks gathering together and engaging/chatting/debating the issues/theories/concerns of failure, systems, art, && glitches. This year, the team are opening frameworks and structures to involve the community at core levels including curation and organization. For example, Kim Asendorf (fa-g.org & gifmarket.net) is curating an online component and Antonio Roberts (AKA hellocatfood) initiated and is leading the Birminham: UK; component. Many more artists and curators are investing their talents. GLI.TC/H is both a physical and virtual event with always-on online games, galleries, easter-eggs, downloadable artware, scavenger hunts, APIs, and loads of other experimental components. These activities will continue through-out and beyond the physical events. For more information see http://gli.tc/h | and to donate visit Kickstarter. Related on CAN: glitch.js by @d_effekt and @underdoeg - glitch simulator for your ... Glitch Pattern Generator [QuarzComposer] by @mrmonkeypresso ... ExtraFile - New Image File Formats #Mac #Glitch /by @kimasendorf ... Satromizer OS [iPad] "Nearly everything you touch glitches before ... Digital Decay [Reference, Theory]: digitisation of our civilization ... and […]
- Just another day at the lab: MUTEK A/Visions 2012 photo: unknown8bit For the last 13 years the end of May has signalled a global convergence of electronic music enthusiasts in Montreal for a week of performance, networking and revelry. It is no small feat that the MUTEK festival has grown far beyond its humble roots as an 'inside baseball' showcase of the rosters of boutique experimental labels into a robust platform for the promotion of techno, house and more experimental fair with widespread popular appeal. While MUTEK may flog the fact that it has become a bonafide tourist attraction (it has drawn crowds of more than 10,0000 in recent years), don't let the rhetoric fool you – the festival still has very sharp teeth when it comes to adventurous programming. Nowhere is this fact more clear than within the A/Visions stream, an event-series dedicated to imaginative, integrated audiovisual performances that was launched in 2006 and has consistently served as the locus of innovation within the festival. So, how did the 2012 edition of A/Visions measure up? Quite excellently, and in looking beyond some minor programming hiccups, this was clearly the strongest showing of AV material ever featured at MUTEK. Even more encouragingly, this year marked a welcome expansion of the AV programming into other event streams yielding an almost overwhelming amount of shows and screenings to choose from. The following review is an attempt to identify some of the prominent themes in the A/Visions program and point CAN readers at some of the more noteworthy projects/performances featured this year. Andrew Pekler & Jan Jelinek play Ursula Bogner, photo: unknown8bit Some of the most compelling work at A/Visions 2012 welded engaging musical performances to the presentation of historical and aesthetic mythologies. Berlin's Andrew Pekler and Jan Jelinek crafted droning, transcendent soundscapes out of the compositions of the late Ursula Bogner, an obscure German electronic musician active in the 70s and 80s who was headlong into fringe science. Drawing on the idiosyncratic legacy of their might-be-fake-but-completely-plausible muse, the duo positioned themselves perpendicular to the crowd with a camera clamped to a mic stand filming their clinical interactions with their analogue kits. This live feed sat alongside a deadpan slideshow that cycled through various biographical photographs of Bogner, her family and celestial diagrams. The sight of Pekler and Jelinek cooly constructing space jazz against a backdrop of musty photographs proved beyond a doubt that the world is ready for a hybrid Wes Anderson/Sun Ra multimedia aesthetic. The key takeaway from this performance: the mytho-biography of Ursula Bogner is the most compelling cosmology in electronic music since Drexciya. Not every performance at MUTEK trafficked in long-forgotten fringe musicians, we also saw some artful homages to 70s and 80s video and atomic warfare. Video artist Sabrina Ratté teamed up with Le Révélateur (aka Roger Tellier-Craig, formerly of Godspeed You! Black Emperor) to present a lo-fi, dreamy AV performance that wed the "chromatic aberrations" of abstract colour fields and landscapes with idyllic ambient. Ratté displayed mastery of a number of classic video transitions and effects to provide a retro, thoroughly authored series of vignettes that perfectly mirrored Tellier-Craig's compositions. Veteran producers Biosphere and Lustmord teamed up to present Trinity, a cinematic exploration of the landscape and technology surrounding the first detonation of a nuclear device in 1945. Like Jelinek and Pekler, the duo deployed a range of archival photography to stitch together a narrative of inference. Comprised of vignettes focusing on the texture of affected terrain, portraiture of the scientists and military personal involved in the detonation and some classic nerdcore fetishization of (military) gadgetry and infrastructure. The ominous set waxed and waned between the blistering intensity of a death march and more restrained atmospherics, and while it felt unfocused at times, so be it, as it was undeniably live. The introduction to Biosphere and Lustmord's collaboration featured long meandering pans across photographs of the American Southwest as a lead-in to a creative interpretation of one of the darker chapters of 20th century physics. This was not exactly a surprise as landscape is one of the enduring tropes at A/Visions as there is a longstanding tradition of exploring place through film and experimental music. Two performances in particular, were delivered as extended meditations on the narrative potential of landscape, Roly Porter and MFO's Akheron Fall and Nelly-Eve Rajotte's cinematic scan of the American (and Canadian) West. The former fixated on the notion of 'the dark forest' as a setting for the majesty of Porter's industrial-strength compositions and the latter mixed field recordings with Spaghetti Western samples to score a rolling, split screen landscape montage accented with a dash of cowboy datamoshing. Jan Jelink and Andrew Pekler's slide deck space jazz notwithstanding, I'd say the most successful A/Visions acts this year interrogated the space of performance. Robin Fox's transformed the Ludger-Duvernay Theatre at Monument-National into a geometric playground where, in the purest sense possible, sound was used an as instrument to modulate the sweeps, scans and scribbles of a centrally located laser. Fox obviously tuned his performance to the dimensions of the venue and his array of beams carved up the thick clouds of smoke that wafted over the audience. The resulting experience was visceral and volumetric and the audience—blasted with light—was fully immersed in Fox's arena. The Australian artist received a rabid ovation for both the overall tightness of his performance and for zapping the audience out of passive spectatorship. Another noteworthy performance was Kode9, MFO and Ms. Haptic's Her Ghost, a thoroughly moiré-d rethinking of Chris Marker's seminal 1962 experimental film La jetée. Using stills from the original, this reconstruction took liberties with the fabled narrative of 'temporally challenged' ill-fated lovers and dove headlong into tweaking the look, feel and sequence of the underlying time travel, determinism and dystopian squalor. Better yet, the cinematic redux was 'performed' with Kode9 and company playing from the audience which was a very convincing reminder that, more often than not, the artists really aren't needed on stage in these contexts. The gritty processed photography and illustration, Kode9's rumbling sound design and the straight up gravitas of Ms. Haptic's live narration made for a super-engaging performance that actually spoke to film as a medium rather than simply appropriating stylistic conventions from it. There were several other acts on the A/Visions program, notably the final show in the series which featured Les Momies de Palerme and a collaborative jam by Tim Hecker and Stephen O'Malley – occurring within the cavernous interior of St. James United Church. Earlier in the week, Pierre Bastien and Espen Sommers showcased their eclectic Electric Folkways project, which leverages a table full of custom contraptions as the basis of an improvisational arsenal and Ben Shemie presented a live mix of Transmission 1, a work simultaneously broadcast across two FM radio stations. At the beginning of this review I mentioned that the AV programming at MUTEK seems to really be influencing other streams, making this year particularly delightful for attendees 'turned on' to art and design. Outside of the material reviewed in this post, this year saw a projection-bolstered Jeff Mills mix that convincingly mapped out the relationship between techno and speculative fiction, an incredible 3D projections meets modular-synths showcase at the Satosphere (a dome perched atop the Société des arts technologiques) and a robust experimental media program at Recombinant Media Labs' CineChamber 'mobile immersive arts facility' (which will be featured on CAN soon). Given that MUTEK is now firmly within its second decade, there is definitely a desire to see the experimentation and cross-contamination across programs that has defined recent editions of the festival continue and amplify. Here's hoping that A/Visions 2013 yields more media archeology, more provocations and more spaces for exploration and delight. MUTEK Sabrina Ratté, Blue Nuit Perre Bastien & Espen Sommer Eide's Electric Folkways, photo: unknown8bit A/Visions 4, St. James United Church photo: unknown8bit Robin Fox's Laser Show, photo: unknown8bit Biosphere & Lustmord present Trinity, photo: […]
- Moving Picture Show by Jürg Lehni and Contributors Created Jürg Lehni, Moving Picture Show is an installation presented during the 23rd International Poster and Graphic Design Festival in Chaumont where the Jesuit chapel was transformed into a workshop, a scenario of conception, production and a projection space. The installation deals with the current migration from analogue to digital film projection in cinemas across the globe by reappropriating a 35mm motion picture film using high-powered precision laser. In Moving Picture Show, a scenario of animated drawing and text is created by applying the process normally used by the film industry to etch subtitles into the emulsion layer of 35mm film. By etching away the emulsion using a high-powered precision laser, only the clear base of the film remains and when projected onto the screen the lines appear bright and clear. Discovering this mechanism triggered the idea for a reappropriation of this principle, by extending the reach of the laser to the full size of a film frame, and changing the software to allow the drawing of any kind of shapes, based on vectorial line drawings. The idea was to build a setup for the exploration of the possibilities and aesthetics of such a production mechanism, allow a revisiting of early experimental film (Len Lye, Norman McLaren, etc.) through the lens of computer technology, while at the same time celebrating the disappearance of this beautiful medium that is 35mm film and the equipment that goes with it. Making a process visible that normally only happened behind closed industrial doors was part of the motivation too. Together with the tinkerers from Defekt.ch in Zurich who have helped build Rita and Viktor (see also Hektor), and after looking at different ways of changing the original software and even getting in touch with the original engineer, the team finally came up with a plan: They decided to keep the original software to control the transport of the film and found a new way to send the commands to step images forward and backward. This was achieved by sending the original software virtual key-strokes on the F-keys. The original software would only function if it also had the impression that it was at the same time controlling the mirrors that steer the laser by talking to their controller, so they ended up building their own self-made controller, and wrote bespoke firmware for it that would allow them to freely control the mirror's movements at a very hight speed (the controller would send position commands at a frequency of 12.5k times a second). About a month and endless tests they were finally able to burn first images. In the end, the software that sends the drawing commands to the laser controller (written in Java) was built almost like a printer driver that would take a folder full of PDFs and burn them one by one, 24 images per second, 25'091 images for "Spirit & Letter", a 18 minute film of animated type based on Donald Knuth's METAFONT and created by David Reinfurt / Dexter Sinister for Moving Picture Show. Several contributing designers were invited to engage with the production facility and collaborate on the contents of the show, producing films that were projected repeatedly during the festival. Meanwhile the laser machine, also present in the chapel, was slowly producing new films for future screenings. Project by Jürg Lehni with contributions from James Goggin (US), Maximage (CH), Karl Nawrot (NL), Jonathan Puckey / Moniker (NL), David Reinfurt […]
- Written Images [Books, News] Created in collaboration with more than 70 media artists and developers from across the world, Written Images is the first of its kind, a 'programmed book', continuously regenerated for the digital printing process, offering each reader a unique experience. The team, including Martin Fuchs and Peter Bichsel first announced their project in February 2010. Since then, more than 70 image generating software programs were submitted. A jury, including myself, singled out the 42 most creative and successful submissions to be included in the book. Now, with your support the team hopes to produce the first edition of this unique book and also introduce the "Written Images" print-on-demand service. Please support the project by donating as little as $15 giving you in return one-of-a-kind single postcard (select the artist of your choice). $60 will get you one-of-a-kind set of 42 postcards, and with $200 you will receive the one-of-a-kind Written Images book, surely to be a collectors item. In any case, whichever donation you choose, you are above all supporting this fantastic project! Support on Kickstarter! Artists: 386dx25, Antoni Kaniowski, Ariel Malka, Carl-Johan Rosén, Casey Reas,clone, David Bollinger, David Bouchard, e m o c, flight404, Golan Levin,Jonathan McCabe, Jörg Piringer, Julien Deswaef, Kim Asendorf, kraftner,Leonardo Solaas, Lia, Luke Sturgeon, Marcin Ignac, Marius Watz, Michael Zick Doherty, Mitchell Whitelaw, Moka, Nervous System, Oliver Smith, paolon,Perceptor, rhymeandreason, Ricard Marxer, Roberto Christen, Rui Madeira,Ryan Alexander, Ryland Wharton, Sansumbrella, sojamo, Stefano Maccarelli,Szymon Kaliski, Victor Martins, W:Blut, William Lindmeier, zenbullets. About: Digital technologies are successful tools in contemporary design. No matter whether the material is processed by handicraft or digitally altered, the artist always creates out of his very own inspiration. He or she develops the rules of aesthetics which will be valid for their work. These rules will be played with and altered until the pre-defined final product comes into being. Within this work process the computer is not so much seen as a medium, but rather as a programmed simulator consisting of various materials and means to allow analogue steps. This is the point at which generative art starts and helps generating products with the help of self-programmed, digital tools. A single impulse leads to a chain reaction of processes which are defined through mathematical relations. Read more.. UPDATE 01/03/2011: Video of the image rendering queue program added below, 100xfaster. Made with openFrameworks. Very small selection of images: Written Images […]
Posted on: 28/11/2012
Posted in: openFrameworks
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