researchPosted by Lukas Birk Thursday, March 01 2007 17:47:12I went to the
Serpentine Gallery to seeKaren Kilimniks exhibtion and installation
that's what tehy wrote:
America artist Karen Kilimnik’s paintings recall the work of painters from the 16th through to the 19th centuries. Her mise-en-scene approach is inspired by specific rooms in stately homes, horse riding, Tudor architecture and the occult.
The Karen Kilimnik exhibition
features over 50 of the artist’s paintings and drawings from the past
decade, as well as recent installations staged according to her
fascination with historical allegories.
The artist has said of her work: Being
so inspired by fairy tales, mysteries, books, TV shows and ballets etc.
I like to make up characters myself as if I’m a playwright and these
are characters and scenes I invented or observed… So I’ll see a picture
of someone or something in a photo or a painting and cast them in my
so-called play as a character I’ve made up or sometimes borrowed.
Kilimnik’s works mix contemporary and historical references; her painting entitled Prince Desirée on a break from Sleeping Beauty Out at Petrossian's for dinner,
1998, is a portrait of Leonardo DiCaprio as the star of Sleeping
Beauty. The artist cites artists such as the British painters Henry
Raeburn and George Stubbs as well as French rococo painter
Jean-Baptiste Oudry as significant influences. Kilimnik's paintings are
small, intimate works that draw on the artist’s interests in everything
from mysteries and fairy tales, opera and ballet, to cultural icons and
art history.
- that what I write :
They painting they advertise the exhibition with (see top) would attract me - it got atmosphere - a presensts.. somehting is within this image that I like.
maybe the disintressted of the person...
but the actual imagery there and the way the architactual installations were presented are ...... not my style at all.
but it is not about the style of paiting. that is not what I am looking for but the way they arranged things. Especially the entrance room. it seamed such a pretend thing... nothing natural.. not a grown Idea but seperate piece put together and contextualized it with words that are nothing but void.. to be honest that is what I felt void... I didn't feel any of the given explanations... it didn't remind me of a past centuray.... it reminded me of misinvested money in art projects that do not reflect any extantion of anything ... nothing I havent seen heard or lived before.. nothing was there to see for me... sounds awful... I guess it was..... the only plus .. I liked the design of two rooms... but rather as a living room or studio.. thats it basta... another dissapointment at the serpentine gallery..... why not do somehting like this out side!!! spontanious... creat a balley of lost centuries and styles on the street!!! instead of this stiff... approach of .. I dont know... ok this is not a very academic critisism... but it shouldn't be... it's a feeling... my reaction and that is something real... at least this exhibtion triggered something real... and that's my dislike..... amen
ideasPosted by Lukas Birk Friday, February 16 2007 20:24:53etudes:quartz composer- buy wii (connect) simple functions
- abstract images create video space/object
- mini keyboard to direct photo imput (livefeed?)
- control videostreams change position (9 videoboxes)
SCREENBOX
Box
(cardboard??) top
= whole to look inside
- handles on he side so you can hold the box
inside Screen
with floating water or balls lying arround
when the screen gets turned in one direction
balls roll in that direction/water runs in that direction
(underneatch the box is a wii controller)
other stuff- bike dynamo either on bike or used by hand - which functions as potentiometer - connected to arduino and from there to a object with LED
the stronger the current (faster spin) the faster the lights blink...
-
touch sensor on chair (underneath pillow) preasure (weight) creates an
a rythem in which the LEDs blink (in a row)
- door with pushbuttons in the doorway - conductive paint to LED drowing on the floor of the room .... everytime walk on the doorway (different positions) paintign appears...
--
assessment 2- wii controlling videowall with 9 different videofeeds
(live and or files) - in combination with single project
- LIGHT BOX with frame - for A3 photos --led board (15x10 LEDs) connected to basic X - there I have a rythem of light appearence depends on pictures ... push button according to different photo --- different lights on or off... for focus on certain partsof photo....
researchPosted by Lukas Birk Friday, February 16 2007 19:33:35Artist:SAM BUXTONthis is an extantion to my research on Session III
found a good interview with Sambuxton I wanted to keep (http://www.designmuseum.org/design/sam-buxton)
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From the MIKRO series of fold-up sculptures to his
electroluminesent tables and clocks, the work of the British product
designer SAM BUXTON is dominated by his experiments with advanced
materials and technologies.
When Sam Buxton needed a business card rather than make “a boring
printed card”, he decided to devise one which would reflect his work as
a product designer. By deploying a chemical milling process he had
discovered in the electronics industry, Buxton created a flat fine
stainless steel card the various parts of which unfolded into a 3-D
replica of himself working at his computer. When a manufacturer spotted
it in the Design Museum’s 2001 exhibition Design Now – London, the
business card was put into mass-production as the first in the series
of MIKRO-Man fold-up sculptures.
Buxton has ploughed the royalties from MIKRO-Man, his first
mass-manufactured product, into producing prototypes of the complex
product design projects – such as his electroluminescent clock and
table – which he has been developing since graduating from the Royal
College of Art in 1999.
Born in London in 1972, Buxton studied furniture design at Middlesex
University before starting at the RCA in 1997. After graduation he
shared a studio – Design Laboratory – with a fellow RCA graduate, the
Danish designer Mathias Bengtsson. Now working on his own, Buxton has
developed commercial projects for Kenzo, Habitat and Eurolounge as well
as the burgeoning MIKRO-Man collection which is now expanding into
environments with a stainless steel fold-up MIKRO-House. He was one of
the four designers shortlisted for the Design Museum's Designer of the
Year award in 2004.
Q. How did you first become interested in design?
A. It wasn’t until I applied to study product design at degree level
that I started to look and think about furniture and product design. Up
to that point art and architecture had been my main creative interests,
in fact they still are, along with science and astronomy. Design covers
an incredibly broad spectrum of interesting fields.
Q. What influence did your design education have on you?
A. I spent a lot of time questioning whether I was doing the right
thing – art or design. I now don’t feel that I have to choose – it
keeps it interesting. I like the idea of ambiguity – that there aren’t
boundaries – I need this idea. By the time I graduated from the Royal
College of Art I had transferred colleges, having to do two degree
first years, told that I was “unsuitable for degree education”, taken a
year off to get away from design and returned to win a place at the
RCA. My two years at the RCA had a big influence. I felt pushed there –
constant thinking and questioning. Ultimately I felt that it taught me
to be my own critic but at a higher, more personal level. When I left
the RCA, it felt like learning had only just started.
Q. Which of your earliest projects were most important in enabling you to establish your reputation as a designer?
A. Reputation requires not only interesting work but exposure of it
through exhibition and press, it means nothing if your work is not
connecting with people. My fold-out business card has been a useful way
of demonstrating my work straight from my pocket, the subsequent MIKRO
product series has connected with many thousands of people through the
sales. Winning a major project commission from Kenzo helped bring long
sought financial stability and a high profile name to the client list
and portfolio. More recently the MIKROcity installation in the Design
Museum Tank was the first time my work was free to view twenty-four
hours a day in a public space, and an amazing variety of people
wandered by and stopped to take a closer look.
Q. What were your main preoccupations in your work at the time?
A. I was trying to continue the experimentation in industrial
technologies and materials that I had started at the RCA and to explore
more abstract concepts about the relationship of the body to objects.
The reality was that I had living to pay for - many ideas had to be put
to one side - I needed to be realistic and business-minded in the early
years if I was to preserve this working independence. There were so
many pressing factors beyond the initial idea, how to fund making
objects and which ideas made financial sense to make (often not my
favourite), convincing manufacturers to help, what objects might bring
money in to help keep the studio alive, producing objects to shout
about and objects to hide. So often there were no answers - the result
was constant trial and many errors.
Q. How have those preoccupations - and your approach to design - evolved since then?
A. I am now beginning to work on projects that I truly believe in.
Securing several well-paid commercial projects over the last years has
enabled me to invest in new work, to prototype new objects, utilising
technologies I find interesting, projects that had been previously put
to one side. You cannot escape the importance of running a business to
supporting creative freedom and creating new opportunities.
I’m more and more interested in working on a wide range of projects
and creating opportunities to cross the boundaries between art, science
and design. I really enjoy making new things, exploring manufacturing
technologies, reinterpreting objects - hopefully making objects which
are new and engaging. I find the interface between the living body and
the built environment very interesting, from body traces to information
exchange. It’s an ongoing preoccupation which continues to produce
object experiments.
Q. Can you describe the development of the Surface Intelligent Objects Table?
A. I’m interested in blurring the boundaries between the display
screens we have around us – such as the computer, mobile and PDA
screens - and the physical environment. To begin to combine information
display onto the surfaces of objects - creating active surfaces on
familiar objects around us.
The SIOS Table is one of these experimental projects and begins to
explore the potential of an intelligent surface on an object we use
every day. The surface display of 66 illuminating areas can be used to
dictate table etiquette and I felt it was important to make a reference
to a familiar use of a table. However it is also meant to explore the
much wider potential of a surface that can communicate, display
information and react to objects placed on it. The Table is part of an
evolving research project.
Q. And the Timepiece Clock?
A. The display of time and embodiment of time passing interests me.
I wanted to break down the familiar circle dial and create a clock that
not only displayed the time but went much further in expressing the
passing of time and somehow celebrated time intervals. The
electroluminescent technology I had been looking into was perfect in
creating an affordable panel display. The micro chip sequencer is
programmed to show both time building on the panel and changing
animation at time intervals such as thirty seconds, one minute and one
hour. I want the clock to become a living thing in ones space, moving
and changing as the day passes - and with a little knowledge a glance
over tells you the time.
Q. How did you develop the original MIKROman?
A. I wanted to make a unique business card, I find most so dull, one
that expressed the work I do as a designer. Most cards suggest that you
call a number or visit a website - I thought wouldn’t it be great to
design a card that transformed into a piece of my work that could be
kept. The acid etching process, used predominantly in the electronics
industry, seemed an ideal technology to create a card that could fold
from flat into a 3D scene. The original business card is a miniature
scene of me working at a computer, displayed in an exhibition at the
Design Museum in 2001. I was approached by a company who thought they
would make a successful commercial product, I called them MIKROman and
to date there are six versions. To me it is still my business card but
the MIKRO series is a lot of fun to develop and will continue to grow.
Q. And how has the MIKRO series of characters and environments evolved since then?
A. Alongside the business card, and long before the MIKRO series, I
had an idea to create a complete living unit – a machine for living
with all the equipment needed for a home – an idea which I had
initially been thinking about as an exhibition stand in laser-cut
stainless steel. Not having an opportunity to make it large I decided
to make a miniature version using the acid-etching process - I no
longer want to make a large one. All elements had to be connected to
the sheet but I still wanted the room spaces to be interesting three
dimensionally, it was a real challenge to include all the objects and
features that a kitchen or living room etc. might have. I wanted people
to look at this miniature cube with all these elements folded out and
think; I recognise that I could live there. I made it for myself, only
now has it become available within the MIKRO series, really through
demand more than anything.
I really enjoyed the Design Museum Tank commission, I wanted to make
a really engaging exhibit that people would want to explore on all
sides. After thinking about it for months I built MIKROcity, the
laser-cut buildings solved the problem of using the height of the
space, allowing children to see low down and to bring the miniatures
right up close against the glass. The city was covered in CCTV towers
and satellite TV dishes - there’s always a deliberate balance in the
MIKRO designs of what’s included and what’s left out.
Q. What do you consider to be the main challenges facing a designer today?
A. Maintaining as much freedom as possible to push innovative ideas
- not to become dumbed down by commercial pressures. Combining business
skills with the free thinking approach of an artist. Producing
genuinely new objects and finding ways to make them accessible to the
public. Trouble is there never seemed to be a clear precedent to
follow. I keep saying it but getting your work out there, connecting it
with people is so important. The MIKROcity installation in the Design
Museum Tank made me realise how much I enjoy the public reaction. You
often design it in your own bubble but the public feedback can be so
varied and valuable.
Q. What or who has inspired and influenced your work?
A. Many artists and designers are inspiring for their sheer
enthusiasm and dedication to making new things. It’s rare that I like
all of someone’s work but more so their approach and exploration of
ideas inspiring. That’s why for me retrospective exhibitions are often
the most rewarding you see the whole journey and you relate it to your
own discoveries and investigations. I do like much of Tatsuo Miyajima’s
work from Japan, it deals with time in a spiritual (but non-religious)
way, the sculptures often innovating with new technology but in a
sensitive way. There are so many interesting artworks, technologies,
toys and research programmes out there - I do search out new ideas,
objects and technologies that I haven’t seen before. I enjoy reading
about the latest experiments and research in science and the universe.
I love mountain biking and keep up with new designs coming out of the
small innovative bike builders in the states. To a large degree I keep
my eyes wide open.
Q. What are you working on now?
A. New electroluminescent objects, a clock for Habitat, a chandelier
for Swarovski Crystal, a project for Vauxhall, a range of paper
products for a US company, continuing the SIOS video volumes project
and new MIKRO designs. Diverse as I like it!
© Design Museum
Jim CampbellAmbiguous Icons
Library
is composed of a high-resolution photogravure of the New York Public
Library, printed on rice paper and placed in a Plexiglas frame
suspended in front of an L.E.D. surface containing a 25-minute video
chip loop of low-resolution moving images. Indistinct images of birds
and people appear to move in and out of the library and across the
facade.
Library is first in a new series of works in which the
artist is exploring photogravure prints combined with low-resolution
moving images.
A matrix of 32 x 24 (768) pixels made out of red
LEDs displaying a pedestrian and auto traffic scene in NY from an
off street perspective. There is a sheet of diffusing plexiglass
angled in front of the grid. As the pedestrians move from left to
right the figures gradually go from a discrete representation to a
continuous one (or metaphorically from a digital representation to
an analog one)
wow ... lot of great stuff
would love to know how he programs the LED walls....
but no clou no clou no clou-
Char Davies http://www.immersence.com/
The medium of "immersive virtual space" or virtual reality—as it is
generally known—has intriguing potential as an arena for constructing
metaphors about our existential being-in-the-world and for exploring
consciousness as it is experienced subjectively, as it is felt.
Such environments can provide a new kind of "place" through which our
minds may float among three-dimensionally extended yet virtual forms in
a paradoxical combination of the ephemerally immaterial with what is
perceived and bodily felt to be real.
#being-in-the-world# hmmm rather as mentioned - like Bachelard says in poetics of space #being in a world# as I would not refer being in virtual reality - as being in this world - eg transcendental not wordlybut yes new world. thats correct.......
#never been in a virtual invironment# strange picture!!!!!!
-
Ken Goldberg -
http://goldberg.berkeley.edu/index-flash.htmlthe tribe sounds great http://www.tribethefilm.com/
tele actor is allready old and done in many ways by now.. guess I could relate it to my project Human Tool
The "Tele-Actor" is a skilled human with cameras and microphones
connected to a wireless digital network. Live video and audio are broadcast to
participants via the Internet or interactive television. Participants not only
view, but interact with each other and with the Tele-Actor by voting on what to
do next.
Our
"Spatial Dynamic Voting" (SDV) interface
incorporates group dynamics
into a variety of online experiences.
- William Latham -
http://www.williamlatham.net/thats not the right link!!!!!! there is another William Latham
Welcome to the shortest autobiography of all time.
Born in 1964 (along with a twin sister!).
Grew up in Guttenberg, NJ, right across the Hudson from Manhattan. Father was a minister, mother was a librarian.
First published novel: Mary's Monster /// even though some of Lathams work could be Mary's Monsters.........
thats the right on
http://www.doc.gold.ac.uk/~mas01whl/
even if half of his stuff canbe found on any screensaver.. I think it looks amazing!!!! but than again .. I like screensavers.....hi after all the save my screen...
-
Jane Prophet - http://www.janeprophet.co.uk/biog.html
ha love the page ..... brilliant to have a future work chapter.... some people allready know what they do in 15 years......
plastik tree.... guess she is right.. the future must out of plastic
I aim to make a life size simulated English oak tree, cut from 3D Data
of a fractal tree developed via programming. A tree made from this data
to be produced 'life size out of luminous plastic that glows in the
dark. In the daytime it is a subtle object, clearly 'modelled' and geometric.
At night it is more magical and surprising as it glows. Over time the
glow fades until it is again a plain plastic colour by dawn.
-
Ken Feingold - http://www.kenfeingold.com
wow looks crazy.... with
Eros and Thanatos Falling/Flying (2006)
the installation equivalent to Arakis erotos...
