TRIANGULATION BLOG

Gradients: Inside the Internet Rainbow

noreply@blogger.com (Triangulation Blog) — Thu, 24 May 2012 05:03:35 PDT

Gradients: Inside the Internet Rainbow is an exhibition created by La Gazette du Mauvais Gout and the Mastermind program, and curated by the fashion journalist Dora Moutot. The exhibition will start on 1st of June 2012 in Casablanca, Morocco. As Dora says, "it is going to be the first such exhibition in North Africa. Gradients: Inside the Internet Rainbow is a collection of digital artwork from young Internet based artists that explores the theme of gradients, which are very popular at the moment in the Net- art scene."
I personally love the line up for the show, some of the participant artists and works for have been recently mentioned and featured here, such as Travess Smalley, Jeremy Couillard and Chris Timms and it also includes other great artists which work I also follow such as Adam Cruces, Ricardo Juarez & Silvia Blanchi from Barriobajero, Will Rockel, Maude Kazperzak and Eilis Mcdonald. See more;

Gradients: Inside the Internet Rainbow

25 Boulevard Moulay Rachid Anfa. Casablanca, Morocco.

1 June 2012 - facebook event

"We still live in a world where the Internet is a novelty. Even though for almost a decade now the Internet’s been completely integrated into our daily lives. Despite the prevalence of the Internet, Net-art is still considered a micro-movement and something of a «UFO» in the contemporary art world. Net-art is just beginning to be added to museum collections and to be exhibited in galleries around the world. “Gradients: Inside the Internet Rainbow» by the Mastermind program is the first such exhibition in North Africa.

The exhibition «Gradients: Inside the Internet Rainbow» is a collection of digital artwork from «young internet based artists” that explores the theme of gradients, which are very popular at the moment in the Net-art scene. Gradients are typically created using Photoshop- a vital tool for artists working in the digital format. The gradients are often used to create digital landscapes. Net-art (Videos, Gifs, Web design) and The New Aesthetic are somewhat blurry terms used to describe these art movements. However, inside these movements, different smaller Net-art “tribes” are emerging and as they become easier to see and define, hopefully will soon be better classified. If I had to hash tag this exhibition, I’d call it # Web Surrealist, # Web Psychedelic or # Internet Rainbow Art Rave. According to artist, Marisa Olson, in a few short years, we will live in a “post-Internet” era. A time when the Internet will no longer be such a novelty but become something far more mundane. When this day comes, the Internet will finally be accepted as the biggest museum in the world. And the art world will be forced to change because of how art and images are shared on social media. The rules of art will evolve. The world will accept the fact there no longer is such a thing as an original rendering of an artwork." - Dora Moutot.

Some works which will be part of the show;

One Minute Suite 2011 by Barriobajero

DNSTUFF by Will Rockel

heaven computer by Maude Kasperzak

Patience by Adam Cruces

ellismcdonald.com/righteous-harmony/ by Eilis Mcdonald

Fatima Al Qadiri - D-Medley

noreply@blogger.com (Triangulation Blog) — Thu, 24 May 2012 02:11:05 PDT

The last video from the Fatima Al-Qadiri's Genre Specific Xperience was created by Thunder Horse Video for the track "D-Medley" which is inspired by Brazil’s Tropicalia movement and the video shows different psychedelic effects such as melting surfaces, acid organic textures and forms and also others which remind us of some visuals from the iTunes (cmd + T). In fact all these visuals seem to be the perfect background to dance on your desktop! See more;

Al Qadiri’s GSX Remixes EP in iTunes.

via | DISmagazine

Voice Array by Rafael Lozano-Hemmer

noreply@blogger.com (Triangulation Blog) — Tue, 22 May 2012 10:58:59 PDT

Voice Array by Rafael Lozano-Hemmer_
As a participant speaks into an intercom, their voice is automatically translated into flashes of light and then this unique blinking pattern is stored as a loop in the first light of the array. Each new recording pushes all previous recordings one position down and gradually one can hear the cumulative sound of the 288 previous recordings. The voice that was pushed out of the array can then be heard by itself. See more;

Subsculpture 13 intercom, 576 white LED lights, holosonic speaker, custom-made hardware and software display dimensions variable. Commissioned by the Museum of Contemporary Art, Sydney.

via | EVERYDAY LISTENING

DOTMOV 2012

noreply@blogger.com (Triangulation Blog) — Tue, 22 May 2012 09:50:16 PDT

Logo designed by Hideki Inaba

The great online magazine SHIFT presents DOTMOV Festival 2012, a digital film festival aiming to discover talented creators and provide them with an opportunity to show their works. Works submitted from all over the world will be screened throughout the world venues from November 2012. Last year's they had a total of 208 works submited from 18 countries.

The goal of this festival is to discover talented artists and provide them with an opportunity to show their work. SHIFT is also trying to increase the international scope of the festival by inviting guest creators, active on the front lines of the creative world, to participate as judges. During the festival, holding a lot of related audio & visual events, they explore the possibility of digital films. See more;

The work should be digital film works such as animation, design or music clip. And you can present prize-winning works or works submitted to other contests in Japan as well as in other countries.

DOTMOV Digital Film Festival 2012 will has great judges to evaluate the works featured on such as Kenta Torimoto, MTh, Yoshi Sodeoka, Jiro Ohashi, KiYoung Park, David Linderman and Hideki Inaba.

The submission has just started last May 15th and the deadline is August 20th, 2012.

Please visit SHIFT to know more about the submission form, here.

The video below called "Intro (M.T.A.I.)" by Katja Baumann was one of the amazing conceptual works selected last year in the previous edition of DOTMOV. The work was made by tracking a red square and placing it in the center of the screen and toying with the layout using multiples views.

Music: Arto Mwambé

Neri Oxman

noreply@blogger.com (Triangulation Blog) — Tue, 22 May 2012 08:33:22 PDT

E,X,Y,Z,S,S,T and Fatemaps are two impressive generative sculptures made by Neri Oxman in 2008.

"The physical features of natural tissues express the distribution and magnitude of the forces that have brought them about. These forces embody the complex relations between physical matter in its given environment and denote its multi-dimensional force field. The work explores the notion of material organization as it is informed by structural load and environmental conditions. Natural micro-structural 2-D tissues are visualized, analyzed and reconstructed into 3-D macro-scale prototypes by computing hypothetical physical responses." See more;

"An object-oriented finite element application is used to determine material behavior according to assigned properties and performance such as stress, strain, heat flow, stored energy and deformation due to applied loads and temperature differences. The interaction between the directional morphology of the specimen and the tensor direction produce physical effects that emphasize the tissue's spatial texture in different ways. The resulting model is six dimensional and includes 2-D information (X, Y), out of plane deformation (Y), elastic stress (S), strain (S) and temperature flux (T). The tissue is then reconstructed using a CNC mill and metal/steel and wood composites. Anisotropic in nature, grain directionality and layering are informed by the analysis resulting in laminated structural composites which respond to given ranges of energy and loading conditions. Beyond promoting a new sensibility to material formation, tissue engineering in construction scales may facilitate theemergence of new a new materialism in architecture and design."

E,X,Y,Z,S,S,T, 2008

Sculpture, Museum of Science, Boston

Photos: Mikey Siegel

Fatemaps, 2008

Sculpture, Museum of Science, Boston

ECCOS by Andrew Norman Wilson

noreply@blogger.com (Triangulation Blog) — Mon, 21 May 2012 06:40:25 PDT

A slowed-down video of Ecco the Dolphin gameplay is used to create an experimental philosophical space that focuses on the phenomena of waves, this space is called "Center for Wave Change" by Andrew Norman Wilson. He tells us more about ECCOS, a 6 hours meditation video which is part of the "Center for Wave Change", a proposal project for the ongoing Rhizome Commissions.

"ECCOS is based on an .mp4 video file of the gamer “RickyC” beating the Sega Genesis game Ecco the Dolphin in just under 80 minutes. I have slowed down the original file to a duration of six hours, because six hours is the maximum duration for sequences with high audio data rates in Final Cut Pro. I have applied “echo” filters on both the audio and video tracks, and pushed all values within those filters to the maximum. Full length video coming to DVD/VHS soon. Soundtrack available on CD/Cassette soon." See more;

"ECCOS will become the source media for an experimental philosophical space I'm developing called the Center for Wave Change, in which overlapping aesthetic cues and general objectives are borrowed from both science centers and new age centers to focus on a shared interest: the phenomena of waves. Within the installation, light waves, sound waves, and water waves are manipulated as mediums for scientific display, relaxation, and aesthetic experience. These varied waves are reflected, diffused, refracted and diffracted by tools such as video projectors, projection screens, a video camera, mirrors, waterbeds, and more." - Andrew Norman Wilson.

More information about the project here.

Ecco Diagram for the installation component of Center for Wave Change.

Kari Altmann

noreply@blogger.com (Triangulation Blog) — Mon, 21 May 2012 04:42:43 PDT

Kari Altmann's video pieces from the CORE SAMPLES series are based on an online research whose pictures present different round objects of the same or similar color and are animated through the morphing effect. Because of this effect the viewer keep mesmerized by following the red, black or white point with the view.

Altmann started this project some years ago, back in 2008, but it is still an ongoing research and the videos are being updated as Kari finds more content to continue it. (You can see the updates on the comments of each video at vimeo, they have been recently updated btw). See more;

Where is the Blood?, 2009 and Black Hole, 2008 are being part of the ongoing group exhibition at Seventeen Gallery here in London. I highly recommend to attend it and see other great works by Merce Cunningham, Harm van den Dorpel, Michael Guidetti, Oliver Laric, Mark Leckey, Sean Raspet, Emanuel Rossetti, Hito Steyerl and Artie Vierkant. The exhibition is titled "Motion" and curated by Ceci Moss and Tim Steer.

Where Is The Blood?, 2009

Black Hole, 2008

Cultivation

Alexander Lis

noreply@blogger.com (Triangulation Blog) — Thu, 17 May 2012 07:34:26 PDT

Digital painting and Gradient paintings by Alexander Lis. See more;

"Digital Paintings" at Basis Frankfurt, 2012

Gradient paintings, 2011

Gradient Paintings Zine for Catalogue Library Leeds (UK), 2011

Enrico Boccioletti

noreply@blogger.com (Triangulation Blog) — Thu, 17 May 2012 07:01:31 PDT

Some great works from Enrico Boccioletti. The first project into the post and the image above is from the series called "Content aware" which consists in a collection of edited pictures downloaded from fashion blogs, where the subject is assimilated to the background using content-aware fill in photoshop. It is also an ongoin project at http://content-aware.tumblr.com. Content-aware fill is a feature introduced in photoshop CS5 which matches any selected area to its surrounding context, as like as the removed object never existed. The subject of the shot is not actually removed or deleted but only absorbed into the background, de facto equalizing both of them on a same level of relevance. Also, a ghost (an idea) is still visible in the picture, a reminder of the actual subject (a real person) that was there.

Every image comes with a name and an address as caption, a fake name generated generated by an algorithm according coherently to a set number of parameters. See more;

Content-aware, 2011

nsurf, 2011

onemonthforkast.com, 2011

onemonthforkast.com consists in one month of mp3s posted on popular Pitchfork magazine podcast named "forkcast", january 25, 2011 to february 25, 2011. All files hosted at their original location "downloads.pitchforkmedia.com". All the songs start automatically, in random order depending on access to server and network speed then keep looping forever, shifting podcast from consequential to simultaneous. harmony slowly fading into noise. Dependently from parameters like browser versions and connection speed every experience is different, due to intrinsic trouble in handling the huge amount of data, providing a totally random experience. There is absolutely nothing to do here. stare at the void and wait for things to happen.

Dedicated to Jean Genet: "To achieve harmony in bad taste is the height of elegance."

http://onemonthforkast.com/

PSX Generation, 2011

15 psx boot sequence video from youtube.

http://spcnvdr.org/psxgeneration.html

Lie.gif, 2011

thanks for the tip Kim!

Sacrifice of the Mushroom Kings

noreply@blogger.com (Triangulation Blog) — Wed, 16 May 2012 05:05:27 PDT

Sacrifice of the Mushroom Kings is a 8 minute computer animated film created by animator Jonathan Monaghan. His new CGI film brings popular video game characters into the gilded age of American capitalism, as they wander around buildings built by J.P. Morgan and Philip Lehman.

Succinctly describing the film, Jonathan Monaghan says, "Sacrifice of the Mushroom Kings" depicts a lamb and a bull's journey through my own version of Super Mario's Mushroom Kingdom. The film combines elements from iconic video games with a myriad of references, such as Wall Street, Bizet's Carmen, and hair products. Taking a comparative mythology approach to certain aspects of contemporary culture, the film aims to mediate basic oppositions such as good and evil, life and death, and reality and fantasy." See more;

Sacrifice of the Mushroom Kings was exhibited during last month of January at curator's office gallery in Washington, DC. The exhibition included an 8 minute computer animated film and two prints derived from the CGI film.

The video below only shows 2min, 52sec of the film.

Prints 30" x 19" (edition 1 of 5) - Click images to enlarge (zoom 1, zoom 2)

Fach & Asendorf Gallery 1st Anniversary

noreply@blogger.com (Triangulation Blog) — Tue, 15 May 2012 12:20:24 PDT

I want to say HAPPY 1ST ANNIVERSARY to Fach & Asendorf Gallery and THANKS!! Many thanks for presenting and bringing us along the last year all the great works and emerging artists from the Internet.

The young online gallery launched one year ago by Ole Fach and Kim Asendorf has presented 15 shows and 1 group show, always by featuring exclusive and new works from the artists. The gallery has an archive where the visitor can see all the works exhibited on. To celebrate this first year Fach & Asendorf has just launched a new group show called "1MB ZIP" where artists have presented a zip file (1Mb max) which contains the work. I prefer don't describe the works presented and let you download them, it's quite surprising to download and open something you have no idea what could have inside ;)

Looking forward to see the upcoming exhibitions in this second year of life Fach & Asendorf Gallery!

1MB ZIP Show >>> Attend it and download all >>> http://fa-g.org/

Matt Hinkley

noreply@blogger.com (Triangulation Blog) — Tue, 15 May 2012 09:55:54 PDT

Stunning forms, patterns and colors created by Matt Hinkley, they were exhibited at Sarah Cottier Gallery in 2010.

Matt Hinkley's drawings and sculptures confound the eye in their meticulous and painstaking delicacy. Almost imperceptible renderings on existing graphics, and obsessively hand-drawn patterns captivate and mesmerise the viewer. In the age of digital reproduction these hand-made pencil drawings and delicate carvings are perversely anachronistic. See more;

via | Portalen Portalen

Vibrant Render by Travess Smalley

noreply@blogger.com (Triangulation Blog) — Thu, 10 May 2012 08:10:22 PDT

Vibrant render .com or "Forms a vibrant render" as is titled in the domain is the new work by Travess Smalley. It consists in seventeen organic and texturized forms which looks a kind of 2.5D virtual rocks, a mix of sculpture and painting. In some of these pieces Travess has used similar textures and "acid" and "vibrant" colors he used in some of his previous works such as Rendered Aura, I recommend to see it, specially its looped videos "Trance Puddle Nocturne" and "Primordial Trance Puddle".

Travess Smalley has created this series of abstract computer graphics using various 3D modeling software, third party message board filter packs, and photo editing applications. He says; "for me they exist somewhere between a hi-detail 3D rendered model and an ABEX jpeg." See more;

Travess Smalley is being (through May 18, 2012) part of E-Vapor-8 curated by Francesca Gavin at 319 Scholes

Click the images to enlarge or visit http://vibrantrender.com/

Lasvit Liquidkristal by Ross Lovegrove

noreply@blogger.com (Triangulation Blog) — Thu, 10 May 2012 06:54:13 PDT

Last April the Czech Republic glass manufacturer Lasvit, presented in Milan at the Triennale Design Museum during Salone del Mobile "Lasvit Liquidkristal" by Ross Lovegrove. This new work is the result of an innovative process that Ross Lovegrove defines as “high precision heat transfer.” Lovegrove worked with Lasvit for more than a year to create the mobile, changing surfaces, inspired by the fluid, organic forms found in nature. The company deployed its most advanced technology to produce the transparent, undulating crystal panels, which appear dynamic, changing, capable of transmuting their shapes in a futuristic kaleidoscope. See more;

"Lasvit Liquidkristal by Ross Lovegrove combines technology and design to create a new architectural product, replacing the enormous monotony typical of large glass structures with natural surfaces and their abundant variety, richness and coherence. Via fluid dynamics, Lovegrove Studio and Lasvit digitally explored large-scale distribution and densification of patterns found in nature. Working with mathematical models, the behavior of glass was simulated under controlled thermo induction. This produced a highly informed line code, which serves as the blueprint for the production process, where highly precise temperature control imbues the glass surface with the beauty of optical effects seen in water. Working with Lovegrove, Lasvit’s research facilities, led by Tomá Kamenec, developed a special flexible mold system to capture this effect. The finished product is highly customisable, allowing large-scale pattern aggregations over multiple sheets. At the Triennale these panels formed a spatial experience where the ceiling is used for projections and reveals the digital beauty of natural observation."

Jan Willem Deiman

noreply@blogger.com (Triangulation Blog) — Wed, 09 May 2012 10:38:56 PDT

Jan Willem Deiman focuses on processes that explore the relationship between coincidence and design in modern architecture and technology. In his video installations and performances (based on self-written systems), geometric patterns arise that constantly renew themselves and thus disturb the previously made designs. Deiman aims to observe objectively what happens while relinquishing the control of such a system. In drawings of modern decay, he analyses the distortion of architectural constructions as well as the design on which they were initially based. Through constantly developing patterns, Jan Willem Deiman's drawings, models, and videos question the control we have over mechanical and technological production and expose the amount of external influence involved. See more;

The following works of Jan Willem Deiman are from different years and projects. I have selected some of them which follow a similar digital aesthetic and which are based on perpendicular and geometric compositions. The work bellow, in order, are; Loom 2009, Warp Weighted B 2011, Loom, 2010, Unillumined Corridors, 2008 and Errors and Repetition (in collapsing architecture) 2011. In this link you can see a performance called "Overpass" by Jan Willem Deiman and Tom Kok which took place in 2009 at Zennestraat, Bressels.

via | trendbeheer

Simone Giordano

noreply@blogger.com (Triangulation Blog) — Wed, 09 May 2012 08:29:17 PDT

The oil paintings by Simone Giordano are highly inspired by the digital field and electronic devices. Simone works focused on this digital aesthetic recreating some ones from the digital interfaces such as the transparent background and the selection tool both from Photoshop, texts zoom in, pixelate images and even his painting present some great glitches and errors.

"Ideas, images that evolve and out from my laptop, grainy, fragmented, transformed in a graphic editing program and then finally transferred to canvas; belong to my memory, found them recognized in that extension of our own consciousness, but which 'collective well' that is 'the network, objects that acquire a new value in my representations, the one of medium between us and our deeper self, the root on which to build a just ethical, technological develop consciousness on which our the future. '' - Simone Giordano. See more;

Check out the dimensions of each painting on Sime's site. All of them are oil painting on canvas.

Haroon Mirza - \|\|\|\| \|\|\

noreply@blogger.com (Triangulation Blog) — Tue, 08 May 2012 06:46:58 PDT

\|\|\|\| \|\|\ by Haroon Mirza at Kunst Halle Sankt Gallen through July 1, 2012.

"\|\|\|\| \|\|\ is not a typing error but the title of a project that is part of a series of works with which Mirza is exploring the idea of site-specificity. He uses architectonic properties of exhibition spaces in various institutions in order to expose them (e.g. shadow gaps or columns). This is done economically and efficiently in that he attempts to achieve the greatest possible effect with the smallest possible intervention in the respective spaces. Mirza started with the show /\/\/\/\ /\ at the University of Michigan Museum of Art, which opened in March. Following the exhibition at Kunst Halle Sankt Gallen he will conclude the three-part series in May 2012 at the Ernst Schering Stiftung in Berlin with --{}{}{} {}--{}{}{}{}--{}. The cryptic titles are typographical representations of various wave forms. As codes they represent a summary of sound and form that the artist creates in the exhibition spaces." - Kunst Halle Sankt Gallen. See more;

"Mirza also makes direct reference to the space at the Kunst Halle and reacts to its unique features. He reduces the installation to its essential, physical components and presents LED strips in their most basic form and without any supporting structures (such as the pieces of furniture he frequently uses). The artist creates three minimalist sculptures with these light chains in the primary colours red, green and blue, which are stretched between columns and walls in the first and last rooms. The sounds which the lights generate when going on and off are amplified many times and transported to the middle exhibition room, where they will be heard as a rhythmic composition. Mirza is thus transforming the Kunst Halle into a musical instrument, a vibrating resonator."

More info and pictures about \|\|\|\| \|\|\ at Kunst Halle Sankt Gallen.

Previous works of Haroon at Lisson Gallery and a recent interview with him at Rhizome.

via | We Find Wildness

Mi Yuming - Between Reality and Virtuality

noreply@blogger.com (Triangulation Blog) — Tue, 08 May 2012 05:51:58 PDT

ArtGate Gallery presents a new solo exhibition called "Between Reality and Virtuality" by chinese photographic artist Mi Yuming. The exhibition will run from May 3 through June 9, 2012 at ArtGate Gallery, who says; "Between Reality and Virtuality blurs boundaries: the conventional photographs combined with contemporary digital techniques blur the boundary between photography and mixed media, while the surreal images question the line between reality and virtuality in our everyday lives.

As inhabitants of a media-inundated world driven by consumerism, we are exposed to a constant stream of images, all of which are attempting to discreetly change the way we think. Mi Yuming invites the viewer to question whether their thoughts are affected by this manufactured reality, what is real and what is superficial. Her images are enlarged and exaggerated, a vivid combination of real life captured through a camera lens and a digitally created virtuality. Mi’s virtual reality reveals her desire and struggle for individual existence." See more;

Victor Morales

noreply@blogger.com (Triangulation Blog) — Tue, 08 May 2012 04:59:26 PDT

Victor Morales performances with tridimensional environments usually using a game engine called Cryengine. His solo work consists of an exploration of video game engines as simulation environments, where death and physics are transformed into dramatic and comedic real time performance.

Victor tells us more about his work; "I work with video game engines to make visual art. I usually show my visuals in live performances, generally in collaboration with other artists: musicians, dancers, actors and other visual artists. I like using this medium in performance because of its real time nature, I can trigger my images live, so it is a perfect tool for performance. I like to explore the surreal and psychedelic, and my process of making images is about the pursuit of "errors, glitches and wrongdoings" within these amazing pieces of software; in other words I try to "misuse" the software to find unexpected, unnatural and unique moving images. I generally use the Cryengine and it's Sanbox Editor, which in my opinion is the most powerful digital visual tool out there; sometimes I like to use the Source Engine and its developer tools combined with Garry's Mod. I like to modify these engines to get my own look and feel, and, whenever possible, i make original textures, models and write my own code." See more;

The first video below consists in a kind of "portfolio" where Victor Morales has mixed a lot of works he performed in real time. Here you can see an example about a performance Victor made with Hannes Strobl and Ulrike Sowodniok at Festspielhaus St. Pölten. Based on Schubert's Winterreise. And the last video here on the posts shows a full piece called "Vogelstimmen".

Vogelstimmen

"This is a piece "performed" along Messiaen's "en Sourire". It was performed with the TonKünstler Orchestra at the Festspielhaus in St Pölten, Austria on September 26, 2009. As you can see in the beginning I "attempted" to montage the visuals to the music, an idea that I abandoned towards the second part of the piece (after the fade out). I most say that this piece simply "intersects" the music, I am not looking for representation or marriage of media/meaning; I am just looking for intersections a la Venn's diagram.

I used the cryengine 2 to make the 3d space/map. I performed it using quartz composer to control the montage in realtime and to add some effects. This version is NOT real time and it is missing most of the effects."

Trace Heavens by James Nizam

noreply@blogger.com (Triangulation Blog) — Sun, 06 May 2012 20:58:45 PDT

James Nizam is showing (4 - 26 May, 2012) at Gallery Jones "Trace Heavens", an exhibition consisting in a photograph series about his very impressive geometric light sculptures made using directly the sunlight. I found a really good information about "Trace Heavens" and its process at Canadian Art;

"The large black and white photographs depict the transformation of darkened rooms into uncanny light sculptures that intersect elegant geometry with math-class daydreaming. Bridling sunlight into streamlined rays via perforated and sliced walls, and with the aid of artificial fog to intensify the slants of light, Nizam creates imagery that might bend our perception of photography." See more;

"The majority of works in the exhibition were created in a darkened studio space where small mirrors were fastened to ball joints for easy pivoting, perfect for manipulating the light streaming through holes in the walls (see Drill Holes Through Studio Wall) The logistics were no small feat; Nizam sometimes had as little as five minutes of perfect sunlight in which to create his images. And the process of waiting for those brief periods no doubt felt like déjà vu for a photographer who has spent plenty of time in dim rooms watching dust dancing in sunlight." More info at Canadian Art.

Douglas D. Prince

noreply@blogger.com (Triangulation Blog) — Sun, 06 May 2012 20:06:31 PDT

Douglas D. Prince_
"My creative evolution in photography is driven by my observations, my response to the environment, seeing things, and a need to manifest this vision into a tangible form. Another motivation is my curiosity about image processes and how these processes affect my perceptions.

I’ve been working to build a personal vision where craft and content fuse, teaching me to see the world photographically. Photography is the tool I use to search my environment. For me, the medium is as important as the content in making an image and it is an integral part of the image making process. I have explored traditional and alternative processes with the same passion that I‘ve explored my environment. Whether I’m working with the camera, in the darkroom, or on the computer, I’m looking for juxtapositions, relationships and transformations that create new perceptions, fostering an insight into the elementary nature of things. I strive to make images where the ordinary is elevated to the extraordinary. I’m looking for things that I haven’t seen before." - Douglas D. Prince. See more;

Shore Lines

Epidermis

Spontaneous Symmetry Violation .01

noreply@blogger.com (Triangulation Blog) — Sun, 06 May 2012 18:14:10 PDT

Spontaneous Symmetry Violation .01 (2003) by Recursion VideoLab, 1h 10 min of great visual video manifestations, according with Jason Stephens, more madness from the VHS vaults of the VideoLab. "Recursion VideoLab is a subjective science research project devoted to the exploration and expression of complex emergent behavior through a variety of video-related processes applied to immersive video environments, club visuals, performance art, video projection therapy, and intelligent healing spaces. The Video Lab consists of intertwined video mixers, cameras, computers, sensors, switches, monitors, projectors, controllers, and playback mechanisms which are organized to allow complex video patterns to emerge from simple interactions between components. The process is a type of Generative Art, related to Artificial Life, which can be understood in terms of Complexity Theory and Wolfram’s New Kind of Science. The resulting output is best described as a Dynamic Mandala or a highly evolved descendant of the creatures found in Conway’s Game of Life." See more;

Music: BOOMIN' SIDE / TRIPPER SIDE (Derek, mixed tape 1992, 0:00 - 42:00)

Music: Digital Division | Live @ Treewood (Derek & Eric, 1993, 42:00 - end).

via | VIDEO CIRCUITS

Color Picker by Anders Clausen

noreply@blogger.com (Triangulation Blog) — Fri, 04 May 2012 10:14:01 PDT

"Color Picker" is one of the latest works of Anders Clausen part of the exhibition titled "Year of Cooperation", made in collaboration with Broadway 1602 Gallery in New York and Hotel, in London. This new series by Clausen shows an awesome interface studies which this time have been manipulated and glitched. I usually go back to check one of my favorite works from him, it's another interface study he made two years ago focused on one of the most beautiful icons from Mac over the last decade, the well known glossy and aqua theme scrollbar, see here. An icon which has been a motive of inspiration for several artist. I'm a huge fan of this toolbar, to me is a pity Macintosh went into a flat and minimalist design (in Lion) trying to hide symbols like the scrollbar which life is going to be really short because of the use of devices such as the trackpad and the Magic Mouse, we will see what happen on the next update of Mac OS. Read more about Color Picker series;

"Made on a giant inexact industrial printer (it can turn turn greytones into yellow), and printed onto a form of upvc canvas that could be the hoarding that covered a Doges Palace in scale and durability, Anders Clausen's 'Color Picker' works draw on computer software icons, desktop imagery, emoticons, found imagery and Photoshop toolbars in their variously 'collaged' and pristine arrangements. Back to Illich for a moment, and his conviction that he needs to find a framework for evaluating man's relation to his tools, "Neither a dictatorial proletariat nor a leisure mass can escape the dominion of constantly expanding industrial tools." And Debord's earlier notion that being is replaced by 'having', which is then replaced by appearing. Clausen asserts a bold relationship with the myriad personal, leisure, business, creative, practical or emotional fragments and essential tools for navigating through the desktop, on which we build our avatars, and acknowledges that they come through pre-existing material, images and texts. Copied and doctored." - Broadway 1602

via | Contemporary Art Daily

Lorna Mills

noreply@blogger.com (Triangulation Blog) — Tue, 24 Apr 2012 05:11:43 PDT

I'm pleased to present an interview with Lorna Mills, who has been working with the GIF format since 2005. Lorna uses different ways to create her animated GIFs, a well known one is from the huge research she makes on the Internet about viral videos, images and even found GIFs, then she manipulates it to create her animated collages to show to the viewer her own story, her own world. I must say Lorna's work is great and funny, I love to see at her work and see how all those situations are put together. But it is not always funny Lorna works can be offensive, profane, sexy, violent, bizarre.. You will find a great variety of content on her pieces, as she says; men and women wanking with rubber dolphins, masturbating kangaroos, animals humping inanimate objects... more into the post!

Lorna Mills has actively exhibited her work in both solo and group exhibitions since the early 1990's. A founding member of the Red Head Gallery, her practice has included obsessive Cibachrome printing, obsessive painting, obsessive super 8 film, and recently, obsessive digital video animations incorporated into restrained installation work. See more;

▼ Read the interview ▼

Can you tell us a bit about your background?

I'm a Canadian artist, with a fair number of exhibitions in a variety of mediums over the years. I've also worked as a game programmer since 1994, starting off in children's CD-Roms, before moving to web based programs. (I also edit video for IPTV and iPad delivery) In spite of these skills I am more nerdish about WW2 and Cold War history than I am about technology.

When did you start to create loopable animations?

Probably around 1994, but they were all done in Director and delivered on CDs and floppy discs. Many were interactive, but ultimately interactivity didn't excite me as an artist. (That said, I enjoy a lot of artists who are coding right now) By 1998 I was making looped video work, but it took me until about 2005 to fall in love with gifs. A few years prior I had became friends with the artist/writer/publisher/curator Sally McKay, who's intellect leaves most of us behind eating her dust. She invited me to join her and post on her blog which at the time covered art/science/ideas. (so I gleefully set out and destroyed it from the inside.)

When I started really looking closely at her GIF work, I saw the potential for making gifs from my own video sources. Prior to that tiny epiphany, gifs meant 8 bit graphics to me, and though I was aware of a lot of artists making GIFs, I didn't really enjoy using graphic tools.

Most of your animated GIFs are collage compositions made from videos, pictures, and other GIFs found on the internet, do you also record videos and take pictures to make them?

Yes I do some work from my own footage, but the tone of that work is very different from my found gif collage work. For the last 7 years I've acquired the habit of shooting all my video footage with animated gifs in mind. To anyone but myself that footage is absolutely incoherent and dreadful.

I guess you have a huge archive of GIFs, videos and pictures, what kind of content you look for collecting them?

Yes it's huge and growing all the time, I spend almost two hours a day looking for new ones. First of all, I'm attracted to the same inane stuff that all the other 8 year olds on the internet like. (I take a bit of comfort in sharing base and common taste.) I have a good sense of the ridiculous, so extreme and inane activities appeal to me, cross-species sexuality, vehicular accidents, men and women wanking with rubber dolphins, masturbating kangaroos, animals humping inanimate objects, animals who smoke, people fighting, animals fighting, pro wrestling and owls doing absolutely anything. What I call near-porn has a greater spark of excitement than blatant pornography.

Your pieces represent different moods, some are very funny, emotional, or bizarre. They all tell a story or situation. What do you want to convey to the viewer?

I'm not always sure of that, but for the most part, absurd perpetual conditions, obsessions, perhaps puzzlement over and recognition of 'otherliness'. The shaky camera work in my own footage was always intentional, a way of acknowledging a human presence behind the technology, mimicking the rhythms of heartbeats and breathing.

A thin but very important thread that has tied all my work in different media together for over 20 years has been my belief that the particular and peculiar can expand to universals which, at an alarming rate, contract right back to the particular and peculiar - basically, constant oscillation punctuated by the odd abrupt rhythm.

I like your style and the aesthetics you use by cutting out these images, they usually presents hard pixelate edges. Do you work frame by frame? Which software/tools/technology do you usually use to make/move/animate/edit/export them?

Frame by frame, like an idiot. I was bored by the relentless four edges on my gifs and wanted to make them occupy a web page in a more interesting way, so I started marqueeing out the backgrounds at 90 degree angles with little care for cleanliness. (It also added another level of movement to the gifs.) I compose the separate animations in Flash and then export as a GIF again. That's where a ridiculous amount of precision comes in; playing and replaying so that they work together in an interesting way on every frame. (I can obsess on a 2 pixel shift for hours) I use Photoshop and Fireworks for resizing and colour manipulation, and I love simple animation programs like Easy-Gif Animator Pro ('pro' being an empty endearment, it's a pretty basic software)

You usually work on short loops, but I have noticed you don't mind about their size, do you care about the weight of your GIFs, is the weight an important factor for you at the time to upload them on the internet?

They absolutely have to exist on the internet first before I change their context for real life projects, it's the conditions of the net, economy and compression that makes the gifs more interesting to me than just straight up video. I've been a bit self-indulgent with the size lately. My host has a small upload limit per file, so I used to get around it by uploading separate gifs and composing them on the page with html, but now I just store bigger gifs elsewhere and hotlink them. I do care about the weight but I also know that people that only have dial-up aren't that interested in what I have on offer, so I make stuff for broadband. (and excuse me sir, but you are a fine one to talk about gif size!)

Where do you usually feature them? I saw them on your website but more often at Google+ , does G+ help you to promote them?

I only think of promotion as posting exhibition info on G+ and Facebook. The rest of the time I'm making gifs to throw in the G+ streams, so it doesn't feel like promo, it just feels like participating in a community of gif makers. On my own site, the gifs are just posted as I make them. Sometimes I wonder if I should do a more net-art aware site and tie everything up in nice neat little conceptual bows, but right now I couldn't be bothered to make that effort.

Is there any source of inspiration?

Mostly seeing what my contemporaries are making, but more importantly seeing the original public unattributed gifs grabbed from viral YouTube videos, network news, movies etc.

Could you tell us one of your favourite GIFs from you and another from other artist or just an artist you like who use this format?

I know so many terrific artists working with this format, but Francoise Gamma's work is very special he/she (damn enigma.) is making figurative gifs that can be simultaneously elegant, sexy, graceful and tortured, qualities I love, even if I constantly fall short in my own work. (Francoise Gamma's work http://francoisegamma.computersclub.org/)

As for something of my own, the most resonant for me was the following set below. The images are little piles of jewellery and ornaments in my mother's bedroom that I shot the night before she died. I had left the hospital late that evening, and I just remember standing in her bedroom and thinking that all these assembled things would be dismantled and dispersed in a matter of days, so in those moments they were vibrating (or perhaps that was just me). It didn't matter to me that the light was crappy for video, or the stuff was so ordinary, I knew the work would have some subtle power. (some of my non-artist friends are a bit shocked that I was thinking about making art that night, but that's what we do, if we can)

Tell us a bit about your latest or ongoing project. What about Sheroes #9: Dolly Parton?

First of all, Sheroes is the invention of the extremely generous and multi-talented salonnière, Rea McNamara. It's a monthly limited-run performance event series that frolics in the aesthetic playground of media fandom such as fan fiction, fan art, fan videos, fan costume play etc. http://fuckyeahsheroes.tumblr.com/tagged/sheroes-9%3A-dolly-parton

Rea had already produced the first two in the series, when she approached me about programming projections of animated gifs. I admit that I was unsure of the project at first, there's a part of me that cringed at expressions like 'sheroes', 'herstory' and 'mythic female', all that debased coinage from a previous generation of feminists, but she won me over when I saw how she was embracing it with so much smart humour and energy. I think we only invited about six artists for the first gif projections, but they were so enthusiastic after seeing the event documentation that I got the confidence up to invite more gif artists to participate. Eventually Rea just left the GIF aspect of the events in my hands. What we now have is an ever expanding crew of gif makers, (we are up to 29 for Sheroes #9) that includes many well known active net-artists, as well as younger artists, both male and female, from all over the world. Previously, my own taste in exhibitions/events was more towards small tightly focussed curatorials. Inviting serious artists to participate in fan culture has had some surprising results, though no one should be surprised that serious artists want to do their best work no matter what, or that the work gets better and better.

Lorna Mills

http://www.digitalmediatree.com/sallymckay/LornaMillsImageDump/

Thirozumi's tumblr

noreply@blogger.com (Triangulation Blog) — Mon, 23 Apr 2012 11:26:41 PDT

Tumblr is one of the free platforms most I like because it is very customizable, it can be used as you really want, even from a blank html. I'm lately seeing several tumblrs which feature interesting themes. I just found this one by Thirozumi, to be honest in the beginning I didn't know what I was seeing, I only noticed about the colored diagonals and the cool visual effect by scrolling down or right. Then I went to its archive to see the single posts and what kind of content had there. On the archive there are normal pictures from reblogs or posts but if you click on whatever picture you go to a single colored diagonal, so this tumblr shows all the content published on in that diagonal and deformed way, I really like it, it's like two projects in one, a personal research and an abstract colored visualization from all that research. See more;

It doesn't work using endless scrolling, to go to the next pages just click on the "next" link on the bottom left. The same to see the archive. http://thirozumi.tumblr.com/

I have looked at all the archive and I have found few GIFs, I was thinking how beautiful would be to see at least one page of this tumblr full of different animated GIFs. Like I just said before, when you click on a single picture on the archive you go to that picture seen as a diagonal form. I clicked on a classic GIF of dvdp and that is the cool view. See it here.