LAMPO

Catodo
2012
generative art project based on the architecture of the Aurum building
Result: 3 prints on forex 70×100 cm

Il lavoro del Catodo è un progetto di arte generativa basato sull'architettura dell'Aurum a Pescara, la struttura che ospiterà la Mostra Lampo sulle nuove frontiere dell'arte digitale.
L'architettura dell'Aurum di Pescara ha quasi una forma circolare che ricorda la struttura di un anfiteatro (Figura 1).

Figura 1 – Planimetria dell'Aurum

Ispirato da questa forma, costruito un algoritmo del computer che:
1. genera un numero variabile di punti su un cerchio;
2. si muove questi punti da un valore casuale lungo gli assi x e y assi;
3. si unisce a questi punti utilizzando una spline basata sull'algoritmo di Catmull-Rom.
Uno schema di questo algoritmo è riportato nella figura 2.

Figura 2 – Casuale punti raggiunti da una spline

Il risultato di questo algoritmo è stato utilizzato come modello per la generazione delle immagini. Usato un approccio casuale nella scelta della posizione, la dimensione del raggio, le dimensioni delle linee, e per il valore del colore alfa che ha determinato l'opacità delle immagini.
La gestione dell'opacità ha creato un interessante effetto di sfocatura che ha prodotto un risultato visivo simile ad un complesso sistema.
Ho sperimentato con tre diversi colori predominanti (verde, rosso, e blu) e con un colore neutro, bianco, generazione di tre immagini in alta risoluzione (100×70 cm) che rappresentano l'interconnessione di due reti complesse.
Le immagini generate sono rappresentate dall'iterazione #5132, #2149, #6534.

Appendice tecnica
In questa appendice, Ho segnalato il codice sorgente degli algoritmi utilizzati per generare le immagini precedenti.

Iteration_eng
Iteration

Luigi Pagliarini
[* Trans Adriatic Grey Area]

“We have made a robot soccer model using LEGO Mindstorms robots, which was shown at RoboCup98 during the World Cup in soccer in France 1998. We developed the distributed behaviour-based approach in order to make a robust and high performing robot soccer demonstration. Indeed, our robots scored in an average of 75-80constructed a stadium out of LEGO pieces, including stadium light, rolling commercials, moving cameras projecting images to big screens, scoreboard and approximately 1500 small LEGO spectators who made the “Mexican wave” as known from soccer stadiums. These devices were controlled using the LEGO Dacta Control Lab system and the LEGO CodePilot system that allow programming motor reactions which can be based on sensor inputs. The wave of the LEGO spectators was made using the principle of emergent behaviour. There was no central control of the wave, but it emerges from the interaction between small units of spectators with a local feedback control.”

From: http://biblioteca.universia.net/html_bura/ficha/params/title/robot-soccer-with-lego-mindstorms/id/41662514.html

Video: matchday-LEGO1998

Photo: VOLKER STEGER/SCIENCE PHOTO LIBRARY

Davor Sanvincenti
2008 – 2012
physical audio-visual installation
[* Trans Adriatic Grey Area]

1 0 0 1 revisited is a study for trans-sensory organisms – activation of humans senses through defined audiovisual wave frequencies.

Bearing in mind a visitor’s “tired eye” saturated with millions of visual information, the installation insist on engaging the whole human body in perceiving the project. “1 0 0 1” employs light flashes and binaural beats to create the illusion, the moment when the observer finally gazes at 1838 photography by Louis Daguerre, titled “Boulevard du Temple”. The work reconstructs the possible “truthful” depiction of this freeze moment. The observer can discern black lines/blur in motion until the moment when it becomes obvious these are people, passers-by. The time has been turned back.

Edita Pecotić
2007-2009
video color PAL, 4:3, 192′, silent
[* Trans Adriatic Grey Area]

‘Temporary (Internet) Files’ is a time lapse video which displays seasonal transformations of a landscape. It is made of a series of still photos, collected over the course of a whole year, via ‘temporary internet files’ folder, from the public, online accessible webcam. The video acts as a form of meditation and contemplation on time and the corresponding notion of duration, as well as being a personal diary. By using contemporary technological resources, the work also makes a reference to the perception of time in modern culture. (www.editapecotic.com/temporary/)

“The whole of that time which I spent in the daily ritual of collecting, sorting and rearranging the photographic stills in a timeline, I experienced this process as a type of personal struggle against that inescapable disappearing. Surrendering to those moments where nothing happens, as the transitory is inevitable, I withdrew into a simultaneously sweet and bitter state of contemplation, filled with contented flow of time and the simultaneous interwoven sense of emptiness and helplessness of the moments which are all but gone forever. In this way I followed, from day to day, one whole small world determinedly existing on the edge of fading, which awoke in me a feeling of abandonment into that middle space of reality, imagination and doubt. While the images of the town were lost in the dusk, time, enormous and unreachable, flew from every file, from every adjusted transition. In that careful, attentive following of change and the mute following of time, never knowing if it is about beginnings or endings and in my indecisiveness between documenting reality and running away from it, I tried to make something which is not just a visible window into a piece of reality, but a re-created history which is at the same time real and imagined” (Edita Pecotić)

The diary-like recording of the change between night and day, the weather motions and seasons in the everyday, gained for Edita Pecotić a base for creating a contemporary picture of a virtual reality. Using an additional reality and the compression of familiar images in a three-hour simulation of a new world, she has achieved an effectively geocentric reality where all is in continuous movement while the landscape remains still. There is a significant difference between the scenery in reality and that which the artist has created by organising gathered images into a timeline. Through selection and organisation; choosing details which she deemed significant, the artist has produced a shift from the real into the selective and subjective, thereby creating a process of shifting from the real to the unreal. Thus a familiar view becomes, in the words of Jean Baudillard, “fleeting and interesting electronic pictures elusive of reality”. The ambient simulation of the landscape, created through compressing space and time is a process by which the artist attempts to problematise the space-time relationship and the human role in that relationship” (Zorica Beus, art critic).

Ivan Marušić Klif
interactive DVD
[* Trans Adriatic Grey Area]

Synchronicity is a performance and an authorial DVD edition. A multichannel media performance separates a performer from his audience, while picture and sound get transferred from a confined scene space into an open space of auditorium. Author-performer uses simple light and audio devices, from time to time employing his own voice, partially live and partially reproduced, in order to gradually build happening of the image and the sound.

The performance is transmitted live into separated open space via 4 cameras and 4 microphones. Each camera and each microphone has its own screen and speakers system. Hence, image and sound transfer is happening with no additional processing, in 1:1 ratio. The performer has no feedback information as to what the audience hears and sees. Through combining light and sound sources, appearance and acoustics of the space is being continually changed and adapted. A small shift within inner space causes very big changes in the outer space. The performance is recorded full time.

The second stage of project realization is a DVD edition. DVD medium enables setting of parallel channels of video, sound and text in an interactive modus. In this manner, a subject of synchronicity is again being referred to through another media. The same DVD is simultaneously a document of performance and an independent multimedia work. It is distributed as an artwork and project documentation at the same time. Thus authorised, the DVD renders an independent interactive work which is set within gallery space as a projection with Dolby surround sound system and remote control. The later enables visitors to combine and change channels of sound, video and text. Each of the few channels explains separate performance segment, for example, music and sound; author’s inner state; motivation; treatment of sound preparation, etc….

website Ivan Marušić Klif: http://boo.mi2.hr/~klif/

Darko Fritz (Croazia / Olanda)
2007 – 2008
horticulture installation (prints, video at the monitor – if available, no sound)
[* Trans Adriatic Grey Area]

The horticulture unit ‘204_NO_CONTENT’ is made of organic elements, transgressing the contents from the digital domain.

The textual context of the picture is a text found in the computer language that reads ‘204_NO_CONTENT’. It is an error report that appears in the internet communication. A machine communicates with another machine about protocols of failed communication [HTML server error], and thus providing the user with the insight into the problem. Error ‘204 No Content’ means that the server has fulfilled the request but there is no new information to send back.

A typographical picture located in the desert is 3.6 x 31 meter in size and shaped within the matrix made of 18 x 166 fields [2988 ‘pixels’]. This ‘low-resolution screen’ is made of cactuses and black lava. The ‘active pixels’ are made of 2220 cactuses [Echinocactus grusonii]. At the beginning of the project each cactus was approximately 18 cm in diameter.

Materials used in the installation are chosen respecting natural resources and availability at the Fuerteventura island. Fuerteventura island is of volcanic origin and therefore black lava is widely available. The Echinocactus grusonii cactuses are visible around the island and have an status of the local souvenir at the local airport. The sent used within and around the installation is of local origin.

204_NO_CONTENT is part of the Internet Error Messages project by Darko Fritz [since 2001].