rAndom International explores the relationship between the animate and inanimate; the natural and artificial.Their experimental installations encourage a distinctly physical interaction between an object and its viewer, often by means of light and kinaesthesia.

Wayne McGregor CBE is a multi award-winning British choreographer, renowned for his physically testing choreography and ground-breaking collaborations across dance, film, music, visual art, technology and science. He is the Artistic Director of Wayne McGregor | Random Dance, Resident Company at Sadler’s Wells Theatre in London and Resident Choreographer of The Royal Ballet (appointed 2006). In January 2011, McGregor was awarded a CBE (Commander of the Order of the British Empire).

Max Richter is a German-born, British composer, trained in composition and piano at Edinburgh University, at the Royal Academy of Music, and with Luciano Berio in Florence. Max’s recent work continues to stretch the notions of what Classicalmusic is. ‘24 Postcards In Full Colour’, released in August 2008, is an experimental work made up of 24 composed ringtones. Max works widely in film music, installation and the theatre, most recently on INFRA, made with Wayne MacGregor and Julian Opie for The Royal Ballet, London. Max was named 2008
European Composer Of The Year for his score to Ari Folman’s Waltz With Bashir, for which he was also nominated for the Prix France Musique.

MADE
MADE is a creative platform for artists from various fields, located in the heart of Berlin.
It can be a gallery, a workspace, a studio, a stage, a laboratory, or a performance space – but most of all, it is a
venue for interdisciplinary projects that invites artists to step out of their artistic routines. The goal of MADE is to enable a new kind of creative work by bringing together different artistic fields and offering a workspace and an inspiring biotope that allows new things to happen.

Saturday, April 28: Premiere performance, invitation only.
Sunday, April 29: Three further performances will take place at 12pm, 3pm and 5pm, open to the public.
RSVP by April 23rd at futureself@made-blog.com. Capacity is limited.
The ‘Future Self’ exhibition at MADE will be open to the public:
Duration: May 3, 2012 – June 2, 2012
Days: Thursday – Saturday
Time: 2pm – 7pm
MADE
Alexanderstrasse 7, 10178 Berlin
info@made-blog.com
Web: www.made-blog.com
Facebook: http://www.facebook.com/MADE.SPACE
Twitter: http://www.twitter.com/MADE_Blog

Torstrasse 68
10119 Berlin
+49. 30 25 76 28 75
julia.winkels@boldberlin.com

With this noisy chemistry lab, the gamer will create his own jelly with water and a few grams of agar agar powder. After added different color, the mix is then pour in the molds. 10 min later, the jelly shape can then be placed on the game board,and by touching the shape, the gamer will activate different sounds.

Technically, the game board is a capacitive sensor, and the variations of the shape and their salt concentration, the distance and the strength of the finger contact are detected and transform into an audio signal.
This object aims to demonstrate that electronic can have a new aesthetic, and be envisaged as a malleable material, which has to be manipulated and experimented.

Author: Raphaël pluvinage pluvinage.eu
& Marianne Cauvard (mariannecauvard.fr)
at L’Ensci Les ateliers (ensci.com)

Project done in the semester course of François Azambourg and Clémentine Chambon
Thanks to Roland Cahen for his help (especially sorting out with Max/Msp)

Invited to the project by Hermann Weizenegger – an industrial designer and design professor running his studio haw in Berlin – I was responsible for designing the overall interface between the music by composer and violinist miki and the production process of the robot. Together with the incredibly talented chris jeffs, who provided me with the audio analysis and musical advice as well as Wolf Deiss and Roman Kühnert of artis gmbh we realized what to me was one of the most complex, challenging and inspiring productions I was part of to date.

Hermann’s vision of the overall performance consisted of five variations of a musical piece by MIKI represented in five objects. To address this vision, wax was chosen as a base material, since it allowed rapid manufacturing through milling and application of heat as well as a possible further use for casting. Thus, the performance was conceptualized as a two stages production process showing MIKI and a pianist along the robot manufacturing the objects. In a pre-performance process, the wax base shapes were milled to reflect the musical atmosphere, in the second process the robot finalized the objects with the use of a Bunsen burner in reaction to MIKI’s play.

Given my initial lack of experience with product design and the related manufacturing processes, I teamed up with steffen fiedler to create a formal concept that will work in the timeframe we had. Even though this initial design process happened in Java/Processing with the help of Chris’ analysis tools made in SuperCollider, we realized quickly we would need an entirely different toolset to create data for such a high performance manufacturing process. Thus, the formal concept to match the requirements of the short timeframe for milling was implemented in Rhino/Grasshopper. The concept consisted of a fluent terrain being distorted according to the music. The terrain was chosen to provide the greatest flexibility for how the robot would manufacture it. This translation process is also shown in a minimal dynamic visualization I created in Processing mainly for the audience to understand the process. It was integrated into the lights control done by Chris as well. The large scale renderings for the exhibition were made in sunflow – a fabulous open source renderer written in Java.

Each sculpture is made out of 12 triangular panels, hinged and powered by six linear actuators, controlled by a specific program. At the center of each corolla, a loudspeaker and a microphone allow to play and record sounds.
At regular intervals, each sculpture produces a sound, simultaneously recorded and analyzed by the opposite sculpture, which then moves according to the frequencies of this sound.
Like a feedback loop, it then plays back the recorded sound, with the errors and disturbances caused by the reverberating space and the visitors.

By intervening in this conversation, the viewer becomes an actor, as he degrades the communication by his presence and the noises he produces. As the panels move back and forth at a pace determined by the environmental sound, they create a non-immediate interaction, where the imperfections of reproduction are becoming creative elements.

The original sound is continuously transformed, and becomes something entirely new and unpredictable. The memory of past events is hold for a moment, until it’s reproduced, degraded, and then forgotten, replaced by the present.

SYNOPSIS
The digital revolution of the last decade has unleashed creativity and talent of people in an unprecedented way, unleashing unlimited creative opportunites.
But does democratized culture mean better art, film, music and literature or is true talent instead flooded and drowned in the vast digital ocean of mass culture? Is it cultural democracy or mediocrity?
This is the question addressed by PressPausePlay, a documentary film containing interviews with some of the world’s most
influential creators of the digital era.
The film was shot globally between August 2009 – January 2011, covering more than 150 hours of interview footage with international creatives and thinkers – representing the state of digitized culture today.

via @daniel_camiro

For this project an interactive tool was created using processing and all animations are exported without the need of post production. A wide range of t processing libraries were used like toxiclibs for the fluid and GLGraphics to make shading possible, as well as Lee Byrons meshLib and the Ani Tweaning Library by Benedikt Groß for the mesh and its animation and ControlP5 and ProScene for camera and control.

What is Chrysalis?
The purpose of the Chrysalis project is to make it easier for people to create 3D interactive applications for the web, by combining two already existing platforms: Processing and Grasshopper.

At the core of the project is an open source app, written in Processing, that translates designs made using the intuitive 3D design interface called Grasshopper into working Processing code. Also included are the necessary resources needed by Processing to support some of Grasshopper’s special types of 3D geometry, as well as a feature that runs within Gasshopper to initiate the translation into processing.

How will Chrysalis help designers?

There is a new paradigm emerging in which small scale designers are offering customizeable versions of their designs through interactive web applets. Customers can go to the website, select a number of settings, preview the customized product and get a price estimate. Then when they are ready, they press a button and the product is made and shipped to them directly.

Processing makes apps like this possible through its robust graphics handling, and the ability to run in a web browser and interact with other websites via html. However, Processing has a text-based code editor, which is difficult to use in 3D design, especially for visually oriented people.

The intuitive WYSIWYG interface offered by Grasshopper is much more effective for visually oriented designers because it shows data and its relationships graphically instead of as lines of text. Unfortunately, Grasshopper models are not as share-able as Processing. It is not possible to view or interact with grasshopper designs on the web. The answer is Chrysalis; Think of it as designing 3D interactive content for the web using an intuitive visual

What will the funding be used for?

Funding will pay for professional software developers to produce the following items, which will be open-source and available through the Processing and Grasshopper online communities, under the Creative Commons license:

-New 3D libraries for Processing to support selected types of NURBS geometry
-Adaptation of some existing 3D geometry libraries for Processing
-New Chrysalis translator app, written in Processing
-New initiator component to run within Grasshopper
-Complete documentation of all included libraries and translator app

The work FOLDS is one of the latest projects of artist Robert Seidel commisioned by the Lindenau Museum (Altenburg, Germany) may be understood as a rapprochement with the history of the museum’s collection of plaster casts. I was particularly interested in the ancient, fragmented bodies – how through the loss of limbs they became almost abstract, fragmentary sculptures and yet still disclosed a nearly uncanny vitality. Also noteworthy is that the collection entails sculptures, Greek in origin, that have been replicated time and time again. Hewn from marble and partially painted in color, the originals were repeatedly copied in marble or plaster in different places across centuries, despoiled of color and slurred in detail.
Despite these multiple re-shapings that attend the loss of the original’s memory, new meanings and frictions arise with each copy in each respective present. They are the precondition for over 2400 years of the ongoing revitalization of the legacy of antiquity. The fold, a continually recurring visual and conceptual motif in my works, is for me the pictorial metaphor for these layers and distortions of meaning. In the projection the fold becomes connected to the fragmentary sculptures, swirls around them, makes them flow with bygone colors, protects or clothes them, gives them peace and lets them come alive for a moment, in order then to be stored as a further layer in the sediment of oblivion.

dimension: 7,2 × 1,9 × 2,4 m
video: robert seidel
commission: lindenau museum altenburg, germany
2-channel video, HD, variable loop on 19th century plaster casts of Kladeos, Kephissos, Belvedere Torso, Seer and the Three Goddesses from the Bernhard August von Lindenau Collection