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Laura Beloff og Erich Berger
"Spinne"
A networked audio installation consisting of four sculptures.
The core of the piece lies in the custom designed software, which is functioning in the internet, continuosly generating new results, which modify the audio in the installation.
The piece consists of four software programs, little search engines known as web-spiders. The four web-spiders are sent out into the internet with the objective to chase some predefined words or phrases in different regions of the internet.
For example the word "women" can be searched from informational, religious-, entertainment-, and shoppingsites.
The website linked to the installation gives information about the piece, which words or phrases are chased by the spiders and where in the web they are looking for them. Everytime someone online is accessing this website, the pysical installation is reacting to it by shaking of the cables ("touching of the spider-web").
The physical installation has four spider-like objects. These sculptures are constructed out of transparent plastic spheres, loudspeakers and metallic leg constructions. The hollow sphere-body of the spider is functioning as an audio subwoofer.
There are little spider replicas placed on top of each loudspeaker membrane. Each audio-sculpture is connected to one of the virtual spiders. They represent the result of the chase by means of sound.
The amount of the chased words and their appearance can be heard as a changing spacial soundscape which embeds a unique rhythm produced by the glass spiders dancing on the membran.
The selected websites and words create the context of the piece. Through them the piece is commenting on current and emerging topics.
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H.C.Gilje
Sleepers, 2004 (foto thor brødreskift)
A series of installations ranging from a single channel loop to a multiroom environment and interactive installation. The core of the piece is a very intense expression created with sleeping faces accompanied by a brutal electric crackling soundtrack. The initial version was made for an exhibition organised by Vestlandske Kunstmisjon in Bergen june 2004. The multiroom environment was created for a soloshow at galleri21 in malmö, Sweden sept 2004, and the interactive version is being developed for the Get Real exhibition at Kiasma, Helsinki nov 2004.
http://www.nervousvision.com
http://242pilots.org
http://www.kreutzerkompani.com
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Espen Gangvik
Live Life, 2004
LIVE_LIFE is animated graphics shown on LCD screens containing their own operating systems. Screen and processor card are assembled into one unit. The units appears stripped for all unecessary electronics and wrapping.
The screens are showing graphical representations of algorithmic processes, processes that are generated by the motherboard´s internal activity. This activity manifistates itself graphical with use of algorithms from the english mathematician John Conway´s
Game of Life.
The units becomes independent identities that presents their inner dialog as a meta experience.
WYSIWYG, What You Se Is What You Get, refer to the technology that makes sure the image seen on the screen corresponds to what is printed out on paper. In the context of this project LIVE_LIFE becomes WYSIWYG: The objects present themselves as nothing else but what they "are".
The sculptures are "closed" objects, and can not longer be digitally accessed. They have gained their own identity, become their own artwork. Like a narcissistic still life.
This project is realized in collaboration with master theses student Tollef Fogt Heen, Dep. of computer and information science, NTNU, Trondheim. Pre studies for the project incl. development of prototypes, has been made by students at NTNU, spring 2004, as part of the interdisiplinary line "Experts in team".
The project is produced with support by the Arts Council Norway.
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Lars Brunström and David Krantz
"Drake", 2004, Lars Brunström and David Krantz
Lars Brunström and David Krantz made the work Drake together, a real-time videoprojection where the public meet fiction.
Before the digital aera, a "forced perspective" was used a lot in film production. In films like Ben Hur fantastic mass-scenes were created. Amongst others the scenes in amphitheatres, where only as few as a hundred people were present, whilst the rest of the amphitheatre was being 'filled' through using a small modell full of marionettes close up to the camera. The Drake is a motor-driven animation that is copying the fiction of the movies, the big difference is that the watcher can participate at the spot, with direct results.
Lars Brunström
"20 km/h", Lars Brunström
20km/h by Lars Brunströms is an animated sculpture of a Volvo 245 in scale 1:12. It is standing on a podium of light wood, taken from the world of the museums, and in this, a piece of road. The car is standing still, but is rolling on the road that is moving backwards, and the audience soon understands the riddle. An everlasting journey. A kind of stillstanding movement. Because of the never-ending trip of the vehicle, the installation goes beyond being a study in modelling, and rather becomes some kind of condition.
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Trine E Eidsmo
eMotions, 2003/ 2004
eMotions is a series of 24 portraits, presented as video. The portraits have as their starting points photographical representations of faces; these have been graphically manipulated, and are eventually presented as animation. The pictures follow each other on a timeline, only; the progress is hardly noticeable. Several portraits are in this way presented on the same screen, and the installation furthermore consists of three screens.
eMotions has as its basis personal portraits. In the meantime it is not the facial structures, features or colors that are emphasized in the presentation of the individuals. What is brough to attention is rather the undefinable mediation any person holds, a kind of mental or non-physical presence.
The individuals are at he same time present and non-present, at the same time physical and spiritual. The attempt is to portrait moments that tell of eternity. Moods. States of minds.
In the juxtaposition of the portraits the aspect of communication is illuminated; the undefinable emptiness of human distance and proximity is visualised.
eMotions holds a subtility that represents a challenge in relation to presentation. Because it is of vital importance to the expression to find the right balance between contrasts, values and sharpness, the portraits needs to be adjusted according to the presentation equipment to be used. The pictures are animated in real time to avoid problems associated with compression of formats, that is, a program written in Max/ Jitter continually generates the portraits over and over again.
The goal is to develop eMotions further, creating a larger room-installation ideally by using flat screens.
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Hilde og Bård Tørdal
Bastard Boyscouts Ate My Mothers Brain, 2004, robotics, plastic and plywood
"The work is an Ed Woodian horrorflick in real plastic. Terrified Nougatti cans flee evil Boyscouts with greedy, dull pocketknives and rotting teeth. Bloodknots and Scaffoldknots. Tents & latrines. A horrorworld without comparison in modern Nougatti history."
The work is produced with support from TEKS.
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Knut Mork Skagen
Alt står bra til med nordmennene, 2004
Alt står bra til med nordmennene (everything's fine with the Norwegians) is ever so much of a kick behind to the norwegian instinct for protection. Our compassion with the rest of the world and our support to freedom, peace and democracy, hardly knows any limit, except that of our own country. We're all fine because we cling on to what we've got. But it is an invisible clamping. We kon't wana know all the mechanisms that holds wealth, wellbeing and peace within our borders. We don't have any atombomb ourselves, and would never be seen dead with them (sic). But what the heck — we've got NATO to do the dirty work for us.
The installation is produced with support from PNEK / TEKS.