Keiko Takahashi　

「DioramaTable」と題された作品を作成。テーブルの上に置かれたカップ・ソーサー・ナイフ・フォーク・箸などを動かすと、自動車・電車・家・樹木の映像がテーブル上に映し出される仕組になっている。観客同士が関わり合うことで成り立つ作品である。

Keiko Takahashi has devised ‘Diorama Table’, a space for communication between groups of people in which their movement of cups, saucers, knives, forks and chopsticks cause the appearance of cars, trains, houses and trees upon the table top, forming a new projected world upon its surface.

http://www.th.jec.ac.jp/~keiko

Allen Coombs questions our geographic location through his locative GPS technology, creating live drawings through his movements through the city.

Circus: 

« Circus » deals in a very unusual way the construction of space. The video work is based on digital photos of a busy square in Geneva that the artists dissembled into layers and subjected to digital animation. The installation shows a constantly moving view of the city that seems to be disintegrating. Set pieces of urban architecture, logos and passers-by float incalculably and vertiginously towards the viewers. On the basis of the photographic document of a real city, the artists create a three dimensionality that refers indirectly to the virtual 3D worlds of computer games, while at the same time deconstructing the unambiguity and coherence of their spatial order and hyperrealistic graphics.

In addition, the work refers to the way in which we appropriate urban structures. The accelerated movement and navigation in the public space, results in the non-linear perception of our environment, the associative scanning of distinctive points of reference and landmarks and striking details. Accordingly, the customary conception of the city as a homogeneous, clearly structured unified whole, the basis of two-dimensional postcard vistas and the cartographic urban model, gives way to a fragmentary, fleeting, dynamic picture of urban space.

Lichtwelten
4:30 minutes, 2006
Concept/ Edit: Kim Collmer
Sound Design/ Composition (Lichton©): Petra Klusmeyer
Camera: Kim Collmer, Jeff McGrory

Lichtwelten- Light worlds- is an abstract underwater realm of rhythmic vibrations. Radioactive frequencies stream as light floats in patterns through thick liquid, yellow pods pulsate, communicating a deep and hidden message that we are briefly allowed to hear. Spaces fold into themselves, time becomes submerged and our laws of gravity, visual and acoustic perception and orientation become momentarily disentangeled from "reality".

The short audio visual composition 'asphalt' encompasses the artists shared practices of recycling objets trouveés of visual and sound material.

The visual sets up an imagined fragmented internal urbanscape with suggestions of abstracted chopped up architectural forms that the viewer is invited to travel through. The audio track interacts with the rolling visual (constantly transmitting abstracted information), sometimes in sync, sometimes out of, stuttering and collapsing (informed & misinformed). Real and electronic voice fragments chatter (in a call and response) falling in & out of time with the images, mixed into raw noise and original music segments which have been collected from the artists shared field recordings.

Duration: ca. 4 mins 30 secs

 Year of completion: 2006

Nick Cope Video

Tim Howle Music

Taking its title from a Nam June Paik manifesto of 1965, Open Circuits takes the viewer on a journey of dislocation through a world where the distinctions between real and virtual, conscious and unconscious, daydream and nightmare become indistinguishable and borders breakdown.

The sounds are re-ordered and successively superimposed -creating a soundtrack that is progressively distanced from the origin - creating a palate of sonic material that functions both 'in' and 'out' of the frame.

The video is constructed out of 16mm film time lapse animations, and Winamp computer animations montaged in linear and non-linear video editing platforms that are combined to explore the anxieties and ambiguities within and between real and virtual worlds. A hybridization of art forms constructed out of the convergence of acousmatic music, associated dislocations and video art techniques.

In her original animation, Sugiyama presents a comic take on language difference, between English and Japanese.

I am interested in using processes that break down and re-frame the perception of the material world.  Part of the research for my work involves examining the origins and application of technical drawing and mapping. While existing essentially to serve as a plan or diagram, a technical drawing or map is a figurative representation, offering an insight into the shared codes through which we attempt to describe the material world and the things in it.

Phenomenology has been described as ‘the attempt to arrive at the essential truth about one’s situation in the world by paying close attention to one’s mental processes, particularly one’s individual perception of objects’.¹ Like maps or diagrams, my animations attempt to pick out particular threads of significance from everyday scenes, acting as proposals for a new understanding of the material world.

In recent works such as, 'While we sleep here, we are awake somewhere else' I have begun to explore fictions which, while underpinned by everyday existence begin to reveal hidden patterns and relationships. Commonly seen urban architecture takes on human characteristics, and while physically separate, the buildings develop an almost symbiotic relationship.

(1) Fontana Dictionary of Modern Thought

Patrick Jameson, June 2006

'Rainstorm'

It is a scene of rainy urban cityscape in Tokyo and it changes to rainstorm. Then the cityscape disappear with the storm. There is a tragic sense of narrative in the vanishing Tokyo city and yet the whole scene is at the end contained within a fictional space of small wine glass.

雨の降る東京の都市風景の場面から、次第に暴風雨の場面へと変わる。そして街の風 景は嵐と共に消え去る。消滅する東京の街という悲劇的な筋書きではあるが、一連の 場面は結局のところ小さなワイングラスの中という虚構の空間で起こったにすぎない。

'Freeze'

'Freeze' starts from a scene of cityscape which are made out of plastic bottles and packages. The city is barely visible at the beginning but gradually it appears and becomes frozen city. The scene captures a transient moment of chemical change; the buildings are in fact covered by salt water and the salt is crystallized on their surface.

'Freeze'はペットボトルやプラスチックのパッケージから作られた都市風景の場面から始まる。初め、街の光景はほとんど見えないが、徐々に立ち現われそして凍り付いた街となる。その場面は移り変わる化学変化の瞬間を捉えている、つまりそれらのビル群は食塩水で覆われ、そして塩がその表面に結晶しているのである。

Steff [no] mi manca tanto - part II

mi manca tanto - part II evolves a little bit in the tradition of musique concrète and musique acous-matique.

CROSSINGS

video         Marina Chernikova

sound        Michel Peters

2004         05 min    color  stereo   DVD PAL

Three voyages, three cities, Moscow, Rome, Tokyo.

Different forms, different spaces.

Reflecting, crossing each other in my eyes and in my memory

They form yet another space,

The space of memories, memories of voyages,

Of voyages into the space of memories of these cities,

Into the space of reflections and crossings.

Pieces of images of different cities appear as seen from a rapidly moving train. The sound of the train accentuates this motion. Initially it is possible to distinguish the features of each of the cities. Gradually, the number of layers increases; they overlap and merge with each other in various ways accompanied by a variety of street sounds. Phrases and melodies, sometimes recognizable, finally give way to the sound of city traffic. Through the multiplication of all of these elements, an incredible, imaginary city emerges as seen through the ever-present eyes of the filmmaker.

Yuko Mohri draws our attention to the invisible spaces which we move through, the electro-magnetic signals which surround us. Their presence can only be realised through their impact, Mohri attempts to visualize this presence through the use of sound and physical movement, presenting us with our own interactions with these hidden fields.

Yoshinori Niwa　野性を飼い慣らすことをテーマにしたパーマンスインスタレーションを通じて「内側」と「外側」を隔てているものは何かを問いかける。

Yoshinori Niwa investigates the barriers between inside and outside in a performative installation which seeks to domesticate the wild.

Jeanie Finlay has created ‘Home-Maker’ which is the result of two residencies which took place in the living rooms of seven housebound, older people in South Derbyshire, England, and Tokyo, Japan. Jeanie Finlay spent time with each of the seven people, getting to know their histories, preoccupations and passions, creating video and panoramic portraits of each of them in their homes.

Scopac - Since about 1997 I’ve made images for performance, usually in collaboration with musicians and sonic artists. Images are made in direct response to sound, using video and overhead projectors, video footage, live camera, and some software image processing. More recently I've been working with sound, too, on a project called Foreign Correspondence.

I'm interested in the way combining image and sound creates something more than the two original elements. It can be a physical and immediate correspondence or clash between the two senses. There's also a different relationship to television and the cinema made possible by using images as an improvising musician works with sound.

http://www.scopac.org/  

“Project Beaufort Scale” is a video installation of an ice cube melting in Tokyo controlled by information related to the current weather in New Orleans. Specifically, the data sets correspond to the wind speed which will control the duration, speed and direction of the video.

To me, the ice cube melting (video) relates to the natural and man-made disaster that devastated New Orleans during and after Katrina.  By networking this video to wind data captured by a weather station in New Orleans, two locations will be connected visually and temporally. Like the dérive, or drift, defined by the situationists, which could have no end, this video could loop endlessly bringing into questing the laws of thermodynamics, entropy and dislocation

Ben will disorientate the location of the gallery space by changing its polaric positioning through the use of multiple electro-magnets

http://theprivatecollection.org.uk/

Recordings

 www.dune-n-devil.com
 

My work is about communication, manipulation and archival aspects of information. For the past two years my work has involved the use of different types of boxes, electronics and various sculpture techniques with research involving ways of recording and documenting the information. The projects usually take the form of installations, involving elements of craft and performance. The installations are strongly driven by concept but the process of using appropriate materials to bring physical form to those concepts is a very important factor in their creation. (More information about past and current projects can be found on my website http://www.loriamor.com/)