Created by artist Peter Baldes's Electronic Strategies Class at Virginia Commonwealth University, nonmonument.com is a collection of 3D models tagged with geolocation data and viewed in Google Earth. The project uses Google Earth to introduce impossible and possible interventions and objects in that space, and it plays with the program's claim to represent reality. In a communication with me, Baldes stated that these nonmonuments be thought of "...as real, at their own resolution." He sees the works as a unique form of public art and/or graffiti that "exist in a different layer of our reality." His class has opened up the forum to submissions as well, and visitors are invited to submit their own nonmonument.
Created by artist Peter Baldes's Electronic Strategies Class at Virginia Commonwealth University, nonmonument.com is a collection of 3D models tagged with geolocation data and viewed in Google Earth. The project uses Google Earth to introduce impossible and possible interventions and objects in that space, and it plays with the program's claim to represent reality. In a communication with me, Baldes stated that these nonmonuments be thought of "...as real, at their own resolution." He sees the works as a unique form of public art and/or graffiti that "exist in a different layer of our reality." His class has opened up the forum to submissions as well, and visitors are invited to submit their own nonmonument.
This system provides light and food in the form of hydroponic solution for the plant. The plant reacts to the device by growing. The device in-turn reacts to the plant by producing a rasterized inkjet drawing of the plant every twenty-four hours. After a new drawing is produced the system scrolls the roll of paper approximately four inches so a new drawing can be produced during the next cycle. This system is allowed to run indefinitely and the final outcome is not predetermined.
This system provides light and food in the form of hydroponic solution for the plant. The plant reacts to the device by growing. The device in-turn reacts to the plant by producing a rasterized inkjet drawing of the plant every twenty-four hours. After a new drawing is produced the system scrolls the roll of paper approximately four inches so a new drawing can be produced during the next cycle. This system is allowed to run indefinitely and the final outcome is not predetermined.
For this project, artist Joe Winter aggressively shakes a computer printer during the process of printing. The movement creates the above colorful effect.
For this project, artist Joe Winter aggressively shakes a computer printer during the process of printing. The movement creates the above colorful effect.
Plink Jet is like an elaborate electric guitar made from the motors and mechanical components of inkjet printers. It can play itself independently or be played by a person.
Plink Jet is like an elaborate electric guitar made from the motors and mechanical components of inkjet printers. It can play itself independently or be played by a person.
The user presses buttons on an attached control interface to play different notes. As the printer is played, it's also printing a set of images that are programmed into the printer's EPROM with the software.
The printer creates sound from the print head firing pins against the paper and the vibration of the stepper motor driving the print head back and forth. To generate different notes, the software adjusts the frequency of the printing process. Higher pitches tend to come from the firing of the pins against the paper, and lower pitches come from the rattle of driving the stepper motor.
The external eight-button interface plugs into the printer's font cartridge port. Each button has an assigned pitch, and pressing multiple buttons simultaneously activates the arpeggiator that quickly cycles through the notes you are holding down. The software also has the ability to run without the button interface, using the three buttons on the printer's front panel instead.
There is interaction between the images and music. The image dithering patterns fluctuate depending on what notes are played, and the music's volume and rhythmic patterns change depending on the pattern in the current horizontal section of the image. The printer can store about three pages of black and white images which print in order and then repeat.
The user presses buttons on an attached control interface to play different notes. As the printer is played, it's also printing a set of images that are programmed into the printer's EPROM with the software.
The printer creates sound from the print head firing pins against the paper and the vibration of the stepper motor driving the print head back and forth. To generate different notes, the software adjusts the frequency of the printing process. Higher pitches tend to come from the firing of the pins against the paper, and lower pitches come from the rattle of driving the stepper motor.
The external eight-button interface plugs into the printer's font cartridge port. Each button has an assigned pitch, and pressing multiple buttons simultaneously activates the arpeggiator that quickly cycles through the notes you are holding down. The software also has the ability to run without the button interface, using the three buttons on the printer's front panel instead.
There is interaction between the images and music. The image dithering patterns fluctuate depending on what notes are played, and the music's volume and rhythmic patterns change depending on the pattern in the current horizontal section of the image. The printer can store about three pages of black and white images which print in order and then repeat.
For those who missed the recent SHIFT Electronic Arts Festival in Basel, VernissageTV put together a video compiling installation footage from the exhibition segment of the event, which included AIDS-3D, Craig Baldwin, Zoe Beloff, Lindsay Brown, Erik Bünger, Jim Campbell, Center for Tactical Magic, Susan Collins, Bill Domonkos, The Einstein's Brain Project, F18, Atelier Hauert/Reichmuth/Boehm, Christoph Keller, Julien Maire, Tatjana Marusic, Jane D. Marsching, Shusha Niederberger, Ruth Sergel, Harm van den Dorpel, Apichatpong Weerasethakul, and Patrick Ward. The theme for this year was “Magic. Tech-Evocations and Assumptions of Paranormal Realities.” In the clip, keep an eye out for F18’s robotic installation Living Kitchen – Happy End of the 21st Century (2006) which transforms a suburban kitchen into a scene reminiscent of Poltergeist.
For those who missed the recent SHIFT Electronic Arts Festival in Basel, VernissageTV put together a video compiling installation footage from the exhibition segment of the event, which included AIDS-3D, Craig Baldwin, Zoe Beloff, Lindsay Brown, Erik Bünger, Jim Campbell, Center for Tactical Magic, Susan Collins, Bill Domonkos, The Einstein's Brain Project, F18, Atelier Hauert/Reichmuth/Boehm, Christoph Keller, Julien Maire, Tatjana Marusic, Jane D. Marsching, Shusha Niederberger, Ruth Sergel, Harm van den Dorpel, Apichatpong Weerasethakul, and Patrick Ward. The theme for this year was “Magic. Tech-Evocations and Assumptions of Paranormal Realities.” In the clip, keep an eye out for F18’s robotic installation Living Kitchen – Happy End of the 21st Century (2006) which transforms a suburban kitchen into a scene reminiscent of Poltergeist.
Julie Karabenick: Early in your career you made paintings and drawings. Now for almost 30 years you've used computers in making your art.
Mark Wilson: When I started using computers in 1980, very few artists were using them. To me, these machines were totally cool and exciting. Back then, there was little software of interest to an artist like myself. To make art with computers, you had to invent new working procedures. I bought a personal computer and learned to write my own software. I was trying to find a unique way of using the computer and software to create geometric images.
After developing some programming skills, the methodology of writing software to create images became utterly natural.
-- EXCERPT FROM "AN INTERVIEW WITH ARTIST MARK WILSON" BY JULIE KARABENICK ON GEOFORM
(Via Plog)Julie Karabenick: Early in your career you made paintings and drawings. Now for almost 30 years you've used computers in making your art.
Mark Wilson: When I started using computers in 1980, very few artists were using them. To me, these machines were totally cool and exciting. Back then, there was little software of interest to an artist like myself. To make art with computers, you had to invent new working procedures. I bought a personal computer and learned to write my own software. I was trying to find a unique way of using the computer and software to create geometric images.
After developing some programming skills, the methodology of writing software to create images became utterly natural.
-- EXCERPT FROM "AN INTERVIEW WITH ARTIST MARK WILSON" BY JULIE KARABENICK ON GEOFORM
(Via Plog)"Text Rain is an interactive installation in which participants use the familiar instrument of their bodies, to do what seems magical—to lift and play with falling letters that do not really exist. In the Text Rain installation participants stand or move in front of a large projection screen. On the screen they see a mirrored video projection of themselves in black and white, combined with a color animation of falling letters. Like rain or snow, the letters appears to land on participants' heads and arms. The letters respond to the participants' motions and can be caught, lifted, and then let fall again. The falling text will 'land' on anything darker than a certain threshold, and 'fall' whenever that obstacle is removed. If a participant accumulates enough letters along their outstretched arms, or along the silhouette of any dark object, they can sometimes catch an entire word, or even a phrase. The falling letters are not random, but form lines of a poem about bodies and language. 'Reading' the phrases in the Text Rain installation becomes a physical as well as a cerebral endeavor."
"Text Rain is an interactive installation in which participants use the familiar instrument of their bodies, to do what seems magical—to lift and play with falling letters that do not really exist. In the Text Rain installation participants stand or move in front of a large projection screen. On the screen they see a mirrored video projection of themselves in black and white, combined with a color animation of falling letters. Like rain or snow, the letters appears to land on participants' heads and arms. The letters respond to the participants' motions and can be caught, lifted, and then let fall again. The falling text will 'land' on anything darker than a certain threshold, and 'fall' whenever that obstacle is removed. If a participant accumulates enough letters along their outstretched arms, or along the silhouette of any dark object, they can sometimes catch an entire word, or even a phrase. The falling letters are not random, but form lines of a poem about bodies and language. 'Reading' the phrases in the Text Rain installation becomes a physical as well as a cerebral endeavor."