445 research outputs found
Charmed
No full textThis paper introduces Charmed, which is an interactive computational media art work that explores aspects of daily life in urban environments - in an attempt to question the nature of the worlds we create, the inhibiting impacts they have on humanity, and their ability to divorce us from a state of compassionate being. Gavin Sade, Priscilla Bracks and Matthew Dwyer created the work, with the support of an Experimenta New Visions Commission. Following is a description of Charmed, which is experienced by way of a uniquely playful, ludic interface
Every One, Every Day
No full textCreative Statement:\ud
“There are those who see Planet Earth as a gigantic living being, one that feeds and nurtures humanity and myriad other species – an entity that must be cared for. Then there are those who see it as a rock full of riches to be pilfered heedlessly in a short-term quest for over-abundance. This ‘cradle to grave’ mentality, it would seem, is taking its toll (unless you’re a virulent disbeliever in climate change). Why not, ask artists Priscilla Bracks and Gavin Sade, take a different approach? To this end they have set out on a near impossible task; to visualise the staggering quantity of carbon produced by Australia every year.\ud
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Their eerie, glowing plastic cube resembles something straight out of Dr Who or The X Files. And, like the best science fiction, it has technical realities at its heart. Every One, Every Day tangibly illustrates our greenhouse gas output – its 27m3 volume is approximately the amount of green-house gas emitted per capita, daily. Every One, Every Dayis lit by an array of LED’s displaying light patterns representing energy use generated by data from the Australian Energy Market.\ud
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Every One, Every Day was formed from recycled, polyethylene – used milk bottles – ‘lent’ to the artists by a Visy recycling facility. At the end of the Vivid Festival this plastic will be returned to Visy, where it will re-enter the stream of ‘technical nutrients.’\ud
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Could we make another world? One that emulates the continuing cycles of nature? One that uses our ‘technical nutrients’ such as plastic and steel in continual cycles, just like a deciduous tree dropping leaves to compost itself and keep it’s roots warm and moist?” (Ashleigh Crawford. Melbourne – April, 2013)\ud
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Artistic Research Statement:\ud
The research focus of this work is on exploring how to represent complex statistics and data at a human scale, and how produce a work where a large percentage of the materials could be recycled.\ud
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The surface of Every One, Every Day is clad in tiles made from polyethylene, from primarily recycled milk bottles, ‘lent’ to the artists by the Visy recycling facility in Sydney. The tiles will be returned to Visy for recycling. As such the work can be viewed as an intervention in the industrial ecology of polyethylene, and in the process demonstrates how to sustain cycles of technical materials – by taking the output of a recycling facility back to a manufacturer to produce usable materials.\ud
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In terms of data visualisation, Every One, Every Day takes the form of a cube with a volume of 27 cubic meters. The annual per capita emissions figures for Australia are cited as ranging between 18 to 25 tons. Assuming the lower figure, 18tons per capital annually, the 27 cubic meters represents approximately one day per capita of CO2 emissions – where CO2 is a gas at 15C and 1 atmosphere of pressure. \ud
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The work also explores real time data visualisation by using an array of 600 controllable LEDs inside the cube. Illumination patterns are derived from a real time data from the Australian Energy Market, using the dispatch interval price and demand graph for New South Wales. The two variables of demand and price are mapped to properties of the illumination - hue, brightness, movement, frequency etc.\ud
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The research underpinning the project spanned industrial ecology to data visualization and public art practices. The result is that Every One, Every Day is one of the first public artworks that successfully bring together materials, physical form, and real time data representation in a unified whole. \u
Aesthetics of urban media façades
No full textThis paper sets out to develop and extend current literature on\ud
design practices for ambient media façades. It does this by\ud
bringing together theories of ambient media, computational\ud
aesthetics, and urban aesthetics. This unique theoretical\ud
combination has informed the design of several exemplars\ud
produced by the author, which are discussed as case studies
Flower animals
No full textThe coral reefs around the world may be likened to canaries down the mineshaft of global warming. These sensitive plant-like animals have evolved for life in tropical seas. Their needs are quite specific – not too cold, not too hot. A rise of as little as one degree Celsius is enough to cause some bleaching of these colourful jewels of the sea.\ud
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Many climate models indicate we can expect sea temperature increases of between two and six degrees Celsius. Research - such as that detailed in a 2004 report by the University of Queensland’s Centre for Marine Studies – indicates that by the year 2050 most of the worlds major reef systems will be dead.\ud
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Many of us have heard this kind of information, but it remains difficult to comprehend. It’s almost impossible to imagine the death of the Great Barrier Reef. Some six to nine thousand years old and visible from space, it is the world’s largest structure created by living organisms. Yet whilst it is hard to believe, this gentle, sensitive giant is at grave risk because it cannot adapt quickly enough to the changes in the environment.\ud
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This cluster of fluffy felt brain coral sculptures are connected in real time to temperature data collected by monitoring stations within the Great Barrier Reef, that form part of the Australian Institute of Marine Science’s Great Barrier Reed Ocean Observing System. These corals display illumination patterns showing changes in sea temperature at Heron Reef, one of the 2,900 reefs that comprise the Great Barrier Reef. Their spectrum of colour ranges from cool hues, through warm tones to bright white when temperatures exceed those that tropical corals are able to tolerate over sustained periods.\ud
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The Flower Animals also blush in colour and make sound when people come within close proximity. In a reef, fishes and other creatures generate significant amounts of sound. These cacophonies are considered an indicator of reef health, and are used by reef fish to determine where they can best live and forage
Disco Puppy
No full textDisco Puppy is an energetic interactive installation for children (and parents) which stars three larger than life dancing puppies. The work was initially produced for the Ipswich Art Gallery and has since toured nationally
Lumia : Art | light | motion. The Art of Kuuki.
No full textThe State Library of Queensland is delighted to present Lumia: art/light/motion, a\ud
culmination of many years of collaboration by the Kuuki collective led by Priscilla Bracks\ud
and Gavin Sade. This extraordinary exhibition not only showcases the unique talent of these\ud
Queenslanders, it also opens up a world of future possibilities while re-presenting the past\ud
and present. These contemporary new media installations sit comfortably within the walls\ud
of the library as they are the distinctive products of inquisitive and philosophical minds.\ud
In a sense the exhibition highlights the longevity and purposefulness of a cultural learning\ud
institution, through the non-traditional use of data, information, research and collection\ud
interpretation. The exhibition simultaneously articulates one of our key objectives – to\ud
progress the state’s digital agenda.\ud
Two academic essays have been commissioned for this joint Kuuki and State Library\ud
of Queensland publication. The first is by artist and writer Paul Brown, who has specialised\ud
in art, science and technology since the late 1960s and in computational and generative art\ud
since the mid 1970s. Brown investigates the history of new media, which is celebrating its\ud
60th anniversary, and clearly places Sade and Bracks at the forefront of this genre nationally.\ud
The second essay is by arts writer Linda Carroli, who has delved deeply into the thoughts\ud
and processes of the artists to bring to light the complex workings of the artists’ minds. The\ud
publication also features an interview Carroli conducted with the artists.\ud
This exhibition is playful, informative and contemplative. The audience is invited to play,\ud
and consequently to ponder the way we live and the environmental and social implications\ud
of our choices. The exhibition tempts us to travel deep into the Antarctic, plunge into the\ud
Great Barrier Reef, be swamped by an orchestra of crickets, enter the Charmed world and\ud
travel back in time to a Victorian parlour where you can interact with a ‘new-world’ lyrebird\ud
and consider a brave new world where our only link to the animal world is with robotic\ud
representations.\ud
In essence this exhibition is about ideas and knowledge and what better institution than\ud
the State Library of Queensland to partner such a project?. State Library is committed to\ud
preserving culture, exploring new media and creating new content as a lasting legacy of\ud
Queensland for all Queenslanders
e. Menura superba
No full texte. Menura superba is an illuminated, interactive, computational, sculptural work, but in comparison it is much smaller in scale. The work explores the paradox between our fascination with the exotic and our potentially dystopic future devoid of many animal species. The work was selected for inclusion in the Juried Exhibition at the 2009 International Symposium on Electronic Arts held in Belfast
Marquês de Sade: crime, destruição e excesso
No full textResumo: O presente artigo tem como objetivo primordial investigar a ligação entre o erotismo e a morte, que abrange questões como o crime, a destruição e o excesso, na obra sadiana. Marquês de Sade, senhor dos sádicos, estabeleceu a vida como um mero meio para a obtenção do prazer máximo. E esse prazer, segundo o autor francês, apenas se faz sentir de forma apoteótica quando destrói a vida. Assim, gozar é sinónimo de ver destruir, de abraçar e de satisfazer a morte. Além de destruir, torna-se imprescindível violar, violentar e matar sem freios, sem imposições morais. Para a elaboração deste estudo, recorreu-se não só à produção literária de Marquês de Sade, mas também a textos teórico-críticos, que focam as noções de erotismo, morte e sadismo.Palavras-Chave: Marquês de Sade; sadismo; crime; destruição; excesso.Abstract: This article studies the possible relations between eroticism and death, which covers issues such as crime, destruction and excess, in the Sadeian work. Marquis de Sade, master of the sadists, envisioned life as a mere mean for obtaining pleasure. And this pleasure, according to the French author, is only felt when life is destroyed. Thus, to enjoy is to destroy, to embrace and to serve death. Besides destruction, it becomes imperative to violate, rape and kill without limits, without moral impositions. Not only the literary production of Marquis de Sade proved to be paramount to this research, but also the theoretical texts which focus on eroticism, death and sadism.Keywords: Marquis de Sade; sadism; crime; destruction; excess
‘Imagination wove this flesh garment’: Fashion, critique and capitalism
No full textFashion, with its intimate connection to the logic of capitalism, has the ability to absorb all resistance into itself. Fashion makes fashionable what was once subversive. What therefore can we make of contemporary ‘alternate practices in fashion design’: textiles grown from fermented tea, garments that transform into portable habitats, or manuals that teach users how to hack mass-produced garments? Such practices would seem to be speculative at best, operating on the margins of a fashion system that will attempt to feed on their critical content for reinvention as a new trend. In this chapter we argue two points. First, we propose that speculative practices can be seen as part of a lineage of critical practitioners whose work developed in opposition to the dominant fashion culture. Second we argue that although fashion operates largely through absorbing its own criticism, profound change in fashion is also driven by clothing design on the margins. Through an analysis of the work of nineteenth, twentieth and twenty-first century designers and artists whose practices have hovered uneasily on the margins of fashion, this chapter will explore how critical practice may un-design and re-design fashion
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