Embed - object, live feed video, projection.
Semblance I - object and live video feed.
Foot - objects and video projection.
Showing posts with label Video. Show all posts
Showing posts with label Video. Show all posts
Monday, February 13, 2017
Friday, January 6, 2017
Antony Gormley, b. 1950, London, United Kingdom
Another Place
The Angel of the North
Antony Gormley
Gateshead, 1998
Antony Gormley
Gateshead, 1998
Since it was unveiled on Valentine's Day in 1998, an estimated 90,000 people a day have seen Gormley's Angel of the North, making it Britain's most famous piece of public art. Standing on the site of an old colliery in Gateshead, the towering steel sculpture pays tribute to the industrial heritage of the North East.
Sol LeWitt, b. 1928 , d. 2007, American
Inverted Spiraling Tower, 1987
The Location of Lines
Lines From The Ends of Lines 98
The Location of Lines
The Location of Straight Line not Straight Line and Broken Line 98
Working Drawing for Wall Drawing 937
1999
Blue Wall
Starting from the simple but radical new idea that an artwork's concept is more important than its form, Sol LeWitt helped revolutionize the definition of art in the 1960s. By the middle of that decade, LeWitt had rejected the dominant, psychologically charged abstract style of artmaking for impersonal, geometric forms. By repeating and varying a single principle, he created sculptural structures that were aesthetically satisfying even as their internal logic was pushed to the edge of irrationality.
LeWitt's procedure of repetition and variance is also the basis for his wall drawings. Each of these impermanent artworks consists of a set of the artist's instructions, something like a musical score, with the actual execution carried out by someone else.
Over the years, LeWitt's austere compositions gradually became more complex and sensuous, though they remained true to his original precepts.
Tuesday, January 3, 2017
Rocking Chair That Knits
Damien Ludi and Colin Peillex, students at the University of Art and Design Lausanne, have come up with a rocking chair that knits as you sway back and forth.
Called the Rocking Knit, the wooden chair has gears above your head that utilises kinetic energy to knit. Each swaying motion powers the gears, which sends yarn to a knitting round. The final product is a cosy red beanie made with minimal effort (so long, needles!).
The contraption was made as part of a program that encourages students to make a machine that creates both an experience and a material good.
Saturday, May 21, 2016
J I N hyun Jeon, Sensory Cutlery Collection, 2012
Watch Sensory Dining Experience, Click here Vimeo
Cutlery design focuses on getting food in bite-sized morsels from the plate to the mouth, but it could do so much more. The project aims to reveal just how much more, stretching the limits of what tableware can do. Focusing on ways of making eating a much richer experience, a series of dozens of different designs has been created, inspired by the phenomenon of synesthesia. This is a neurological condition where stimulus to one sense can affect one or more of the other senses.
An everyday event, ‘taste’ is created as a combination of more than five senses. Tasty formulas with the 5 elements – temperature, color, texture, volume/weight, and form – are applied to design proposal. Via exploring ‘synesthesia’ if we can stretch the borders of what tableware can do, the eating experience can be enriched in multi-cross-wiring ways. The tableware we use for eating should not just be a tool for placing food in our mouth, but it should become extensions of our body, challenging our senses even in the moment when the food is still on its way to being consumed. Each of designs have been created to stimulate or train different senses – allowing more than just our taste buds to be engaged in the act and enjoyment of eating as sensorial stimuli, therefore it would lead the way of mindful eating which guides to rediscovering a healthy and joyful relationship with food.
The materials in the design currently compose of metal, plastic and ceramics. Each material possesses its natural temperature, which works in harmony with the intent of the design. From the thickness of the handle to the volume mass of the spoon, it evokes a different effect. Weight distribution changes according to the thickness and the volume affects the sound vibration. Each of these features is subtle but in combination, they harmonize into enhanced tasty effects. As for the specific workings of the features of the design, it could be understood through the elaboration of the five elements – temperature, color, texture, volume/weight and form.
Enhanced Tasty Formulas
Temperature
SWEET × 36.5°C = SWEET × +++
SALTY × < 36.5°C < SALTY × < 0°C
SOUR × 36.5°C = SOUR × 100°C
BITTER × 36.5°C > BITTER × 100°C
Tactility
+++ × (SWEET + SALT) = X
SWEET + (0.5% × SALT) = SWEET ++
SALT ÷ SOUR = SALTY/SOUR -
SALTY × SOUR = SWEET +
Colour
10% × (5R 4/14 ＋ 5YR 4/14 ＋ 5Y 4/14) = 2.0
90% × (5R 4/14 ＋ 5YR 4/14 ＋ 5Y 4/14) = 0.1
20% × R > 20% × Y
Volume/ Weight
5cm3 × SOUND/ SIGHT = 10g × TOUCH
Form
1mm × TOUCH > 10mm × TOUCH
(y=f(x)) × TOUCH = Y
Designer Jinhyun Jeon was born in South Korea, based in Eindhoven, the Netherlands. Jeon received BA in Product Design and completed MA in Spatial Design at Hongik University, Seoul, Korea in 2008. She moved to the Netherlands, gained MD in Social Design from Design Academy Eindhoven in 2012 and established Studio Jinhyun Jeon. jihyun.com
Sunday, May 1, 2016
Omer Polak, Industrial Designer
Designer Omer Polak's 'Blow dough' project manufactures dough balloons using an industrial blower
Israeli designer Omer Polak is a graduate of the Department of Industrial Design at Bezalel Academy of Arts and Design in Jerusalem. Polak inflated food as part of his “Blow dough” art installation, which illustrates the food manufacturing process in a small-scale factory that was established for one day as an analogy to street food carts and the urban eating experience in Jerusalem.
The inflated food designs were created with flour and water, inspired by popular Jerusalem food scene ingredients found in pita bread, bagels, bans, and more. The aim was to exhibit to viewers an open and transparent scene of the production process as well as a fresh perspective on dough.
“Blow dough” manufactured dough balloons using an industrial heat blower, with temperatures reaching as high as 600-degrees Celsius. This made the seasoned dough bake while blowing it into the shape of an inflated balloon. In the manufacturing process, local herbs were added to the blowing and assimilated into the dough, which helped to enrich the entire eating experience for those involved.
This project was created for the Jerusalem Design Week, and it reflects many aspects of Jerusalem. The multicultural city hosts many types of foods, dishes and eating habits influenced by different cultures. The local food in Jerusalem is usually referred to as “street food” and characterized by a similar food-making process, which surrounds one small counter where all the magic happens.
One of the most popular and common ingredients in the Jerusalemite food arena (and the entire middle east) is the various different types of bread. This is why the very basic ingredients of flour and water were chosen for this project and combined with the designer’s creative processes.
The “Blow dough” food design project offers a new perspective on dough uses by borrowing the producing process from other industries. It also enables the participants to view and be exposed to the food process both openly and transparently. You can check out the design process and see lots of people creating dough balloons of various shapes and sizes in the video below:
source link here
Friday, April 29, 2016
Sunday, April 24, 2016
Rachel Whiteread, Artist, b. 1963, United Kingdom
Holocaust Memorial, Vienna
Book pages face outward - viewer cannot read title of books.
65,000 Austrian Jews, 1938 - 1945.
Alphabetical order, name of camps around base.
Doors have no doorknobs or hinges.
Resembles a bunker.
The sculpture is a cast of negative space.
Space between us and the books.
Concrete chosen for familiar/common material.
"Given this thematic edge in all her work, it is not surprising that Whiteread was one of nine artists and architects invited to submit proposals for the Vienna Holocaust memorial. Other invitees included the Russian installation artist Ilya Kabakov, Israeli architect Zvi Hecker, and American architect Peter Eisenman. As proposed, Whiteread’s cast of a library turned inside-out measures ten by seven meters, is almost four meters high, and resembles a solid white cube. Its outer surface would consist entirely of the roughly textured negative space next to the edges of book leaves. On the front wall facing onto the square would be a double-wing door, also cast inside out and inaccessible. In its formalization of absence, on the one hand, and of books, on the other, it found an enthusiastic reception among a jury looking for a design that “would combine dignity with reserve and spark an aesthetic dialogue with the past in a place that is replete with history.”16 Despite the jury’s unanimous decision to award Whiteread’s design first place and to begin its realization immediately, the aesthetic dialogue it very successfully sparked in this place so “replete with history” eventually paralyzed the entire memorial process.
Text source harvarddesignmagazine.org
Prisoners files in small fort office, Theresienstadt. Photo, Dirk Reinartz
Four minute video that shows Whiteread planning and working on the memorial.
https://vimeo.com/47024557
I found this personal video made by a visitor to the memorial.
Whitehead talks about her work, 2011.
Saturday, April 23, 2016
Monday, September 7, 2015
Sunday, April 28, 2013
Wednesday, May 2, 2012
Balint Bolygo, Artist
"Trace is a sculptural device that alludes to scientific discoveries and pseudoscientific concepts such as phrenology, physiognomy, and craniometry. A revolving plaster cast of the artist's head is slowly deconstructed into a mathematical diagram that changes as time passes. The peculiarities of the human face that as humans, we attach so much importance to, is dematerialised into a changing drawing that embodies the differential undulations of the human anatomy. Trace questions our notion of self and how through technology we have found different visual representations for the individual. DNA profiling, retina scans and the fingerprint are all things that are conjured up by the meticulous mechanical process of the work. The topographical images are turned into a new form of three-dimensional representation that draws our attention to the space within." - source is artist's website. Link here to see more work.
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