IMAGE CREDIT: Haim Bresheeth, A Civilized Crash
This July SMARTlab hosted the launch event for EVA London 2008: Electronic Visualisation and the Arts.
Our evening presentation showcased the work of eight video artists at MATRIX East, a unique research space at UEL comprising 24 synchronized and individually programmable monitors.
MATRIX East: www.smartlab.uk.com/matrix/index.html
Tamarin Norwood (SMARTlab)
Make Some Noise (2008)
In February 2008 a group of talented young musicians from Newham Sixth Form College joined forces with SMARTlab’s MAGICbox for an intensive musical workshop with a difference. MAKE SOME NOISE documents two days of music-making with nothing but found materials, a couple of drills and a roll or two of gaffer tape. The results of the NewVic Recycled Orchestra speak for themselves!
Barbara Elektra Droth
Nostalgia (Memory Circle)
This seven minute single-shot film revolves around childhood memories of
family, friendship and betrayal. Filmed on location in Scotland, the music narrates the experience without structured language. It captures the fragile state of innocence and growing up.
On filming an innocent park on a sunny summer day, Michael Pinsky encounters mysterious circumstances. His subjects keep multiplying, filling more and more of the screen, until they take over the park, and presumably, the world…
Kamkatcha blues (2008)
“I woke up in the middle of the night, and saw a brown bear.” This is my encounter with a brown bear from Kamchatka in my private space and neighbourhood. Brown bears are known as solitary walkers in the Kamchatka peninsula in Russia. They are rulers in the volcanic springs in the Kamchatka land, but chased by hunters illegally. In 1983, Korean air KAL 007 disappeared without trace from airspace near Kamchatka. Kamchatka is a ‘lost’ land where strangers could come from, and a place where the wind of change blows. This is a part of large project, ‘strangers in the neighbourhood’, which explores glocality (global+local), nomadic identity and strangers in the urban community. (Kamkatcha is spelled in the wrong way intentionally in this title, and you can notice two different pronunciations in the film.)
A Civilised Clash
Conceived and Directed by Haim Bresheeth, with music by KILA. Danced by Lizbeth Goodman and Bobby Byrne.
This piece deals with some of the main cultural issues now rocking western societies, through the medium of dance/performance. The use of two opposed screens is dictated by the topic – a civilisational clash of immense consequences, and involving all of us, wherever we are, and whatever our beliefs and positions.
Jana Riedel (SMARTlab)
visions for the past (2008)
“Kirillov: … When the whole of man has achieved happiness, there won’t be any time, because it won’t be needed… Stavrogin: Where will they put it then? Kirillov: They won’t put it anywhere. Time isn’t a thing, it’s an idea. It’ll die out in the mind.” – F. Dostoievsky, The Possessed.
Every moment becomes the past the next moment. Some people live only in the Now, some only in the Past. visions for the past juxtaposes time and past, what we might make of both and how we deal with them.
Bringing Out the Ghost – Evolved Darwinian Portraiture
Can you bring the ghost (creativity) out of the machine (the computer) using the ghost of Darwin (his namesake techniques and portrait)? Considering photography and beyond, where does the fine art portraiture sit today — in this new millennium, what now defines the new media portrait space? With this historical question in mind, this work that evolves related living portraits using genetic programming realizes Darwin’s process (Darwinian evolution) as a portrait but still historically references his traditional portrait (the evolutionary spark), and portraiture in general, although the ‘real stuff’ of the piece is computationally portraying his thinking process which begat his greatest gift to humanity, the understanding (the thought space) of the Darwinian evolution. Using a new computational model derived from human creativity theory, this piece is about portraiture as living process of a sitter’s ideas.
John Frans Holder
Two actors engaged in poetic dialogue reveal their intimate thoughts to each other. Using natural language processing the artist has interpreted their voices to affect both expression and movement. Shot in extreme close up, their images move naturally, are they simulation or stylized reality? On multiple side screens a flocking algorithm helps to visualise their thoughts as bubbles of consciousness.