Wednesday, May 9, 2012

Mycilium Propogation at TIMESUP with Natalia Borissova

http://www.timesup.org/ngg/inoculate

faux exhibition for Playful Interaction

#Dust’ is a 1:1 scale replica of one of the most played computer game maps in the world. The idea is to build the 3D model of ‘de_dust’ of the first person shooter game ‘Counter Strike’ as a permanent ‘building’ from concrete, making this map accessible as a large scale public sculpture.

imension: ca. 115 x 110 x 15 meter, Material: concrete

Commissioned by Rhizome 2011

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The bizzare experience of exploring a beloved and familiar space in a way completely alien, and i imagine extrememly disturbing. An architecture designed for combat and balanced gameplay by murderous armies who can jump two meters vertical. The flow is based on line of sight and improbable crates.

1Hpublic intervention
2008

Video: 2:10
Axe dimensions: 125x39x12 cm,
material: paper, inkjet plot, glue

“1H” is a workshop and intervention piece for public space. In a one day workshop a group of participants builds paper weapon models extracted from the online computer game “World of Warcraft”. Oversized axes, swords and other archaic weapons are recreated in the exact 3D shape in physical space. Each participant builds his favorite one handed (1H) weapon from large inkjet plotts. In the public intervention the actor/participant carries the weapon model without ‘using’ it. The axe / sword becomes part of every day life in public space while taking the metro or going to a store.

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To withdraw a digital refugee from your personal avatar in an online game, fashion it from the physical equivalent of textured polygons and take the object as your avatar would to a casual setting that mirrors the crowded commercial districts of shopping, trading and socialising in the World of Warcraft

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Obscene metaphorical artefacts of our computer use. Gaming does not materialise without power and processing.

http://www.fatalatour.com/

City of Los Angeles with the FataLAtour map. If you’re within a one-block radius of where a real-life or fictional film shooting occurred, the App will alert you. The victim’s name, death details and location will pop on your smartphone screen. The FataLAtour App is currently available forAndroidphones

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In the Paid tour you are rigged with Hollywood gunshot pads that bang and spray blood when you are too close to a killing.

This takes artefacts of grim reality and emebeds them into a gamified, surprising ubiquitous device. Keep laughing.

http://www.ignant.de/2012/04/25/good-morning/

GOOD MORNING! Levi Mandel

Covert photographs of unprepared people printed, mangled again, and then scanned.

An accident-an artifact- an incident and finally a result.

PAGE 1 O

Tuesday, January 10, 2012

ForPres

Up yr FASHION hole

“Today, fashionable wearables are

mediators of information and amplifiers of fantasy.”



Coded Sensation
1. why is it appealing to you?
Augmented senses are great, I am particularly interested in sensing things otherwise invisible. It has a very simple analog read/write function, thats pretty unusual for an artwork.

2. what is the context of the project/product?
Dead media, re-purposing old tech. SPACESUITS

3. were you emotionally touched?
I can lovingly fondle my old rolling stones cassettes. And  it looks cool.

4. do you understand how it works technically?
Wireless!Functional, you can also Stroke transit cards etc 
Destroying Walkmans is a fairly common hack, but this is executed beautifully and stylish. Fabrication of the garments look difficult though.







Audio Tooth Implant (2001) Designed by Jimmy Loizeau and James Auger

Why is it appealing to you?
Its visceral, invasive/passive. I like the idea of implanted technology. Even as a concept its pretty repulsive. Its pretty technologically cool, but also quite absurd. I particularly like the level of B.S and false advertising obfuscating it. (ie the picture piece is bigger than my fist...) and its very easy to miss the work “concept” in many of the articles.

Contextually this refers back to urban mythology about radio-recieving fillings, and even better X-files paranoia about government/alien tracking devices in your teeth. Scifi is also full of tooth devices, from storage compartments to subvocal communicators, however the technology does not seem so far away,

 I was finding AV transmitters smaller than my teeth  (8mm X 7mm X 3mm) available on line, and bone conduction hearing aids are old technology.  Power seems to be the issue, perhaps the back molars to piston style generators? I had huge compression springs in my mouth for a year when I had braces. 

This relates to Ubuquitous computing. Medical prostheses.  Artists like Stelarc, and Orlan. 
 Miniturisation “techno-schizophrenia” and the 'fractured horizon' ideas of Virilio and Gleick.


Power.... 428 mVrms   one millionth of a watt (10-6W) .57-mV Perhaps some grillz are in order-
 or a chain of modular molars







LFLECT / Reflectors
Camoflash: The Anti-Paparazzi Clutch




I combined these works because they align themselves to my purposes
 only if I take elements from each.
Its appeal to me is due to the passive/invasive nature of these works. 
The users presence is fairly unaltered in theregular world, 
however a change of state or medium activates a passive, lowpowered device carried
 on the person. 
For instance,  in the case of IR light or HighVis reflective materials, the effect may only be apparent on through machine-vision or on film.  
Passive devices, interference and augmented senses are interesting topics for me, I also like the half playful/half aggressive approach taken by The Anti-Paparazzi Clutch, the harsh star-burst must be a shocking reaction and plays with the idea of both utility and glamour. 

The main impact of LEFLECT comes from its lowTech simplicity.
In the context of everyday life these projects refer to surveillance and privacy issues, which has developed into an arms race. Both projects take rather vain approaches rather than paranoid, however In the information age privacy is as much a commodity as anything else if you consider CCTV, satellites, smartphones even antivirus software.

 I was emotionally titillated in that I found this exciting and humorous. 
 I can feasibly imagine flash activated celebrity watermarks/legal documents as a paparazzi deterrent making images legally protected or at least unsaleable. Wearable items or tattoo/implant decals.Temporary tattoos?
Technically they are straightforward, glass beads on a silicone paint are cheap,  flexible and very reflective.  Camoflash is a little harder, I am not sure if a LDResistor can keep up with 1/500 second shutter speed, and I wonder if Infrared lights would be more convenient as they are invisible to the naked eye, perhaps a combination. I guess as long as it changes the aesthetics of the image it renders it unfit for Womans Weekly etc. 









Linda Kostowki 
& Mashallah 
T-Shirt Issue Aesthetics Wolf 
(419 faces).

1. Why is it appealing to you?
I like low  reds 3d and realD crossovers. aesthetically 

2. what is the context of the project/product?
Open 3D prototyping boom. Wearing exoskeletons is kinda cool. Exploring the medium of 3D design very well. 
As clothing, it must be pretty awful- but it looked good on paper. Its like using the wrong file format. Design with a willful absence of common sense and human empathy, CAD computer aesthetics.

3. were you emotionally touched?
Nope. Cool

4. do you understand how it works technically?
Polygons and Papercraft MK2. Stylised and willfully basic (but not necessarily easy to put together ) I cant work out if it has a frame or if the seams are stiff enough.










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The Invisible 
magnets 
sunflower seeds
Human rumble pack, call me anytime
Animated Tattoo
plastic sheeting,
snow 
orgone generator
space (you cant tell me im not)
crystals
scuba-tronics

ClickSneaks
Iso-phone (2004) 
Biojewellery (2006)

Wednesday, December 14, 2011

I AM DOING A USEFUL THING

FABLABLA
(say it)

Friday, November 25, 2011

hALL OF mIRRORS

Wednesday, November 23, 2011

biolol

Oliver Kellow, born 1989 lived and studied in Australia, where he completed a Bachelor of Fine Arts at the Curtin University of Technology focussing on Sculpture, Performance and virtual-environment. In 2011 Oliver decided to further develop his skills at the Interface Cultures department in Linz, Austria where he is now living and studying for his Masters Degree. Oliver’s work to date has primarily dealt with Australian Mythology and Culture in todays world.