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Sydney Opera House / Living Mural

21 Jul

Global animation project coordinated by Universal Everything.

Animation Sequences:

01, Block: Universal Everything –
02, Burst: Patch d. Keyes – http://patchdkeyes.co.uk/
03, Fill: Drew Tyndell – http://drewtyndell.com/
04, Chase: Tymote – http://tymote.jp/
05, Multiply: Nicolas Ménard – http://nicolasmenard.com/
06, Climb: Parallel Teeth – http://parallelteeth.com/
07, Rise: KClogg – http://kclogg.tumblr.com/
08, Twist: Matt Scharenboich – http://mattscharenbroich.com/
09, Wind: Váscolo – http://vascolo.com.ar/
10, Swarm: Universal Everything
11, Calm: Zutto – http://zuttoworld.com/
12, Float: Cindy Suen – http://cindysuen.tumblr.com/
13, Power: Masanobu Hiraoka – http://vimeo.com/user6065152
14, Slide: Ori Toor – http://oritoor.com/
15, Spin: Ori Toor
16, Wave: Váscolo
17, Construct: DXMIQ – http://dxmiq.com/
18, Growth: DXMIQ
19, Flow: Ruff Mercy – http://ruffmercy.com/
20, Scatter: Caleb Wood – http://vimeo.com/calebwood
21, Shrink: Bee Grandinetti – http://behance.net/grandinetti
22, Noise: Takcom – http://takafumitsuchiya.com/
23, Attack: MixCode – http://mixcode.tv
24, Boom: nöbl – http://nobl.tv
25, Bounce: Matt Abbiss – http://abbiss.co/
26, Ricochet: Matt Frodsham – http://mattfrodsham.com/
27, Splash: Guille Comin – http://guillermocomin.com/
28, Bang: Universal Everything
29, Embrace: Matt Frodsham
30, Melt: Caleb Wood
31, Stripe: Matt Abbiss

Tipper Ambient Set with Alex and Allyson Grey – @ CoSM – Jan 4, 2015

20 Jul

A one hour Tipper set with live painting by Alex and Allyson Grey, manipulated in real time by Jonathan Singer, and featured here for your delight.

 

Journey through the layers of the mind // Memo Akten

8 Jul

A visualisation of what’s happening inside the mind of an artificial neural network.

In non-technical speak:

An artificial neural network can be thought of as analogous to a brain (immensely, immensely, immensely simplified. nothing like a brain really). It consists of layers of neurons and connections between neurons. Information is stored in this network as ‘weights’ (strengths) of connections between neurons. Low layers (i.e. closer to the input, e.g. ‘eyes’) store (and recognise) low level abstract features (corners, edges, orientations etc.) and higher layers store (and recognise) higher level features. This is analogous to how information is stored in the mammalian cerebral cortex (e.g. our brain).

Here a neural network has been ‘trained’ on millions of images – i.e. the images have been fed into the network, and the network has ‘learnt’ about them (establishes weights / strengths for each neuron).

Then when the network is fed a new unknown image (e.g. me), it tries to make sense of (i.e. recognise) this new image in context of what it already knows, i.e. what it’s already been trained on.

This can be thought of as asking the network “Based on what you’ve seen / what you know, what do you think this is?”, and is analogous to you recognising objects in clouds or ink / rorschach tests etc.

The effect is further exaggerated by encouraging the algorithm to generate an image of what it ‘thinks’ it is seeing, and feeding that image back into the input. Then it’s asked to reevaluate, creating a positive feedback loop, reinforcing the biased misinterpretation.

This is like asking you to draw what you think you see in the clouds, and then asking you to look at your drawing and draw what you think you are seeing in your drawing etc,

That last sentence was actually not fully accurate. It would be accurate, if instead of asking you to draw what you think you saw in the clouds, we scanned your brain, looked at a particular group of neurons, reconstructed an image based on the firing patterns of those neurons, based on the in-between representational states in your brain, and gave *that* image to you to look at. Then you would try to make sense of (i.e. recognise) *that* image, and the whole process will be repeated.

We aren’t actually asking the system what it thinks the image is, we’re extracting the image from somewhere inside the network. From any one of the layers. Since different layers store different levels of abstraction and detail, picking different layers to generate the ‘internal picture’ hi-lights different features.

All based on the google research by Alexander Mordvintsev, Software Engineer, Christopher Olah, Software Engineering Intern and Mike Tyka, Software Engineer

Hattie Stewart – Oxymoron (Damien Hirst Projections)

7 Jul

Andy Baker animated Hattie’s illustrations.

Cerco De Chapa Con Hojas Secas (2010)

4 Jul

 

A fine Data-Mosh-Trip, ‘Metal Fence with Dry Leaves’ from Spanish video artist Mateo Amaral. Translates: “Jungle wind, ocean waves extending as much as they can reach the inner senses and much more too. A network is stirred by sounds of leaves, the network separates things. DMT circulating in the brain.”

Bjork “Black Lake” directed by Andrew Huang

26 Jun

Following up on last week’s post featuring another recent pairing of Andrew Huang and Bjork, here’s a recently released video from the MOMA show. Andrew is quoted as saying, “I’m very proud of ‘Black Lake’,” says Los Angeles fashion and music filmmaker Andrew Thomas Huang, who shot the video filmed in Iceland’s highlands for good reason. An article on the show appears in “Dazed” stating, “Björk wrote the song while sat in a ravine. It is our first chapter in creating the character for Björk’s epic soul journey about loss, healing and the promise of solutions.” You can read the full article here:

http://www.dazeddigital.com/music/article/25005/1/bjork-black-lake

Lightspeed // Darren Pearson

17 Jun

Cinematographer/Editor: Darren Pearson
Sound editor: Ryan Gerle
Sound re-recording mixer: Brennan Gerle
Music: Dead Horse Beats “Clouds” – Single People

Augmented Hand Series

2 Jun

http://www.flong.com/projects/augmented-hand-series/

The hand is a critical interface to the world, allowing the use of tools, the intimate sense of touch, and a vast range of communicative gestures. Yet we frequently take our hands for granted, thinking with them, or through them, but hardly ever about them. Our investigation takes a position of exploration and wonder. Can real-time alterations of the hand’s appearance bring about a new perception of the body as a plastic, variable, unstable medium? Can such an interaction instill feelings of defamiliarization, prompt a heightened awareness of our own bodies, or incite a reexamination of our physical identities? Can we provoke simple wonder about the fact that we have any control at all over such a complex structure as the hand?

The Devils // Ken Russell, 1971

20 May

Ken Russell’s controversial 1971 film incorporates sexually explicit hallucinatory sequences into this story based on the supposed demonic possessions in that took place in 17th Century Loudon, France.

An order of Ursuline nuns begin to exhibit wild, uncontrolled behavior thought to be led by Urbain Grandier (Oliver Reed), a proud priest, who has recently gained political control of Loudon. Sister Jeanne des Anges (Vanessa Redgrave), the sexually repressed hunchback Mother Superior of the convent becomes infatuated with Grandier, and her striking sexual fantasies haunt her guilty conscious.

Once word of Grandier’s secret marriage to another woman reaches Jeanne, she collapses into fits of hysteria and claims to have been possessed by the Devil through Grandier. Other nuns in the convent also claim to be possessed and the convent explodes into a frenzy of sexual outbursts and bizarre public exorcisms.

Russell boldly depicts the effects of sexual oppression mixed with religious mania. The censored scenes of the “demonic possessions” include a psychedelic orgy of naked nuns “raping” a statue of Christ and Sister Jeanne masturbating with a human bone. The uncut version of The Devils is a mind blowing, audacious exploration of ecstasy (both religious and sexual).

Magic Lantern – Feasting On Energy (2015)

16 May

 

I’m not sure why these bio-luminescent psychedelic sea creatures are dancing in this cave, but this is an entrancing and beautiful animation from Kanahebi.