physical installation

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Gorillaz team with Sonos to launch “Spirit House” experiences in Brooklyn, Berlin, and Amsterdam ! In anticipation of the impending release of Gorillaz’s Humanz and Sonos’ new PLAYBASE speaker, these Spirit Houses will present an opportunity to enter the lounge of Gorillaz’s virtual home. A press release describes the spaces as “an immersive, high fidelity experience” that allows fans to experience “exclusive music and visuals through physical installations and projection mapping technology.” As Murdoc himself puts it, “Come and bathe in high-tech sound, feast on unearthly visuals, and let the experience take you on the ultimate trip.”

The Spirit House will open first in Brooklyn on April 21st-23rd, followed by appearances in Berlin (April 28th-30th) and Amsterdam (May 6th). Entry is completely free with an RSVP at Sonos.com/Gorillaz.

(Via @coslive)

9

Five years ago, Trayvon Martin was killed and the #blacklivesmatter movement was born. I was invited to a showing of a new art campaign called #NoMoreBlackTargets at the Richard Taittinger Gallery in Lower East Side, NY. Young black men are three times more likely to be shot. In a recent academic study published by University of Illinois, researchers examined whether race affects how likely a target is to be shot. The study found that people were quicker to shoot black targets with a gun, relative to white targets with a gun. Shooters weren’t just faster to fire at black targets; they were also more likely to fire at a black target. No More Black Targets is a collective of artists, diverse in backgrounds, ethnicities and nationalities, working in paint, digital media, patternmaking and also physical installations to bring new artwork to life and seeks to eliminate the use of the most popular target for shooters to learn to use their firearm: a menacing black silhouette. 

the truth is
I don’t really care
if you wanna play golf
on day 27 while she is in the OR
getting new dialysis lines

I am going for my yearly physical
and installing doorknobs and washing
machines all afternoon

the truth is
I only wish
you were not
so painfully
delusional

truth is
I make it worse
when I try to resist
or make sense of it

truth is
best
to let go

just
let
go

over
and over
and over

especially over
that which you have
no control

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NOW: WILLIAM FORSYTHE: CHOREOGRAPHIC OBJECTS

October 23, 2017

Celebrated choreographer William Forsythe has been expanding the boundaries of dance for over four decades and beginning in 1989, he began work on his “choreographic objects,” a series of sculptural installations. These physical, object-based extensions of his choreographic practice have become an integral aspect of his work. On view now at Gagosian Le Bourget in Paris, the exhibition “William Forsythe: Choreographic Objects” continues this experimentation with three works: Black Flags, Alignigung 2, and Towards the Diagnostic Gaze (Paris). For the occasion, filmmaker Ulrike Stumpp created a video documenting these works. The video also includes an in-depth interview with Forsythe on the concepts and techniques underlying the exhibition.
__________
Video © Gagosian
Artwork © William Forsythe
Directed by Ulrike Stumpp, Edit and Post Production by Stefan Knauer
Camera: Ulrike Stumpp, Dennis Westenberger, Stefan Knauer


tarysande  asked:

HAPPY BIRTHDAY TOMORROW!!! Um. Something Mass Effect? Something with Mordin? Or Kasumi? (I don't know, Mordin was sneaky salarian STG; it seems like if anyone could catch Kasumi up to mischief it might be him?)

His mug was not as he had left it.  Mordin didn’t notice at first.  It was only when he reached over in the middle of typing and his fingers hit the handle instead of the side of the cup that he realized it had been turned.  He paused, considering the possibilities.  Miranda might attempt surveillance again, but would not need to disturb workspace items.  Shepard unusually respectful of personal space for a human.  Garrus, Jacob, both protective of own work areas, would inform him if they disturbed his.  Grunt—Mordin sniffed derisively—would certainly notice if krogan had been in area.  Other Cerberus personnel too wary of experiments to enter laboratory.  Kasumi … yes, most likely culprit.

Mordin checked his experiments and found them untampered with.  A similar check of his computer found an unobtrusive program, hidden in the automatic backup functions, that made an extra copy of his work.  No doubt lucrative in some markets, but Kasumi specialized in physical theft.  Hacking abilities a means to an end, not an end in themselves.  Mordin allowed himself a small smile.  Personal firewalls prevented access over ship’s intranet, Kasumi forced to resort to physical intrusion to install program, would need second incursion to retrieve information.  Good to know skill set was still sharp.  

Humming to himself, Mordin made a copy of the program for further study and possible personal use, then set about overwriting its data with several academic papers on the geometry of the exoskeletons of aquatic invertebrates.  That done, he made a mental note to check its status regularly, and put the matter out of his mind.  

The program disappeared in the aftermath of the mission to the Collector ship.  The ground team returned with a number of injuries, and Mordin spent some time in the medbay assisting Dr. Chakwas with their treatment.  It was the perfect opportunity for another visit, and Mordin noted the program’s absence with no small amount of satisfaction.  Would be interesting to see how Kasumi responded.

As the days went by with no further attempts at his system, Mordin began to be disappointed.  A thief of her caliber was too persistent to give up after one setback, but no other satisfactory explanation existed.  Pity.  Light distraction would have been welcome at present.  Recent communications about former colleague most distressing.  Shepard’s aid would be required.  He sent the necessary request, and resumed his study of the Collector samples.

- - -

Mission parameters incorrect.  Maelon’s actions a betrayal of every ethical precept.  Mordin felt tired, every one of his thirty-odd years suddenly heavy.  Current mission with Shepard important, but perhaps judgment was no longer reliable.  Maybe it was time to retire, work on personal projects.

A new addition waited for him when he entered his lab.  Mordin blinked rapidly.  It was a day to be wrong about more than just Maelon.  In the middle of the center table sat a large conch shell, turned on its side to display the smooth pink and white interior.  He picked it up.  Heavy, rough exterior, well-defined siphonal canal, strongly flared outer edge.  Clearly a mature specimen.  Mordin set it back on the table gently.  Specimen also beautiful.  Study would be uncomplicated by messy ethical questions or regrets.

Regrets, no.  But new data acquired.  Old solution no longer viable.  Mordin weighed his options and nodded his head.  Decision made then.  One last project.  And after, there would be time for seashells.

3

from ‘Breathing Light’ (2013)

James Turrell is an artist who works primarily with light and shape in physical space. His art installations  look like they’re pictures or digital renderings or paintings of geometry and things, but they are all in fact physical spaces.

The effect is overwhelming. I stood around/inside/amongst this particular one for some amount of time and it was…. i dont know….. magic

(we also share the same birthday, so I feel a certain tie to him)

how do I install arch linux?

(without fucking up a physical machine)

  1. install to a VM
  2. if you fucked up, wipe everything and go back to step 1. otherwise, proceed to step 3
  3. repeat step 1 four or five more times - you should be bored by repeating the same commands over and over. this is called learning
  4. install to an actual machine, in a bored fashion, because it’s so easy by this point
All Possible Futures

Exhibition Synopsis

Speculative practices have existed throughout the history of design, most notably in architecture, but only a few graphic designers have positioned themselves in contexts where they are able to pursue explorations built on speculation and uncertain ground. This could be the result of numerous unsympathetic conditions deeply rooted in graphic design practice, including the commission structure within which most work happens. Traditionally, a client comes to a designer with a brief, to which the latter responds by offering possible options for solving the already-established problem. When a client has some kind of financial investment in the situation and wants a viable outcome, “What if?” is not often a comfortable starting point. Thus, speculative projects tend be self-initiated efforts, proposals within academic contexts, or simply unrealized inquiries.

All Possible Futures explores speculative work created by contemporary graphic designers. It encompasses everything from self-generated provocations to experimental work created “in parallel” with client-based projects to unique practices where commissions have been tackled with a high level of autonomy and critical investigation. The work highlights different levels of visibility and public-ness within the graphic design process. Some projects were made for clients and exist in a “real world” context, while others might otherwise have gone unnoticed: failed proposals, experiments, sketches, incomplete thoughts.

All Possible Futures also looks at how graphic designers have expanded the parameters of the field by consciously taking a transdisciplinary approach, and by considering physical interaction within an art-gallery context. The featured designers are both American and international, and all of them in one way or another consciously question the established boundaries of design concepts, processes, technologies, and form. They position themselves as authors of autonomous critical projects, and they maintain conceptually rigorous, research-based, historically informed practices.

The installation and exhibition design for All Possible Futures takes on the challenges inherent in presenting any show on graphic design: how to create a new space for graphic design to be understood out of its original context; how to enable visitors to directly engage with the materials on display; how to gather and present a breadth of contemporary speculative pieces, which take the form of both original physical objects and restaged installations; and how to speak simultaneously to peers within the design community and a wider audience.

Invited Designers

Åbäke
Bob Aufuldish
Ludovic Balland
Rachel Berger
Peter Bil’ak
Catalogtree
Dexter Sinister
Daniel Eatock
Jaan Evart, Julian Hagen and Daniël Maarleveld
Experimental Jetset
Ed Fella
General Working Group
Hansje van Halem
David Karwan
Mr. Keedy
Na Kim
Jürg Lehni
Willem Henri Lucas
LUST
MacFadden and Thorpe
Karel Martens
Jeremy Mende and Bill Hsu
Metahaven
Mevis & van Deursen
Moniker
Lesley Moore
Karl Nawrot & Walter Warton
Radim Peško
Practise
Project Projects
PSY/OPS
ResearchCenteredDesign
Joel Stillman
Sulki and Min
Martin Venezky’s Appetite Engineers
Volume Inc.
Zak Group