Commissioned to work with SALT Research collections, artist Refik Anadol employed machine learning algorithms to search and sort relations among 1,700,000 documents. Interactions of the multidimensional data found in the archives are, in turn, translated into an immersive media installation. Archive Dreaming, which is presented as part of The Uses of Art: Final Exhibition with the support of the Culture Programme of the European Union, is user-driven; however, when idle, the installation “dreams” of unexpected correlations among documents. The resulting high-dimensional data and interactions are translated into an architectural immersive space.
Shortly after receiving the commission, Anadol was a resident artist for Google’s Artists and Machine Intelligence Program where he closely collaborated with Mike Tyka and explored cutting-edge developments in the field of machine intelligence in an environment that brings together artists and engineers. Developed during this residency, his intervention Archive Dreaming transforms the gallery space on floor -1 at SALT Galata into an all-encompassing environment that intertwines history with the contemporary, and challenges immutable concepts of the archive, while destabilizing archive-related questions with machine learning algorithms.
In this project, a temporary immersive architectural space is created as a canvas with light and data applied as materials. This radical effort to deconstruct the framework of an illusory space will transgress the normal boundaries of the viewing experience of a library and the conventional flat cinema projection screen, into a three dimensional kinetic and architectonic space of an archive visualized with machine learning algorithms. By training a neural network with images of 1,700,000 documents at SALT Research the main idea is to create an immersive installation with architectural intelligence to reframe memory, history and culture in museum perception for 21st century through the lens of machine intelligence.
SALT is grateful to Google’s Artists and Machine Intelligence program, and Doğuş Technology, ŠKODA, Volkswagen Doğuş Finansman for supporting Archive Dreaming.
Location : SALT Gatala, Istanbul, Turkey
Exhibition Dates : April 20 – June 11
6 Meters Wide Circular Architectural Installation
4 Channel Video, 8 Channel Audio
Custom Software, Media Server, Table for UI Interaction
For more information:
https://player.vimeo.com/video/218573298?color=ffffff&title=0&byline=0&portrait=0 <p><a href="https://vimeo.com/218573298">Archive Dreaming</a> from <a href="https://vimeo.com/refo">Refik Anadol</a> on <a href="https://vimeo.com">Vimeo</a>.</p>” target=”_blank” rel=”noopener”>refikanadol.com/works/archive-dreaming/
Elements is an experimental art film by Maxim Zhestkov about nature, physics, art and love. More than 2 billion elements / particles governed by tensions and forces of nature were used to tell stories and show emotions through the motion of collective behavior.
The film is a trial to explore the idea that everything around us and inside us is made from simple elements / blocks which can be arranged in complex relationships and become compound structures. We could project this idea into emotions, behaviours, thought processes, relationships, life, planets and the universe.
Design / Animation / Sound by Maxim Zhestkov.
“Oh my ( )” is an installation that calls god in 48 languages using Twitter database. The machine monitors the Twitter timeline in real time and when a tweeted text includes a word, god( in various languages ), speakers sound “oh my ( god in the tweeted language )” at the same time. The list of accessed 48 languages is following.
You’re about to see the movie that holds the Guinness World Records™ record for the World’s Smallest Stop-Motion Film (see how it was made at http://youtu.be/xA4QWwaweWA). The ability to move single atoms — the smallest particles of any element in the universe — is crucial to IBM’s research in the field of atomic memory. But even nanophysicists need to have a little fun. In that spirit, IBM researchers used a scanning tunneling microscope to move thousands of carbon monoxide molecules (two atoms stacked on top of each other), all in pursuit of making a movie so small it can be seen only when you magnify it 100 million times. A movie made with atoms. Learn more about atomic memory, data storage and big data at http://www.ibm.com/madewithatoms
You makers out there might already know this, but this is something I just discovered today that I thought I’d pass along. I’ve been working on a project with a teacher here at PDS who is a marine biologist. Some students and I have been making a buoy that is solar powered, float in the water, collect data and transmit it over the cell network to a website. (More on this project to follow.)
In the making of the buoy, I had to purchase a bunch of various sized water proof heat shrink. In addition to regular heat shrink, I purchased this Solder Seal Heat Shrink Wire Connector Kit.
I just tried it and its great! What you do is strip the two ends of the wire with wire strippers. Overlap the bare wires in the connector and have the center solder ring around the two bare wires. Apply heat from a heat gun, let it cool and done!
I don’t always like to have little kids soldering. So now I’ll have the little kids make wire connections with this stuff.
In this hand drawn animation a line is being extrapolated through a grid. When the line surpasses the boundaries of the grid, the process spreads to and reflects on its surroundings. Beyond each boundary the extrapolation of movement is causing deformation in a systematic but speculative way.
This work was created with support from ”Animation Artist in Residence Tokyo 2016” part of the Agency for Cultural Affairs, Government of Japan (Bunka-cho) ”Project to invite overseas creators of media arts 2016” and the Mondriaan Fund.
More info: johanrijpma.nl/notes/notes-extrapolate/
Directors Notes: directorsnotes.com/2017/04/25/johan-rijpma-extrapolate/
Super High Speed Face Mapping (1000fps)
This project is achieved as collaborative work between AYABAMBI, Ishikawa Watanabe Lab,TOKYO, responding the call for collaboration by Nobumichi Asai (WOW).
Nobumichi Asai [Creative Director | Technical Director – WOW]
Shingo Abe [CG Director – WOW]
Atsushi Yoshimura [Programmer – WOW]
Ayaka Motoyoshi [Assistant Producer – WOW]
Eiji Tanigawa [Director | Editor – TOKYO]
Senzo Ueno [Director of Photography – TOKYO]
Toshiyuki Takei / Shinya Masuda [Producer – TOKYO]
Minami Chiwaki / Yuma Yoshimura / Kohei Takayama [Production Manager – TOKYO]
Suzuko Ohgaki [Making Director – TOKYO]
Aya Sato [Choreographer]
Tomorio Takahashi [Gaffer]
Hisashi Morikawa / Mie Inaba / Akihiko Imai [Light Assistant]
Takashi Ideguchi [Camera 1st Assistant]
Shibuya Hiromi / Fujii Ryosuke [Camera 2nd Assistant]
Setsu Fukushima / Ryosuke Taniguchi [Music – Ongakushitsu Inc.]
Yosuke Nagao [Music Composer]
Yasuo Fukuda [Colorist]
Ryota Abe [Online Editor]
Mizuki Kawano [Mixer – TAIYO KIKAKU co.,ltd]
Yoshihiro Watanabe [Ishikawa Watanabe Laboratory,University of Tokyo]
Masatoshi Ishikawa [Ishikawa Watanabe Laboratory,University of Tokyo]
Tomoaki Teshima [Exvision]
TOKYO ELECTRON DEVICE LIMITED
Takeshi Yuasa / Kiwamu Sumino / Hiroshi Watase /Toru Yamashita
Atsuko Kushima / Tomoaki Kiguchi
– – – – – –
First, the soundtrack was composed according along the theme “Life”. Nobumichi Asai and Shingo Abe was inspired by the music and then made face mapping work. Aya Sato designed choreography. TOKYO completed the project by making the video work.
The music brought Asai the image of “the radioactive.” The destructive force of the radioactive could cause “death,” “suffering,” and “sorrow.” And “prayers” could overcome them. These subjects infuse AYABAMBI’s powerful performance. Their performance crushes and conquer black tears, skulls and the Heart Sutra. We built up the concept during the production and Abe designed animation for face mapping.
There was a big challenge in technical aspects. We realized the new mapping system that allows us to follow intense performances by using the latest 1,000 fps projector, DynaFlash(*1) and a super speed sensor. It is very new and it had not been done before. Projected images become part of their skin and they transform their faces.
At the beginning of our development, there was an issue, AYABAMBI would loose freedom of performances if we accelerated the tracking speed. Asai, Yoshimura (WOW), Lecturer Watanabe and Teshima (EXVISION) explored how we could keep the tracking speed securing the freedom of performances, taking three months of trial and error to reduce a few milliseconds. And we finally developed this system(*2).
*1 “DynaFlash” is developed jointly by Ishikawa Watanabe Laboratory, the University of Tokyo and is commercialized by Tokyo Electron Device Limited.
*2 For tracking hands, we use the dynamic projection mapping technology developed by Ishikawa Watanabe Laboratory, the University of Tokyo. For tracking faces, we use the face mapping technology developed by the visual design studio, WOW inc.