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.
The Straw Camera was a joint venture by Mick and myself started in 2007. We were motivated by our mutual interest in creating images in the most direct manner possible. Mick in particular had an active interest in pinhole image making. On a summer school course we converted a Polaroid camera to a pinhole and had some fun with that.
But there is very little in common between the pinhole camera and a straw camera. The pinhole gives an entire image from a single point perspective. The Straw Camera, which is a box stacked with approximately 23,000 black drinking straws, produces a multipoint perspective from an array. The light viewed/collected by each individual tube is recorded onto the photo sensitive material placed at the opposite end. By going straight on to paper, it is a direct analogue process.
We talked things over and lashed up a small box prototype to test. That worked and we decided that it might prove interesting to make a bigger camera, so we built a 20 X 24 inch camera. After initial tests with black and white we used colour paper as a negative. Then we contact printed to another sheet of colour paper (both without maker’s logos on the back), finishing up with a positive image. http://strawcamera.com/
Symmetry, from the Emergence LP: maxcooper.lnk.to/Emergence
Symmetry is one of the most fundamental principles of nature, and also forms the basis of music. So this music video is an important early chapter in the Emergence audio-visual project, which starts with visualisations of the basic building blocks of nature, setting the stage for the physical universe to come into being, and later planets, life, civilisation, and technology (the whole story and project is explained at: emergence.maxcooper.net).
Symmetry is the idea that one aspect of a system can change while another remains constant. The idea of natural laws themselves, rely on the forms of symmetry that mean the same forces will apply to you as they do to me, independently of our position in space or time. And scientists searches for natures symmetries lie at the heart of much of our best models of reality (see Noether’s Theorem or more recent uses of symmetries in things like the ‘amplituhedron’!).
The principle is also responsible for music, in that our enjoyment of tonality, melody, harmony and rhythm comes from our subconscious appreciation of different types of patterns (i.e. symmetries) in sound waves.
The idea of Symmetry was explored in the video by Kevin McGloughlin, using simple symmetrical forms (primarily the circle), and symmetrical operations applied to them – rotations, translations and reflections. The animation demonstrates the beauty of this simple concept when applied in an iterative journey towards ever increasing complexity, both visually and musically.
The audio track originally came from preparations for a live piano and electronics show with Tom Hodge. I had some chords and glitches we were playing with in combination with a simple piano motif. We decided to try some live Fender Rhodes with it during practice and it all came to life.
Luckily we recorded the whole session so I had a load of stock content to play with when it came to turning the project into the album intro. My reasoning was that the intro should be about symmetry because of it’s basic role in nature, and the development and form of the track, going so glitchy from a simple melodic motif starting point, should work with applications of ever more complex symmetrical manipulation – emergence from symmetry, just as Kevin delivered.
Amazingly, Kevin didn’t use automated sync points from the stems of the audio project – or to put it another way, Kevin painstakingly set up all of those edits by hand, hats off to him for his perseverance on that!
Thanks for having a read, watch and a listen! – max
When I first heard Symmetry I was blown away by its impact and it really struck a chord with me… On hearing the concept for the track, this feeling was empowered tenfold. After much discussion with Max, we arrived at a conclusive concept for the visual.
I represented conservation laws by the use of a simple circle repetition. This circle form took on many new characteristics and evolved in complexity throughout the course of it’s journey, though every new form is an evolution / adaptation of the initial circle. I used a variety of techniques in an attempt to convey the idea of this ever evolving complexity within symmetry.
Starting with minimal moire patterns, moving into 3d depth and finally ending up with massive distortions and adaptations using a technique I developed ‘Digi-Cut’, displaying various moments in time offset by tiny fractions. This was an effort to demonstrate pre-universe ideas and the introduction of organic matter in relation to symmetry.
It was an absolute honour to work on this project with Max, in particular on ‘Symmetry’, which is my personal favourite piece on Emergence.
Motors, linear polarization filters, various mechanical parts
Size: 110 x 110 x 4 cm
“Pe Lang’s kinetic objects obey a stringent constructive optimization in which each element can be decoded with respect to its functionality. Nothing about them seems ornamental or arbitrary. Their syntax is dominated by precision and control as the framework for sophisticated aleatorics, in which order and chaos are placed in fragile balance. This happens within an intensely aestheticized context wherein each detail has a formal significance.
Pe Lang came to kinetic art through experimental music and sound art. For the artist, born 1974 in Switzerland, it is a development that seems completely natural, in the sense that each sound is caused by movements of air molecules. Mechanical movements are, from his perspective, nothing more than greatly slowed wave frequencies. This fundamentally musically inspired attitude can be observed in Pe Lang’s kinetic systems: with bewitching elegance, they harness physical forces and put them on stage. These are constructions that are as soulful as they are ingenious, and which challenge seeing, hearing and thinking equally.” Text by Marc Wellmann
TRIPP EP Released 27/01/2017 On R&S Records
*** Pre- Order here: unknownarchetype.bandcamp.com/album/tripp-ep
* optimal custom HD transcode thanks to Vimeo Staff *
* please switch your player to HD 1080p for best available viewing quality *
TRIPP by UNKNOWN ARCHETYPE / Roxy Tripp, Oliver Kučera
Mastering : Hardgroove Mastering
official promo video by the denial.of.service © 2016
– TRIPP radio edit: soundcloud.com/unknownarchetype/unknown-archetype-tripp-radio-edit
– UNKNOWN ARCHETYPE on Soundcloud: soundcloud.com/unknownarchetype
Shapes in scapes | Audiovisual installation
An abstract representation of three different landscapes: Margherita di Savoia salt pans (Italy), lake Askja (Iceland), river Vardar (Macedonia).
Through the videomapping technique we were presented the different architectural projects developed by the students during the workshop held by Presidio Temporaneo di Architettura.
Visual artist: Stefano Caimi
Sound designer: Mattia Nuovo
Production assistant: Marco Usuelli