hrmedia

The Chelsea Art Museum is pleased to present 0910 Light Shots by Raphaele Shirley, a site-specific multi-media artwork for The Project Room for New Media. In this new work Raphaele displays her dexterity in use of diverse mediums and materials such as light, fog, sensors and mirrors by which she carves ephemeral sculptures in time and space, re-evaluating elemental yet elusive aspects of the world around us.  

0910 Light Shots is a continuation of her light based multi-media work such as Jewels of Kvinesdal in Norway (2009) and Shooting Stair (2009) published by Dorfman Projects in NY.  In these recent works Raphaele mingles the spatial clarity and structure of minimalism with the dynamic and virtual qualities of new media and technology.  Using light beams to draw lines and planes in space, she constructs both the visible evidence of basic geometry and the invisible and undefined structures of space into which these exist and extend. The piece created for the Project Room for New Media will be at once a site-specific ephemeral object and an interactive installation; the composition evolving in color and perspective according to the viewer’s position within. The electric presence of this irradiant sculpture takes root in basic physics, creating an arrestingly essential visual space and an environment for contemplation and reflection, whilst underlining primary phenomena intrinsic to our surroundings and exploring principles of perception.   

For information please contact:
nina@chelseaartmuseum.org

JUNE 11 (Opening Reception 6-9pm) - AUGUST 13, 2010

EXHIBITION AND ARTIST TALKS OPEN TO THE PUBLIC
GUESTS MUST RSVP rsvp@chelseaartmuseum.org

EXHIBITION LOCATION:
Google, Inc.
75 Ninth Avenue, 2nd Floor
New York City

TIME:
Doors open at 5:30pm to view the exhibition. Artists' talk at 6pm. Event ends at 7:30pm.

SCHEDULE:
Thursday, July 29: Mark Napier and John F. Simon, Jr.
Thursday, August 5: R. Luke DuBois and Scott Draves
Thursday, August 12: W. Bradford Paley and Martin Wattenberg & Fernanda Viegas

Few experiments by Peter Jacobson using Processing and looking very .gif-eresque. There is no description in the videos but they are a joy to watch. I can only assume that they are responsive to music but it is hard to say. See videos below.

gattoarancione.org
viva-radio.com/peterjacobson
twitter.com/PeteAJ

http://www.creativeapplications.net/processing/color-states-processing/

new york-based studio softlab is producing an installation at the bridgegallery in the lower
east side of manhattan entitled 'chromatex.me'. similar in assembly and explosion of colours
as their previous project, chromaesthesiae, the temporary build will consist of roughly 5,000 panels
held together by thousands of binder clips. to ensure that the final form organically fits
and negotiates the space of the gallery, each piece has a specific geometry that the team
laser cuts on high glossy photo paper.
more

Nike Sportswear China GS Polo Bleed Your Colors from Francis Lam on Vimeo.

Motion Tracking (IR) + Live VJ. Custom software developed in OpenFrameworks.

Artist Zach Lieberman uses interactive media to inspire - and explore the relationship between technology, performance, and the body. His recent projects include an open-source eye-tracking system that allows disabled artists to draw using their eyes and a performance that includes drawn sketches that react to a visitors' touch.
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My last 3D experience was a mess. It was Avatar at the cinema, and like most people, I left frustrated. The 30 seconds of the Haribo ad being more entertaining than the 3 hours of Cameron’s blockbuster; be it from the script or a technical point of view. Not mentioning the popcorn sound effect from my neighbour, soundtrack I would have happily done without. It is therefore with scepticism that I put my sunglasses on at the Deep Space of Ars Electronica. But I have to admit the experience was final. Facing a 12m by 9m screen, the viewer is immersed in the images moving in front of his eyes. The originality of the Deep Space is to reinforce the immersion by lengthening the screen to the floor: in front of our eyes, above our heads and all the way beneath our feet, the image is there. We are surrounded, ready to take off. 
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Visualizing data: color intensity from Adam Rokhsar on Vimeo.