Recursive Hand-Video-Trickery
Vimeo Direkthands, via Boing Boing
Screengrab – An experiment in transitions: „None of the effects are computer generated. All the trickery took place literally in front of the camera.“ Ich glaub kein Wort.
David OReilly is the Glitchwizard of Oooo: Datamoshing Adventure-Time
Habt Ihr Adventure Time S05E15 A Glitch Is a Glitch gesehen? Die Folge wurde von David OReilly animiert, einem der derzeit spannendsten Animationskünstler weltweit. Der Mann hat mit seinem Kurzfilm Please Say Something den goldenen Bären bei der Berlinale gewonnen, mit The External World war er bei den Filmfestspielen von Venedig und mit beiden hat er drölftausendhundertzweiundvierzig Awards abgeräumt. David OReilly ist 28 Jahre jung.
Ich kenne mich bei Adventure Time nicht besonders aus – ich weiß, dass ich da etwas verpasst habe, aber ich kann nicht alles und mein Tag hat leider auch nur 24 Stunden –, und ich weiß nicht, wie strange Adventure Time normalerweise ist, aber ich bin Fan von David OReilly und Jeez – diese Folge war definitiv strange. Jede Menge Glitches, ein Handkuss (mit zwei sich küssenden Händen), jede Menge Low Poly-Grafik – exakt mein Dings. Nicht zu vergessen der Soundtrack von Flying Lotus, den gibt’s auf Soundcloud:
Die Folge findet man leider nirgends in diesem Internetz, aber es gibt ja alternative Quellen. Unbedingte Anschauempfehlung. Rhizome hat jetzt ein Interview mit OReilly: Datamoshing the Land of Ooo: A Conversation with David OReilly.
DR: How much of the “stylistic” glitching came directly from “real” glitches? In other words, what processes did you use to introduce random, glitchy elements into the design process? Did you have to cheat to get the “stylistic” results you wanted?
DO: It was all generated from “real” glitches—but since everything is run through compositing software and sort of controlled you could also say it was all fake. The glitches needed to begin locally—inside objects—then spread out until they became part of the scene itself. The local stuff was done by generating a ton of sprites that had random pixels move outwardly to create the colorful flourishes we associate with video compression. These had a decent amount of control—a blob of glitchy stuff could move around a scene, for example. Once the scenes were fully animated and rendered the global full-frame glitches were done. There was some jpeg corruption added on top of the battle scene at the end.
Nach dem Klick nochmal seine beiden Kurzfilme The External World und Please Say Something sowie sein Animations-Bit für Tim & Eric Professor Genki’s Super Ethical Reality Climax einen Timelapse-Clip seiner Arbeit am Cover zum Mindsploitation-Magazin, mehr von OReillys Arbeiten findet man in seinem Vimeo-Channel: Gib mir den Rest, Baby…
Projection Mapping on Miniature Tokyo
Youtube Direkttokyo, via Core77
Unfassbares Projection Mapping auf einem Modell von Tokyo im Maßstab 1:1000 anlässlich des 10jährigen Bestehens der Roppongi Hills. Whoa! Noch unfassbarer: Die haben auf der Website dazu ein Spielzeug, mit dem man selbst Projection-Mapping per Tastatur spielen kann. WHOA! Ich bin begeistert, sehr.
“TOKYO CITY SYMPHONY” is an interactive website, in which users can experience playing with 3D projection mapping on a 1:1000 miniature model of the city of Tokyo. The handcrafted model is an exact replica of the cityscape of Tokyo in every detail.
Three visual motifs are projected onto the city in sync with music: “FUTURE CITY,” conjuring futuristic images; “ROCK CITY” that playfully transforms Roppongi Hills into colorful musical instruments and monsters; and “EDO CITY,” or “Traditional Tokyo,” which portrays beautiful Japanese images. Users could play a complex, yet exquisitely beautiful harmony on the city by pressing the keys on the computer keyboard. Each key plays a different beat along with various visual motifs, creating over one hundred different sound and visual combinations. Each user is assigned a symphony score of eight seconds, of which could be shared via Facebook, twitter, and Google+. The numerous symphony scores submitted by the users are put together online to create an infinite symphony.
FITC Amsterdam 2013 Title-Animation
Sehr schicke Animation für die FITC-Designkonferenz in Amsterdam von Gmunk, der Tunnel ist eine LED-Konstruktion, hier noch ein fast noch schickeres Behind-The-Scenes-Video:
The structure itself is made up of two main elements. The LED Panels and the LED tubes. 3 LED panels were used to make up the walls, all controlled by video content from a control computer. This allowed us to have open ended control over the motion, color, and effects that were applied to the video content. In addition to the 3 LED panels, 6 LED tubes were used to border the structure at both the front and the back opening. These tubes were also controlled by a mapped video signal that corresponded with the content playing on the main panels. That way we could accomplish moments of punch and exclamation as the content traveled both toward and away from the camera. They also provided a really nice frame for the shot, showing us the beginning of the space and the end.
Synesthetic Locked
Von Vimeo: „Synesthesia is the involuntary stimulation of the senses produced by a unexpected source. See sounds, feel colors, hear geometric figures, smell moments… But once you have experienced that kind of sense connections hardly you will be able to perceive something with no associations. You are synesthetic locked.“
Collab Net-Art-Animation for Cloaque
Vimeo Direktcloaque, via Triangulation
Das kollaborative Netzkunst-Projekt Cloaque feiert einjähriges Bestehen, angemessen mit vier Minuten Newschool-Brainfuck-Animationen. Sweet!
5 artists were invited to create a short video of 30 sec. Again,they had total freedom to work on any concept, esthetic or texture. Acompanied with a soundtrack by Yoshi Sodeoka, the 5 videos by Chris Timms, Rollin Leonard, Jasper Elings, Anthony Antonellis and Emilio Gomariz were joined together with transitions in order to create a fluid story.
00:00 – 00:30 Chris Timms (chriscotimms.com)
00:30 – 00:42 / 01:30 – 01:37 Carlos Saez + D M N T I A (hellocarlossaez.com) + (dmntia.com)
00:42 – 00:59 Rollin Leonard (rollinleonard.com)
00:59 – 01:29 Jasper Elings (jasperelings.info)
01:37 – 02:04 Anthony Antonellis (anthonyantonellis.com)
02:04 – 03:15 Emilio Gomariz (emiliogomariz.net)
03:15 – 04:00 Claudia Mate (claudiamate.com)
Music by Yoshi Sodeoka (sodeoka.com)
New York Biotopes
Schöne Abschlussarbeit von Lena Steinkühler aus Dortmund: 3D-animierte Vegetation aus urbaner Umgebung.
My idea was to create a film, that fills up the metropolis New York with vegetation, that adapts to the straightness of the technology and the given situation. This happens through the assimilation of structures and forms. These biotopes are shaped by the existing living environment, but in turn also shape the newly developed living environment by their presence. In other words, a symbiotically coexistence begins.
â–‘ GANGSTA RIDDIM â–‘ by â–Œabout:blank
Vimeo Direktriddim, via Prosthetic Knowledge
Oh look! It’s totally 1999 again with additional Glitches! „Real Data was fucked during the making of this video.“ Von about:blank aus Brüssel.
Grindhousetastic Intro for OFFF Lille 2012
Tolles Grindhouse-Intro für das International Festival for the Post-Digital Creation Culture (OFFF) in Lille. Ich liebe das für circa 0,2 Sekunden in Flammen aufgehende Auto.
Giant Spider Projection
Vimeo Direktspider, via We Like That
Schicks Projection-Mapping mit Riesenspinnen von Friedrich van Schoor.
Tracking Firework-Skating
Schöne Installation von Blipblip aus Barcelona, die Wunderkerzen an Skateboards mit ‘ner Wiimote tracken und mit den Daten live Visuals auf die Ramps projizieren. Schick!
Sparkle is an interactive drawing project involving professional skater Danny Wainwright. We used a wiimote to track the positions of sparkles attached to a skateboard with its infrared camera and trace lines and shapes through an application made with processing. This installation is a prototype for digital drawing in public spaces mixing street sports with art.
Hackpact: Generative Art Soundmachines
Hackpact: Schickes Experiment mit generativer Digital-Kunst und Sound vom Designstudio Realität aus Mexiko. Auf der Website zum Projekt kann man sich die einzelnen Algorithmen auch im Detail anschauen.
define( “HACKPACT” ) {
return(“Write some code each day for one month”);
return(“Document your work”);
return(“Share it”);
}absolut rule#1=(“All of the algorithms should explore in some way how a sound could affect the graphics and vice versa.”);
Augmented Atombomb on a Turntable and QOTSA
Vimeo Direktboom, via Creators Project
Wahnsinn von Vince Ream und World Famous mit Augmented Atompilzen und Zeugs auf ‘nem Turntable, dazu Queens of the Stone Ages „Broken Box“ vom Album „Lullabies to Paralyze“. So geht sowas.
Kinect-Hack controlls Ableton and Projection-Mapping
Vimeo Direktkinect, via Creators Project
Das V Motion Project kombiniert ‘nen Kinect-Hack, mit dem sie Ableton steuern, und Projection Mapping für die entsprechenden Visuals. Sehr schick!
The music system works by connecting the Kinect camera to Ableton Live, music sequencing software usually used by Djs and musicians during live performances. […] The interface is full of dials, knobs, switches and buttons. Normally, a musician would use a physical control panel covered with the knobs, dials, and switches to control Ableton’s virtual ones. Paul’s music system works by allowing us to map body movements to Ableton’s controls. For example, when you touch your head with your left hand a certain loop could start. Or you could control the dry/wet filter with the distance between your hands.
V Motion Project – Part I: The Instrument, Part II: The Visuals
Lamento
Vimeo Direktlamento, via Coudal
Ganz fantastische Animation von Joshua Catalano zu ‘nem Track von John Talabot, den ich bis eben auch nicht kannte, der auf Soundcloud aber ‘ne ganze Reihe netter Songs am Start hat.
