Member 2380
1 entry
3012 views

 RSS
Carsten Goertz (M, 33)
Berlin, DE
Immortal since Oct 26, 2009
Uplinks: 0, Generation 5

farn.
  • Affiliated
  •  /  
  • Invited
  •  /  
  • Descended
  • Now playing SpaceCollective
    Where forward thinking terrestrials share ideas and information about the state of the species, their planet and the universe, living the lives of science fiction. Introduction
    Featuring Powers of Ten by Charles and Ray Eames, based on an idea by Kees Boeke.
    From farn's personal cargo

    Revolving Realities




    Revolving Realities is an autoreactive installation, one that plays with our sense of reality by continually causing us to perceive and experience a place and an object in new ways. Its surfaces projected with different images, textures and animations, the object becomes a mirror of changing realities. As a result, a kind of real virtuality arises to confront virtual reality. A modular light installation issuing from the sculptural object reworks the space. Cords of light pass through the 600 m2 of surrounding space, intertwining the surrounding area with the centre. Ideas are seized upon and returned; the space is transformed into a sound box that enters into a reflexive dialogue with the sculpture. The object, the space and the beholder form a communicative unit.



    A review by Gabriel Shalom,
    media theorist, videomusican and artist:
    "This installation requires us to actively participate in its interpretation in order to synthesize our own valuation of meaning: Why should a bathroom fixture stand at the centre of such a dazzling multi-dimensional display? If we engage ourselves fully we discover a model for another reality, in which a bathroom can function as a resonating chamber for the synthesis of thought.
    The network of luminescent cables are the edges of an array of invisible intersecting planes. If we stand still and close one eye, our depth perception is temporarily suspended and we can experience fleeting moments of illusory flatness, as the brightness of the cables is perceived as uniform and space is fragmented into spontaneous geometry. Yet as soon as we begin moving again, we are delighted with the dynamic interplay of the cables as they expand and contract in relation to our position in the garage.
    The vector space can be understood as a force field which interacts with the object. The object’s surface fluctuates and shimmers under impossible lighting schema, granting it with a simulated inner life. Its virtual innards are intermittently revealed to us; we experience the object as a simulated 3D solid that is sliced up by invisible planes of the vector space. The array of audiovisual vectors defines the invisible planes which cut through the sculptural object, amplifying its energy into an architectural orbit of audiovisual synaesthetic activity. The multi-channel audio fills the parking garage to create a volumetric sonic field. Each strand of electro-luminescent cable is mapped to one of the audio channel and is programmed to react to variations in the sonic signal.
    As time passes, we recognize that this wholly synthetic space has a personality, albeit one which we actively participate in creating. It seems to be in dialogue with itself; oscillating between modes of moody contemplation, childish curiosity and confrontational
    antics. We recognize the system as a model for consciousness; it amuses itself and we witness its abstract ruminations as tangible spatial mutations. The complexity of its dramaturgy is tantamount to the implosion of the orchestra and the ballet; each element collapsing and unifying the roles of instrument and dancer, creating an ensemble of synapses.
    As the object’s surface ebbs and flows by means of digital projection surface-mapping, it allows us to superposition it across various archetypes of the digital age. One moment it is a lost polygon from an esoteric video game landscape; the next moment it is a mysterious engine from an alien spaceship, or perhaps a
    novel form of matter which is both crystalline and liquid at once.
    This hypercubist sculpture – its surface moving in time while its volume remains paradoxically still – is a fractal seed for the expression of future media universes and our role within them. We can traverse the vector space freely; no particular vantage point is privileged. The cables and the sculptural object transcend their mundane physicality into grand metaphor, the activity of which comprises both a digital ritual and an analogue prototype for a not-yet-invented digital medium. If we allow our imaginations to project into the future, our encounter with the installation provokes an impending sense of the holographic."



    The installation is the latest instalment in the Dornbracht Edges series featuring projects in which architecture, design and art intersect. Curated by Mike Meiré, the installation is the work of the group Interpalazzo and was premiered January 18th – 24th 2010 at the Passagen / IMM International Furniture Fair 2010, Cologne.

    Interpalazzo is a collective of media artists. For Revolving Realities, Interpalazzo (Martin Hesselmeier, Andreas Muxel und Carsten Goertz) has teamed up with composer Marcus Schmickler, who created the sound.

    www.meireundmeire.de
    www.interpalazzo.com
    www.piethopraxis.de (Marcus Schmickler)

    Add comment
      Promote (5)
      
      Add to favorites (1)
    Create synapse
     
     
          Cancel