This gallery-installation/internet-art hybrid automatically created sculptures using spam and e-mail to trigger the sculpting process. It consisted of a steel frame surrounding a large block of biodegradable (starch-based) Styrofoam. Attached to the frame is the Eroder: a mobile sprayer that squirted colored water on to the foam.
self.detach is a dynamic object, which adopts a critical position towards the celebration of the ego on the internet by dissolving self-portraying pictures into coloured particles.
Combining Robert Morris' Box With the Sound of Its Own Making with Baudrillard's writing on the art auction this sculpture exists in eternal transactional flux. It is a physical sculpture that is perptually attempting to auction itself on eBay.
Every ten minutes the black box pings a server on the internet via the ethernet connection to check if it is for sale on the eBay. If its auction has ended or it has sold, it automatically creates a new auction of itself.
If a person buys it on eBay, the current owner is required to send it to the new owner. The new owner must then plug it into ethernet, and the cycle repeats itself.
This work is discussed in the catalogue for The Value of Nothing, a 2009 exhibition. Buy or download it.
Follow the current auction here: http://atooltodeceiveandslaughter.com
A fountain and its natural form, the spring, are symbols of the miraculous life-begetting 'élan vital' that permeates the universe. In fact, life on earth is now thought to have begun in the nutrient-rich plumes of undersea hydrothermal vents, real-life fountains of life. But, when the image of the source is mimicked as Water Feature, a merely decorative, self-contained electric fountain, the maternalistic life-force is perverted into what amounts to abject MILF porn. The Water Feature is so wasteful and self-indulgent that it becomes the straw man in the argument against contemporary art as useless blubber for the tasteless elite. But— can't home and garden decor give back a little bit? Can't we efficiently retrofit some of our 'criminal ornaments' for a fairer future? If there is some leftover space inside their faux-marble fiberglass hollowness, we can definitely squeeze some useful nanotech in there— right? Let's finally answer Joseph Bueys famous challenge, “Kann Plastik die Welt verandern?"—can sculpture change the world? with a resounding “YES!"…as long as that sculpture contains a state-of-the-art-kick-ass-energy-efficient-linux-micro-PC that is totally discovering a cure for cancer.
A group of spectacular cast-fiberglass fountains stand together on an elevated server-room floor. A Fit PC 2 (the smallest PC currently available, 96% more energy efficient than a standard desktop) is installed in each water feature. Whenever the fountains are plugged in, the Linux PC's will automatically boot up and run World Community Grid software, a distributed computing project which uses a massive network of PC’s around the world to model solutions for various humanitarian problems, such as: “Clean Energy Project”, “Influenza Antiviral Drug Search”, “ Fight Aids@home” and “Nutritious Rice for the World". The delightful splashing of the water and twinkle of the energy-efficient LED’s act as relaxing and meditative status-light ...
The spectacular view of the starry sky has long been a source of delight and curiosity, but the abundance of artificial light in urban areas produces a glow that covers the stars in the firmament. The largest mirror ball ever made was suspended from a construction crane 50 meters above the ground to render the starry sky to the citizens of Paris for one night in the Jardin du Luxembourg during the Nuit Blanche event. (photo Émilien Châtelain)
Children love Ahmet Öğüt’s Exploded City. Its miniature edifices are suited to the kid’s-eye-view; youthful height allows the same unobstructed vistas into the cityscape as one of its citizens might have. A further draw for children: there’s a model train underfoot (directly; museum security was busy), albeit stationary. And certain of the city's scaled buildings do resemble dollhouses, although there are no dolls here. Nobody lives in the Exploded City; there are no figurines amidst its reproductions. This vacancy is probably for the best, since Öğüt’s piece—on view at the Berkeley Art Museum until April 11, 2010—is composed entirely of models of buildings that have been damaged or destroyed by terrorist strikes since the 1990s. The structures may be in their inviolate form, but nevertheless, human models placed throughout the doomed buildings would impart a macabre note to the city.
"Visions of the Amen" is an interactive kinetic sculpture by Mitchell F Chan. The piece is brought to life by the voice of talented young soprano Ashleigh Semkiw, performing in this video Messiaen's Poemes Pour Mi. The primary elements of the sculpture are 16 strings, weighed down on one end by brass bars and attached at the other end to motors, spin at various speeds to sweep out those ghostly sine-wave forms, and pull up and down on the brass rods. The resultant visual effect, overall, looks something like 16 brass rods dancing, bobbing up and down in a forest of ghostly columns.
Each string in the arrangement is activated by a different note, and spins with a velocity dependent on the volume of that note. So each song and unique delivery creates a different ballet. The microphone feeds into a software that I wrote in Processing, which does some pitch and volume analysis, and then exports PWM values for all the motors via serial protocol to a set of microcontrollers.