Self-acclaimed Neo Pop Art Dada collective founded by Frank Morssinkhof and Kees de Groot has initiated a wide variety of projects, exhibitions, live-performances, documentaries, video-artworks and multi-media interceptions in 2, 3 and 4D. From underground club shows in Tokyo, Bangkok banned video-series for the Shanghai World-expo, punk-noise mock-ups in western Turkey up to state of the art presentations NOT in Stedelijk Museum Amsterdam or Rijksmuseum Twenthe, mixing up Rembrandts Nachtwacht with the Nazi-uniformed groupshow of Jake and Dinos: that’s ViaOral in collaboration with befriended artists and musicians.
“In Girum” Generative A/V Installation
Pandelis Diamantides: A/V Composition, Generative Software
Machteld Jacques: Production, Coordination
Video: “In Girum” at SXSW 2017 as part of “POV” A/V installation with Nikki Hock, Hidde De Jong and Nick
*In girum imus nocte et consumimur igni (we go into the circle during the night consumed by fire) is a riddle in
the form of a palindrome.
“In Girum” is the first of a series of generative audiovisual installations by
Pandelis Diamantides that reflects on our currently overstimulated environment
by illustrating how technology is able to mediate our perception.
By creating a completely dark environment, the installation allows the audience
to recapture their sensory self by placing them in an initial state of sensory
deprivation. The deliberate perceptual isolation allows subjective perception to
be reset and is subsequently altered by the use of light and sound. The visual
system is deprived essential information necessary to interpret the dynamics of
the space and turn it into its mental representation.
After the subject’s sensory palate has been cleansed, minuscule pulses of light
and sound encapsulating the audience are able to manipulate their sensory
experience. “In Girum” influences the audience’s perception of the size, direction
and their position in relation to the continuously changing dynamics of the
space. The spatial audiovisual composition heightens and challenges the
senses, so the audience tangibly experiences the flexibility of their own
Perception itself acts as the artistic medium, becoming an integral part of the
piece. Through its immersive experiential process, the installation reveals that
what is seen depends on our subjective perception and temporal perspective of
the experiencing subject.
“In Girum” was part of “POV” audiovisual installation presented at South by
Southwest Festival 2017 (Austin, Texas, US) and Athens Digital Arts Festival
2017 (Athens, GR)
”I design abstract objects and the way they evolve and interact over time”
Pandelis Diamantides |1978| is a sound and visual artist based in Amsterdam.
In his music productions and audiovisual performances, he uses custom digital
technology to create complex binary landscapes, where detailed sound
compositions and electronic rhythms are enhanced by multifaceted visuals
providing a true immersive experience. He performs solo under the pseudonym
The Sun In Ultra-HD (4K)
The sun is not a static ball in space, it is a constantly moving ball in space. The behaviour of the sun has been relevant to scientists as well as to artists. Every twelve seconds NASA’s Solar Dynamics Observatory captures images of the sun. These images display information about the sun in ten different wavelengths of invisible ultraviolet light. Each wavelength is assigned a unique color and each frame is eight times the resolution of HD video. Creating only one minute of this footage takes the team up to ten hours. This detailed and inspiring footage is to be seen at the festival this year.
Matthijs Munnik is a media artist who studied at Academie Minerva in Groningen and the Royal Academy of Arts in The Hague. Matthijs creates performances as well as installations that resonate from science-based appearances. Through the research of colour combinations, patterns, rhythms and spectacular visual effects Matthijs’s artworks result in teasing works that play with the spectators view.
Spectra – Matthijs Munnik
Everything you see is the result of the joint effort of your eyes, your brain and light. Matthijs’s installation Spectra intervenes this process. A large illuminated screen works as an algorithm-driven stroboscope. It’s light patterns result in the perception of hallucinatory images. These images do not exist but originate in the eyes of the spectator, which is the result of a visual encounter. In theory everybody is biologically capable of seeing hallucinatory images, yet not everybody will ever experience this phenomenon. Spectra aids in seeing those hallucinatory patterns by interfering with observation. This installation makes you aware and question perception as it is. It explores neurological systems, perception and experience driven and influenced by technology.
Spectra is a new installation from Matthijs Munnik which is presented in Tetem in collaboration with GOGBOT:
“I am fascinated by the increasing amount of new bio-technologies that enable new ways of knowing ourselves, bodies and minds- we really have an unprecedented freedom in exploring the junction between biology and technology. I’m deeply attracted to the infinite complexity of our brains. Most of us live with very little understanding of the underlying processes within our own enigmatic minds.”
LAURA JADE The catalyst for this research project was a desire to harness Laura’s own brain as the creator of an interactive art experience where no physical touch was required, except the power of her own thoughts. The aim of Brainlight is to provide a sense of awe that comes from battling the seemingly inexplicable gap between the physical brain and ethereal consciousness. The installation is controlled with a wireless BCI (Brain Controlled Interface) Electroencephalography (EEG- is the process of recording the electrical activity of the brain) headset which is sensitive enough to detect and output real-time neural activity. It visualises the brain frequency areas of: Meditation (Alpha), focus and flow (Theta), excitement/agitation (Beta) which are translated into a live visual light display within the brain sculpture. By “playing” with the artwork you can begin to experience a level of conscious mind-control over our brain’s bustling electrical activity.
To call Edwin Dertien a Renaissance man would not be an overstatement. He is a researcher and a teacher at the University of Twente, a self-employed engineer, an artist, a musician and a co-founder of ASSortiMENS, a center for people with autism. At the Gogbot festival Drawbot wil be shown.
THE WORM PIRATE BAY CONCEPT
WORM Institute for Avant-garde Recreation introduces the WORM Pirate Bay Media Archive: a no fee lending archive with an online database. A unique preview space in WORM’s building.
WORM’s Pirate Bay archive has two key features. Firstly, the WORM Pirate Bay has both an online and offline presence. Guests can access the database online via thepiratebay.worm.org, a web application which is specifically designed to make WORM’s archive user friendly.
It is possible to browse by media type (VHS, DVD .. etc), genre, release year, etc or search the entire database by keyword. Creating a profile on thepiratebay website allows users to reserve items, save them to their profile, rate them or leave comments. A user who reserves an item is notified when it’s ready to be picked up at WORM, and reminded when it’s time to bring it back.
Visitors to WORM are able to browse and preview the media, get staff recommendations, and enjoy the selection of games and gadgets. Furthermore they can also take the chance to preview the WORM Pirate Bay archive in “DISPLAY”, a multi-functional art-design-nonobject by Amy Suo Wu. “DISPLAY” facilitates reading, watching, listening and sleeping in a cocoon. “DISPLAY” is all about display, it doesn’t discriminate between inanimate objects and bodies as objects.
This offline presence is both an answer and a credo. It is WORM’s response to the growing need for tangibility, something that the digital revolution has paradoxically brought about. Moreover, it comes from acknowledging that format is organic to the aesthetics of certain artworks; something that calls for the preservation and distribution of the original. As film activist Pip Chodorov said, “Better watch avant-garde films on VHS than on DVD because digital compression technology has been optimized for mainstream film and kills off the aesthetics of the analog film originals!”.
“))))) repetition at my distance” is a kinetic/light/sound installation based on a subjective interpretation of sound traveling through space.
The memory of wind passing through trees becomes tangible as a field of 16 rotating vertical blue lightwires that oscillate in spreading patterns. The wires behave like a living entity of individuals that respond to different forces.
Through time they develop situations that evoke strong associations with natural phenomena and show organic choreographies and gestures shifting back and forth between the natural and the robotic.
Its presence reconstructs architecture through a composition of light, movement, sound, and an absence of these. The piece suggests spaces via horizontal and vertical light flows, and through wind and whistle sonic elements derived from noise and sinewaves. The flickering of light produces after-images on the retina that become an integral part of the experience, as they blend with the light produced by the installation.
Gabey Tjon a Tham is an installation artist working and living in the Hague, The Netherlands.
Gabey transforms spaces into sensory and immersive environments through kinetic machines, light, and sound. She observes behaviours and patterns in nature from where she extracts and assembles fundamentals. Her work explores relationships between humankind, nature, and technology. In her works the technology has a logic on its own, it conflicts and harmonizes. The artist develops techniques and invents mechanical sculptures that embed different materials and perform at different poetic levels. Hereby natural-mechanical choreographies arise. The works invite us to wonder at, contemplate, and investigate.
Stefan Schäfer is a designer and researcher based in Amsterdam. His research deals with the conversion of images from representative objects to participative subjects. This includes ways of image production and distribution, as well as occuring consequences and shifts of meaning, while traversing media. At this moment Schäfer is investigating the “compensation of physical absence with virtual presence“ and vice versa.
Together with Dr. Emily West, Schäfer is co-founder of digitalnecropolis.net, an ongoing research program about digital death and digital afterlife. Their book „I am become digital death, the destroyer of worlds“ had been published in Oct 2016 and was exhibited at the Dutch Design Week 2016 in Eindhoven.
Julius Horsthuis is a Visual Effects designer and Fractal artist.
Julius has an interesting resume containing working as a sound recordist, clapper loader, focus puller, post-productionist and creative director for shows and films as Baantjer, Flirt, Carbon, Hectic Electric, Sonny Boy, Koning van Katoren, etc. In 2014 Julius started to experiment with Fractal environments. As a Fractal Artist he has created Fractal short films and Immersive Experiences, which have been exhibited in galleries and film festivals around the world, such as the IX symposium in the Satosphere in Montréal, the Cineglobe film festival in CERN and the Geneva Tous Ecrans festival. Julius has had a lot of appraise in the online platform world as well, being picked up or covered by international blogs such as The Creators Project, Motionographer, and the Vimeo Staff picks. His experimental Virtual Reality experiences featured on the Oculus Rift website became one of the best rated VR-experiences.