ACT Festival 2015: TEKTÕNICS

The work in real time, converts the data such as text, sound, photos, images into bar code patterns. In the space visualized with stripes of black and white, the viewer experiences a new sense.

When the discs start to move to the music by Ólafur Arnalds, RGB reflection occurs in one direction, and CMYK reflection occurs in another direction, making shadows of light in the exhibition space. As for the sound work, depending on the height of the discs moving in the air, five kinds of digital sounds are played. At this time, the music which is played in tandem with movements of the discs completes choreography.

<unidisplay> expands vision like space through the mirror installed with two walls of mirror on both sides, and explores semiotics and laws of perception, and <unicolor> submitted for the festival explores psychology of color perception. The work in which modules making various visual effects work positively intervenes in perception of the audience.

NTSC standard adjusts 483 light lines accumulated from the bottom to the top of television screens and creates one video image. The image appears as white thin lights which resembles interference from an analogue television screen. Wavelengths and particles of light crossing the screen make flickering patterns.

<otto> is a robot-chalk drawing machine-based drawing created by collaborating with Wilm Thoben. <otto> is drawing a series of artifacts from the rich history of people working at the intersection of art, design and technology: Work notes, diagrams, sketches and research.

The piece runs on a modified Apple TV connected to a rotated LCD display, and defines a maximum of five lines of text, at an automatically determined type-size. This limits the options for the poster to be produced, while rendering visible the always present limitations of any technology-based system for creative production.

The tiles are illuminated by three light projectors in red, green and blue. The white illumination of the tiles, results from the mixing of the three primary colors, which is decomposed by the tiles’ motion in colored shadows displaying the primary and secondary colors of light. In addition, each tile can be activated by a linear motor retracting it 10cm from the installation’s vertical plane. The individual control of the tiles’ motion creates three-dimensional reliefs based on geometric patterns. Color shadows appear and disappear, crossing order and disorder, according to the motion of tiles moving back and forth. The formation of patterns underlines the geometric design whereas random arrangements underscore the mixing of colors.

Each work in this portrait series features a person painted entirely in a single shade of color, displayed on an LCD which has been entirely painted in the same color except for the human subject on the screen. In particular, the background and foreground are painted in the same paint, and human body becomes an electronic display body. In addition, from the perspective of contents, the portrait of body painting in a single color asks a question about the definition of our body in the world of networking information. With these boundaries erased, the subject can be said to become ambiguous and confusing, and it questions the definition of whether the individual depicted is a human being or just a representation.