Tipo. Pantalla LED – autoactiva

Autor de la instalación. Jenny Holzer

Edificio. Syracuse Stage

Ciudad. Syracuse, NY

País. EUA

Año. 2010

Web. http://www.jennyholzer.com

Imágenes. http://urbanvideoproject.com/news.html

Video. -

Vía. http://urbanvideoproject.com/news.html

Descripción

Description

Light Work and the Urban Video Project are pleased to announce the opening of an installation by internationally renowned artist Jenny Holzer at the Urban Video Project site at Syracuse Stage, 820 East Genesee Street, Syracuse, NY. Holzer created For Syracuse as a site-specific installation that streams across the façade of Syracuse Stage on an LED curtain. The installation features 272 aphorisms from her celebrated series Truisms, and Survival that challenge viewer’s assumptions about the world we live in through the use of language as art. Whether questioning consumerist impulses, or lamenting the struggles of daily living Jenny Holzer always provokes a response. Her work crosses the boundary between poetry and visual art, and suggests both the limitations and power of technology and the information age.

For more than thirty years this influential American conceptual artist has been creating subversive works that blend in among advertisements in public spaces questioning and confronting our passive consumption of information. Since the early 1970’s, Holzer has been collecting and writing phrases and aphorisms found in literature, philosophy and contemporary culture. She calls these summaries her Truisms, and has printed them on bronze plaques, painted signs, stone benches, footstools, stickers, t-shirts, condoms, paintings, photographs, video, sound, light projection, and the Internet. In 1982, Holzer installed Truisms on one of Time Square’s gigantic LED billboards. In the 1980’s, for her Survival Series, Holzer adopted more personal and urgent messages about the realities of everyday living. Power, vulnerability, violence, tenderness, moral struggles and motherhood are courageously chronicled in this series which continuously prods the viewer to question the role of individuals in society.

Tipo. Pantalla LED – autoactiva

Autor de la instalación. Thomas Glassford

Edificio. Torre del Centro Cultural Universitario Tlatelolco

Ciudad. Ciudad de México

País. México

Año. 2010

Web. -

Imágenes. http://anotartemx.wordpress.com/2010/11/22/inauguraran-faro-xipe-totec-en-centro-cultural-tlatelolco/

Video. -

Vía. http://anotartemx.wordpress.com/2010/11/22/inauguraran-faro-xipe-totec-en-centro-cultural-tlatelolco/ & http://www.museumashub.org/neighborhood/museo-tamayo/thomas-glassford

Descripción

En el marco de los festejos por el centenario de Universidad Nacional Autónoma de México UNAM se inauguró sobre la totalidad de las fachadas de la Torre del Centro Cultural Tlatelolco la instalación Xipe Tótec del artista estadounidense Thomas Glassford.

En este edificio, diseñado por Pedro Ramírez Vásquez, se tejió una red que alumbrará el lugar y  hará de faro de la Ciudad de México. El concepto nace de la fascinación del autor por las formaciones de la naturaleza subatómica, mismas que se pueden percibir, por ejemplo, en los cristales.

Alrededor de varios estilos arquitectónicos, con las ruinas de templos aztecas y a lado de una iglesia virreinal, Glassford decidió bautizar su obra con el nombre de  Xipe Tótec, en honor de la deidad mexica que dio alimento a la humanidad. Así también, el artista pretende continuar con las tradiciones de esta cultura, revistiendo al edificio como lo hicieran los sacerdotes con sus guerreros, en símbolo de una nueva era cultural de este centro.

Description

Quasicrystals Screen, 2008
Cut vinyl on glass
Courtesy the artist

Thomas Glassford’s project proposes giving a fresh “skin” to the former Foreign Affairs tower on the Plaza of the Three Cultures in Tlatelolco. This building, designed by the architect Ramírez Vázquez, has recently been taken over by Mexico’s national university to become an important new cultural center. The ambition of Glassford’s project involves giving this building a strikingly new visibility as it seeks to change its identity. The outer surface Glassford proposes is a geometric pattern constructed from colored neon tubing, hung on transparent wire netting. Taken from the structure of quasi-crystals, this non-repeating “atomic pattern of infinite change” was identified by the mathematical physicist Roger Penrose in 1974. Here this design is used symbolically, as a reference to the multiple, cyclical, and ever-changing attempts throughout the history of the site to generate new cultural movements at Tlatelolco.

Artist Statement

The idea of giving another skin to the site of Tlatelolco follows the tradition of the Plaza de las Tres Culturas and clearly re-marks the institutional charge of the modernist building of the triad. This is not another concept of effacement but one of full respect of all structures and of the tower itself, a relatively transparent skin or net that would maintain the modernist edifice of the architect Ramírez Vázquez. At night this isolated tower would beam on the cityscape, marking its new use as the Centro Cultural Tlatelolco, a beacon to draw visitors and to re-invigorate the neighborhood of Tlaltelolco itself.

The concept of using the structure of quasicrystals as a conscious and cohesive pattern, one that represents a newness of intellectual study, an ancient presence and what is ultimately a natural crystalline framework in itself, places a prominence on the conglomeration of previous attempts to idealize a cultural movement on this site, be it conquest or utopian urbanization. This atomic pattern of infinite change celebrates this process and recognizes in its natural complicity of geometry, the endless nature of culture not only to this site but marks Tlatelolco’s complex historical continuum though humanity worldwide.

With an eye on UNAM’s invested presence in the arts and science, this project attempts to express the notable restructuring of this complex as a beacon for cultural movements with its newfound use.

Tipo. Pantalla LED – autoactiva

Autor. urban landscape group

Autor de la instalación. urban landscape group

Edificio. -

Ciudad. Budapest

País. Hungría

Año. 2010

Web. http://www.vtcs.hu/projekt_item.php?item=38

Imágenes. http://www.designboom.com/weblog/cat/9/view/12041/urban-landscape-group-corvin-gate-public-light.html

Video. http://www.youtube.com/watch?v=JSdqF75yT-Q

Vía. http://www.ba-reps.com/

Descripción

Description

Budapest city is currently undergoing a renewal program called ’3k’ – köztéri kulturális kereszteződés (public premises cultural crossing)’ which began in the autumn of 2010 and will end in the spring of 2011.

As part of the renewal program hungarian planners városi tájkép csoport tervező iroda of urban landscape group and the engineers of tungsram-schréder were asked to design the illumination technology of a special LED lamp to be built on the entrance passage in front of corvin cinema.

Made of corten steel the 20-tonne lamp structure consists of two asymmetric feet and a beam positioned 4,8 meters high, stretching 35 metres long. this scale and structure makes the object an architectural element, namely a gate. in the future, the 35 metre long console will take on the task of a public light, instead of the normal street lamps. tungsram-schréder’s astral lamp has been improved by a special filter, providing an extraordinary visual effect that allows the pixel in the LED walls to be built in the inner sides of the feet of the lamp. the final optics are presented by the 35 uniquely planned astral LED lamps mounted with 2 380 pcs of LED’s all together, using a special patent. the allocation on the two vertical LED walls is 10mm’s and on the vertical walls it is 20/10 mm’s.

An important parameter of the object is that the corten structure is present as a construction connecting public lighting with special visual effects. this is an innovative use of the LED wall, since this solution has mainly been used for media walls. a led surface of this size has never been built in a public lighting system before.

Tipo. Pantalla LED – autoactiva

Autor. Thornberg & Forester

Autor de la instalación. Thornberg & Forester

Edificio. -

Ciudad. Nueva York

País. EUA

Año. 2009

Web. http://www.thornbergandforester.com/work

Imágenes. http://www.thornbergandforester.com/work#/77/mary-poppins-times-square-billboard/

Video. http://www.vimeo.com/12060067

Vía. http://www.ba-reps.com/

Descripción

Description

Thornberg & Forester designed and animated a motion billboard for Disney’s Mary Poppins Broadway musical, working with agency Serino Coyne. The simple yet bold design on 47th street and Broadway stands out among the maze of flashing lights in Times Square.

Chief Creative Office of Serino Coyne Sandy Block says, “In what is the most advertising-inundated location in the world, how better to evoke the larger-than-life magic of Disney’s MARY POPPINS than with the biggest sign you could possibly imagine: a 230-foot high by 80-foot wide, 12-screen, digital display with 15,000 square-feet of LED power. Now, put that in front of 100,000 visitors every day at the epicenter of the most popular New York City hub, and you’ve got yourself the perfect match-up of show and signage.”

Thornberg & Forester is no stranger to creating Times Square billboards, but the multi-panel format brought on new challenges. Creative Director and Partner of Thornberg & Forester Justin Meredith says, “In one respect you want to think of all the screens as one canvas but you need to find a balance between viewing it as a whole versus viewing parts of the billboard. For example, if you are standing at the TKTS booth on 46th street you have a completely different experience than standing on 41st street looking up Broadway. At the TKTS booth you only see two of the nine screens and this area was where most of the messaging needed to be directed.”

The end result is a dazzling display of 12 panels working simultaneously to entice Times Square visitors to see the Mary Poppins musical. Interested theatre-goers can watch the show at the New Amsterdam Theatre, starring Laura Michelle Kelly and Christian Borle.

We were asked to design and animate a motion billboard for Disney’s Mary Poppins Broadway musical, working with agency Serino Coyne. The simple yet bold design on 47th street and Broadway stands out among the maze of flashing lights in Times Square. The creative is a dazzling display of 12 panels working simultaneously to entice Times Square visitors to see the Mary Poppins musical.

Tipo. Pantalla LED – interactiva

Autor. -

Autor de la instalación. techno-shine

Edificio. Centro Comercial Liverpool Insurgentes

Ciudad. Ciudad de México, D.F

País. México

Año. 2009

Web. http://www.techno-shine.com/proyectos_detalle.php?id=5#

Imágenes. http://www.techno-shine.com/proyectos_detalle.php?id=5#

Video. http://www.youtube.com/watch?v=lcPzGJNRRjg&feature=related

Vía. http://www.techno-shine.com/proyectos_detalle.php?id=5#

Descripción

La tienda Liverpool Insurgentes engalana y moderniza absolutamente su fachada utilizando la tecnología más novedosa en Display.

La pantalla de 300 metros cuadrados diseñada por Techno Shine S. A. de C. V. está compuesta por más de 171,000 pixeles, con capacidad para reproducir más de 16 millones de colores. Las dimensiones de la pantalla son de 39.2 m X 7.65 m. Los principales beneficios de la misma son la transparencia y limpieza de sus componentes, lo que hace posible la visión a través de ella, así como, no modificar la apariencia de la fachada original del edificio.

Una pantalla de naturaleza muy ligera lo que hace que su peso total sin considerar la estructura de acero sea de 1.2 toneladas, soportada por una estructura de 8 toneladas de peso, fija en la fachada del edificio, para su control utiliza más de 18 Km. en cableado estructurado, su demanda total de corriente es de 150 W por metro cuadrado.

Description

Tipo. Pantalla LED – interactiva

Autor. Jennifer Steinkamp and John Houck

Autor de la instalación. Jennifer Steinkamp and John Houck

Edificio. Wells Fargo Cultural Campus

Ciudad. Charlotte

País. EUA

Año. 2009

Web. http://jsteinkamp.com

Imágenes. http://jsteinkamp.com/html/body_sky_falling.htm

Video. http://jsteinkamp.com/quicktime/html/sky.html

Vía. http://jsteinkamp.com/html/art_documentation.htm

Descripción

Description

The Sky is Falling is a playful interaction with the children who visit the Wells Fargo Cultural Campus in Charlotte, North Carolina. Children create art which becomes part of the piece and the architecture.

Jennifer Steinkamp and John Houck were commissioned to create a 3-D animation of multiple pieces of cloth falling across an LED screen (Dimensions:  900 x 486 pixels, 44.5 x 24 feet) at the Knight Theatre. The art piece consists of real-time generative 3-D animation of cloth falling out of the sky. Each piece of cloth is texture mapped with children’s images created in workshops at the various museums on the campus.

Steinkamp and Houck provided software programming that allows a scanning computer operator to incorporate scanned images into the artist’s custom software program that converts the images into virtual falling cloth in real time. The operator saves the scanned files into a remote folder located on the cloth player computer via computer network, the imagery immediately appears up on the LED screen. The cloth falling imagery is generative 3-D similar to a 3-D video game.

Tipo. Pantalla LED – auto activa

Autor. Caszuidas

Autor instalación. Pippo Lionni

Edificio. -

Ciudad. Amsterdam

País. Holanda

Año. 2009

Web. http://lionni.com/domain

Imágenes. http://www.designboom.com/

Video. http://www.youtube.com/watch?v=I6oGQFm4Wsg&feature=player_embedded

Vía. http://www.designboom.com/

Descripción

Description

As part of the caszuidas (contemporary art screen zuidas) in amsterdam, new york artist pippo lionni will screen his re – animation series, beginning january 2010.

Using pictograms familiar to us all from everyday life – such as road signs, toilet markers and math symbols pippo lionni uses animation to tell a story or make a comment, entirely without recourse to words.

Tipo. Pantalla LED – auto activa

Autor. Magritte Museum

Autor instalación. Electrabel

Edificio. Magritte Museum

Ciudad. Bruselas

País. Bélgica

Año. 2009

Web. http://www.musee-magritte-museum.be

Imágenes. -

Video. -

Vía. http://www.globalpost.com/dispatch/benelux/090530/magritte-museum

Descripción

El 2 de abril de 2009 el Museo Magritte Museum fue entregado a los MrBAB (Museos reales de las Bellas Artes de Bélgica) por GDF SUEZ, con el apoyo de la Régie des Bâtiments, en el respeto de los plazos y compromisos fijado.

GDF SUEZ se apoyó en el conocimiento tecnológico de los equipos de su rama de servicios de energía y notablemente sobre sus filiales belgas Fabricom GTI, AXIMA Contracting, Solar Technics y su filial francesa INEO Electrable que contribuyó, por su parte, al aspecto duradero del proyecto para la provisión de una energía 100% renovable.

Provisión de energía solar fotovoltaica para el todo decorativo de la obra
Creación de una doble pared al interior de las salas de exhibición
140 módulos LED (emisores de luz) para animar las ventanas y señalar el Museo Magritte
Creación del color de pintura “Azul Magritte”
Instalar una película anti-calor sobre todas las ventanas
Economía del 30% de la potencia eléctrica para iluminación
100% de electricidad verde
Motor de búsqueda federado para consultar más de 7500 obras

Resource: http://www.franciaenlinea.org/spip.php?article144

Description

Rene Magritte, Belgium’s master Surrealist, discovered home movies when he was in his 60s. But when he did get his hands on a camera there was no holding him and his fellow Surrealists back, as they filmed themselves cavorting around the small Brussels town garden with a Prussian helmet, sea shells and a tuba. A cache of these films is among the treasures at Belgium’s new Magritte Museum, which opens in Brussels June 2.

“We own 40 Super 8 films,” said project manager Virginie Devillez. “Magritte had given them to someone to edit, who made a mess of it. We painstakingly restored them to their original condition and digitized them.” Only eight films are on show in the museum, Devillez explained, because many include vacation footage — “three minutes of a gondola bobbing up and down.”

Die-hard Magritte fans curious to see the bobbing gondola can view all the films (among other things) on a website that offers access to the entire Magritte archive and more. The website’s powerful search engine is one of the many items contributed in lieu of cash by the utilities giant GDF-Suez, adding up to 6.5 million euros ($9.1 million). The company also contributed expertise in such areas as photovoltaic energy, LED modules and “green” electricity.

The Magritte Museum is the realization of the long-held dream of Michel Draguet, the curator of Brussels’ Museum of Fine Arts, who handed over a 19th century building attached to his vast museum complex. The main problem for interior designer Winston Spriet was that the building was studded with windows. His solution was to create a double-skin to separate the rooms from the facade, with all the technical infrastructure inside it.

Displayed chronologically in the dimly lit dark coffee, sea green and Magritte blue rooms are such masterpieces as two versions of Magritte’s “Empire of Lights,” “The Return” and “The Domain of Arnheim” inspired by the story by Edgar Alan Poe, and a fine selection of works from his controversial Vache period, despised at the time but now loved by young artists. Outside, on the facade, by day and night, 140 luminous Magritte-style clouds appear to drift inside the windows.

Resource: http://www.globalpost.com/dispatch/benelux/090530/magritte-museum

Tipo. Pantalla LED – interactiva

Autor. Chris O´Shea

Autor instalación. Chris O´Shea

Edificio. -

Ciudad. Liverpool

País. Reino Unido

Año. 2009

Web. http://www.chrisoshea.org/projects/hand-from-above/

Imágenes. http://www.chrisoshea.org/projects/hand-from-above/

Video. http://www.chrisoshea.org/projects/hand-from-above/

Vía. http://www.chrisoshea.org/

Descripción

Hand from Above anima a cuestionar nuestra rutina diaria, en la que casi siempre nos encontramos caminando de un lugar a otro sin darnos cuenta de las cosas que pasan a nuestro alrededor. Inspirado por el mundo de los gigantes y Goliat Chris O´Shea nos presenta una instalación en donde su contenido y función nos recuerda historias míticas en las que traviesamente se desata la mano gigante esta vez utilizando como interfaz la enorme pantalla de la BBC en Liverpool. Es así como el andar de los paseantes es transformado de un manera divertida y nos cuestiona, el que pasaría si los humanos no fuesen la cabeza de la cadena alimenticia?

Description

Hand From Above encourages us to question our normal routine when we often find ourselves rushing from one destination to another. Inspired by Land of the Giants and Goliath, we are reminded of mythical stories by mischievously unleashing a giant hand from the BBC Big Screen. Passers by will be playfully transformed. What if humans weren’t on top of the food chain?

Unsuspecting pedestrians will be tickled, stretched, flicked or removed entirely in real-time by a giant deity.

Hand from Above is a joint co-commission between FACT: Foundation for Art & Creative Technology and Liverpool City Council for BBC Big Screen Liverpool and the Live Sites Network. It premiered during the inaugural Abandon Normal Devices Festival.

A big thank you to Bren O’Callaghan (Big Screens) & Kate Taylor (FACT).

Written using openFrameworks & openCV.
Sounds by Owen Lloyd.

Screenings:

Big Screen Cardiff, 22-24 Oct
Big Screen Liverpool, 23-27 Sep

Tipo. Pantalla LED – auto activa

Autor. -

Autor instalación. Julian Opie

Edificio. The National Theatre at Národni

Ciudad. Praga

País. República Checa

Año. 2009

Web. http://www.julianopie.com/

Imágenes. http://www.wartprojects.com/a3.html

Video. http://www.youtube.com/watch?v=mZEosQ3pa5o

Vía. http://www.wartprojects.com/a3.html

Descripción

Description

A window of the National Theatre at Národni is showingJulian Opie’s (UK) LED ANN, DANCING from the 7^thof January to the 30^th of June.

Julian Opie is amongst the leading contemporary artists of international reputation. Born in 1958, he now lives and works in London. Opie studied at the Goldsmith College of Art and shortly afterwards exhibited at the Lisson Gallery and in the ICA in London, at the Kunstverein Cologne and the foundation Cartier pour l’art contemporain. His artworks form part of the most extinguished art collections and museums of the world, such as the The Tate Modern, The National Portrait Gallery in London, MoMA in New York, MOMAT in Tokyo and the Stedelijk Museum in Amsterdam.

An unexpected interpretation of the sculpture is achieved by using computer animation, sound and LED screens. The broad spectrum of different influences which form the basis for Opie’s works such as classic portraits and sculptures as well as Japanese manga comics, is matched by the various media and technologies employed in his works.

The reduction to the essential is the main characteristic of his work. This leitmotif is especially evident in his portraits. His highly stylistic work includes the transmission of photography (or short movies) into figurative reproductions, which are being created by means of a computer animation. His illustrations enable a new access to images and forms, which, being made out of new materials and media, refer to the modern world. In 2001 Julian Opie received the price of best illustration issued by the magazine Music Week for his cover illustration of the British music group Blur’s CD “Best of Blur”.
w.art projects already presented Julian Opie’s works in Prague with the two LEDs “Bruce and Suzanne walking” placed on the Vltava embankment whilst holding simultaneously an exhibition at the Museum Kampa.

Autor. SUPERBIEN

Autor instalación. SUPERBIEN Tom Chosson & Alex Mestrot

Edificio. -

Ciudad. París

País. Francia

Año. 2009

Web. www.superbien.fr

Imágenes. http://shapeandcolour.wordpress.com/2009/02/18/superbien-patachromo/

Video. http://www.youtube.com/watch?v=H0rhriDwXTo & http://vimeo.com/3239192?pg=embed&sec=

Vía. http://www.enlighter.org/exhibition/patachromo-superbien & http://www.jimonlight.com/tags/patachromo/

Descripción

Description

PATACHROMO™ is a light installation whose animated content is based on the concepts of CHROMOtherapy which is seen through PATAphysics prism. This program is presented through a sequence of 2 minute-long light animation slots. It enables you to tackle the wintry greyness with serenity thanks to the exposure of your chakras to a healing light given out by a 6.65 sq meter LED support.

Pataphysics is Alfred Jarry’s philosophy of studying what’s beyond metaphysics, or the study of beyond the awesome, in a way.  Chromotherapy is the use of color and light “to balance energy wherever a person’s body be lacking, be it physical, emotional, spiritual, or mental,” according to Ye Ole Wikipedia.  The ancient Egyptians used to build huge sunrooms that had the ability to change out the panes of glass with colored ones, the Chinese associate each organ of the body with a color, and if you’ve ever designed lighting with particular respect to manipulating the audience’s physiology with colors of light, you know that it’s easy to do.  PATACHROMO is a mix of both of these things; watch the video, you’ll see what I mean.

Autor. Jan Van Hoenacker

Autor instalación. Magic Monkey

Edificio. Boerentoren Building

Ciudad. Amberes

País. Bélgica

Año. 2006

Web. http://www.magicmonkey.net/projects/kbc

Imágenes. http://www.magicmonkey.net/projects/kbc

Video. http://www.magicmonkey.net/projects/kbc

Vía. http://www.magicmonkey.net

Descripción

Description

The KBC, its advertising agency VVL/BBDO, and its grassroots marketing agency, NAVAJO commissioned Magic Monkey to design and implement a monumental interactive project. Every time your New Year wishes were displayed on a grand scale for all of Antwerp to see, the KBC bank would contribute an additional EURO toLEVENSLIJN, the children road safety charity.

Europe’s oldest High-rise, the KBC Boerentoren, built in 1932, was propelled into the future! 1000 m2 of seamlessly integrated transparent video display, large text projections and beautiful KBC corporate colors branded the building and brought a lot of participation, contribution to the charity and media coverage! Belgian’s past, current and future prime ministers attended the launch of the project as well as the City’s Mayor and the President of the Flemish region. 

Autor. -

Autor instalación. Vivid Effect Limited

Edificio. Raiffeisen Bank

Ciudad. Viena

País. Austria

Año. 2006

Web. http://www.vivideffect.com/vivideffect/raiffeisenbank.htm

Imágenes. http://www.ledsmagazine.com/features/3/9/2

Video. http://www.vivideffect.com/vivideffect/raiffeisenbank.htm

Vía. http://www.ledsmagazine.com/features/3/9/2

Descripción

Description

Austria’s Raiffeisen Bank wanted an eye-catching corporate branded frontage for its newly refurbished building near Vienna in Austria. Working with a local architect and installer, Vivid Effect designed a 20m x 8m LED screen to be fixed to the first floor exterior of the bank’s building.

The LED fixtures used are DingDotz – individually addressable, low profile, self contained, colour changing RGB LEDs that are IP66 waterproof containing super-bright Nichia 3-in-1 sealed LED units.

With a viewing angle of 120 degrees, the 15mm fixtures radiate light with high quality colour rendition of 16.7 million hues, which is perfect for directly-viewed outdoor architectural signage applications.

A light sensor turns the system on and off automatically, according to light levels. The custom nature of the design allows the building’s occupants to see out and daylight to enter, and at nighttime the whole first floor becomes a digital LED screen running the bank’s branding and promotions, or any other desired effect or animation.

The DingDotz were fitted from behind into a custom horizontal aluminium U-profile section with holes cut out to locate the Dotz. The U-section was then fitted over the main frame and secured with grub screws. Each section of U-profile is 2.5m long and can be removed in minutes for any maintenance requirements. The main supporting frame is made from aluminium and bolted to the exterior of the building.

A standard rackmount Windows PC acts as the master controller, running Vivid Effect’s DesignerSuite and FireFly software. The software manages the pixel mapping and contains a media player that plays the videos on the array. X-Node rackmount integrated drivers distribute power and data to the network. Braincell slave controllers run each set of 100 Dotz. The system network architecture allows video and animation to be run at 30 frames per second.

The Stream control protocol uses standard data protocol and standard network hardware and cabling, giving a true cost-effective alternative to DMX. The Stream system is capable of controlling millions of LEDs, running and streaming video at movie frame rates or higher. It is completely scalable which means that it can be used in the smallest to the largest LED installations.

Tipo. Pantalla LED – auto activa

Autor instalación. Don Relyea

Edificio. Victory park

Ciudad. Dallas, Tx.

País. EUA

Año. 2008

Web. http://www.donrelyea.com/generative_flowers.html

Imágenes. http://www.donrelyea.com/generative_flowers.html

Video. http://revver.com/video/64297/generative-flowers-ii-preview/

Vía. http://www.donrelyea.com

Descripción

Description

Generative Flowers II was created in Adobe Director MX 2004 using image lingo. It was created for an upcoming outdoor installation at Victory Media Network in Dallas Texas. Victory Plaza has a 50×30 ft HD super screen they intend to show works from an international array of video and new media artists.

Basically the program generates really colorful video by running color fills through animated grayscale masks of flowers then applying video feedback. The color fills and certain portions of the animation are unpredictable. Some procedural processes are employed that sample the animation as it is being generated. In its pure state as a piece of software it is designed to never generate the same video twice or loop. For Victory Media Network I chose a specific order for the central flowers since there are two screens facing each other across a courtyard. The videos should appear closely synchronized but different at the same time.

Generative Flowers II was created, programmed and scored by Don Relyea. Mark Charneskiphotographed and scanned the original flowers.

More on the process…