Videography by Chiara Passa
From the contextual awareness series: Object (RE) Oriented Debris. Augmented Reality App using Artificial Intelligence to create site-specific meshes all over the real place. By Chiara Passa 2024.
Object (RE) Oriented Debris is an augmented reality art-application using pre-trained artificial intelligence algorithms to recognize and interpret the real space (through smartphone/tablet sensors) to create site-specific meshes all over the real place. I created the meshes texture inspired by the space environment colors and the metallic debris orbiting all around. Gradually, the meshes will transform the real place into an abstract space where the onlookers are projected in. The artwork highlights how augmented reality alters our perceptual dimension of reality, subtracting, adding, blurring and modifying reality to increase the imagination in our real dimension.
The audience, through tablets and smartphones by tapping wherever on the screen, just over the meshes, generate and place in situ random 3D debris which I previously created using AI and a dataset of 3D assets I designed ad hoc. All the debris are interactive, so the audience can change color, scale, rotate, translate and collocate the debris into the new space. Each debris emits a space-sound I took from ESA public archives after doing research.
Object (RE) Oriented Debris invites the audience to look over the real surface to traverse the border between art and game for exploring the oscillations between tangible and virtual place.
Object (RE) Oriented Debris recreates an ontological vision of the place by speculating on human perception, where the machine creates a generative object-oriented super-place in continuous transformation all around the viewers. Get ready to enter a hybrid world, another dimension but simultaneous to the IRL one!
Object Oriented Space Paradigm. Virtual reality artwork, 2024.
Object Oriented Space Paradigm is an immersive vertiginous scenario made of thirteen interactive, reflective and monochrome minimalist architectures as part of the multifaceted series Live Architectures I started creating at the beginning of 2000.
In Object Oriented Space Paradigm, onlookers are guided by four different colored trails emitted by four Object-Oriented-Stones that traverse upside-down the whole scenario indicating the multiple ways the users can take.
By touching the architectures, onlookers change the form by transforming them one by one into other essential shapes. Once transformed, the architectures become penetrable, so that the viewers can go inside and experience the thrilling sensation of traversing new dimensions made of chrome reverbs and liquid vibrant walls. The artwork invites the audience to navigate the border between art and architecture, by exploring the bizarre oscillations between tangible and virtual places.
Once upon a time in the digital realm of Cyberspace. Artificial intelligence video installation 2023
Once upon a time in the digital realm of Cyberspace. Artificial intelligence video installation composed of four spherical projections, 2023.
Once upon a time in the digital realm of Cyberspace is a quadriptych video installation composed of four spherical projections. The protagonists of this artificial intelligence narration are four quirky geometric solids living and acting inside a virtual art studio called The Algorithmic Atelier located in an ever-changing cyberspace. In situ, there is a buffer zone transforming into a sort of oracle, where CUDA manages the delicate equilibrium between four elements: Cubeo, Spherio, Prismo, and Pyrato whose voices generate acts, shakes and movements inside each animation. The story continues in the virtual realm of Digitalia, a transcendent space known as the Zestful Atelier. Here, the buffering process is no longer merely a technical choreography but becomes a vibrant celebration of zest, infusing life into the creation of minimalist art.
Object Oriented Stones – The Virtual Reality Game, 2023.
Object Oriented Stones is a series of 3D sculptures viewable through augmented, virtual and mixed reality. The artwork shows an alternative and visionary side of the stones, which appear animated by a sort of bizarre nature, transformed beyond their own functionality into something coloured and unpredictable.
Object Oriented Stones - The game is an immersive scenario where spectators must enter a gigantic stone-sculpture located in the middle of nowhere and cross an abstract forest to find the ten stones among the plants. Once touched and therefore blocked, the stones emit sonorities while generating a particle system designed by their own shapes.
"Tagging Oriented Reality" Augmented Reality and AI App-artwork by Chiara Passa, 2023.
"Tagging Oriented Reality" is an augmented reality and artificial intelligence artwork exploring the theme of tags and its creative potential for designing a constructivist space.
The AR artwork is a sort of game where the audience is called to build infinite architectures and or sculptures by interacting and combining the AI generated phrases.
By tapping on the screen, a random phrase appears and re-tapping on it, can be scaled, translated and rotated by the audience in order to design a space which will appear made by the pure shape of intuition.
"Tagging Oriented Reality” invites the audience to challenge the concept of what is considered nowadays architecture, space and place, by exploring the liminal duality between tangible and virtual.
"Monolith Variations with AI", generative video installation 2023, by Chiara Passa.
The artwork is designed as a big video installation composed by a vertical screen showing the continuous psychedelic reinterpretations of a minimalist object oriented monolith created by an AI. The monolith variations are immersed in a wide coloured empty space where the buffer process determines which pixels are included into the shadow.
“Abstract space” 2023. Artificial Intelligence artwork by Chiara Passa.
“Abstract space” overlaps an imaginary and minimalist environment (I created using GPT3 AI models and some GAN) over a real existing white big room that, once modified, appears to the viewer mysteriously, uncanny, or sometimes incomplete. The viewer across this new unsettled space, experiences a sense of absence or emptiness by watching at the new AI place constituted by shadows of geometric volumes created extruding the silhouette of the primitives along the direction of the light source.
A new vibrant place arises under the eyes of the viewers, oscillating between virtual and real perception.
From the Abstract space: The Yellow Film 2001-2023. Artificial Intelligence artwork by Chiara Passa.
“Abstract space” overlaps an imaginary and minimalist environment (created using GPT3 AI models and some GAN) over a real existing big room that, once modified, appears to the viewer mysteriously, uncanny, or sometimes incomplete. The viewer across this new unsettled space, experiences a sense of absence and fidget by watching at the new AI place constituted by shadows of geometric volumes created extruding the silhouette of the primitives along the direction of the light source.
A new vibrant place arises under the eyes of the viewers, oscillating between virtual and real perception.
"Null Void 0" 2017-ongoing, is an augmented reality and artificial intelligence artwork based on a real marble sculpture.
"Null Void 0" is an augmented reality and artificial intelligence artwork based on a real marble sculpture. The artwork explores the theme of emptiness and the potential for creation within it.
The AR-AI artwork is a sort of 'impossible puzzle' where the audience is called to play a game within the intent of reconstructing the real sculpture. Audience by tapping on the screen, generates the solids which compose the sculpture. Each piece can be scaled, translated and rotated while emitting an AI (random generated) phrase which speculates on the computer vision practice and the object-recognizes AI model. In fact, most of the time, the AI won't recognize the part of the sculpture, causing unexpected and weird shifts of meanings.
The game also permits the audience to build their own abstract sculpture according to a personal taste.
"Null Void 0” invites the audience to challenge the concept of what is considered sculpture nowadays, by exploring the liminal duality between tangible and virtual.
From the contextual awareness series: “Gold Environment”. Augmented Reality App using AI to create site-specific meshes all over the real place. By Chiara Passa 2022
Gold Environment is an augmented reality application using pre-trained AI algorithms to recognize and interpret the real space to create site-specific meshes all over the place. From the meshes vertices, onlookers can watch growing up from the walls and the floor, a series of randomly nomadic objects moving around and growing even more if touched. The artwork highlights how augmented reality alters our perceptual dimension of reality, subtracting, adding, blurring and modifying reality to increase the imagination in our real dimension. The audience, through tablets and smartphones (by also tapping wherever on the screen to generate random sound-effects) is invited to look over the real surface, exploring the liminal duality between tangible and virtual place.
Gold Environment recreates an ontological vision of the place by speculating on human perception, where the machine creates a generative object-oriented gold texture in continuous transformation all around the viewer. Get ready to enter a hybrid world, another dimension but simultaneous to the IRL one!
From contextual awareness: Depth Data Space. Augmented Reality App using AI to create site-specific customized points cloud all over the real place. By Chiara Passa 2022
Depth Data Space is an augmented reality application using pre-trained AI algorithms that interpret real space to design a structure made of points cloud surrounding the tangible situ. Through AI the real-time depth buffer turns into nano-sculptures that, seen all together, design a Big Data Space always different according to the real piece/space that it will cover. Players are invited to look at the digital evolution of the surface, exploring the liminal duality between tangible and virtual place across unpredictable synesthetic combinations.
The audience, yet through tablets and smartphones, by tapping wherever on the screen, generates random phrases (pronounced by an AI) about physics, quantum, dimensions, micro-macro spaces, energy, strings, probabilistic nature, etc.
“Time Bomb the Love” VR edition, 2021.
I re-designed Time Bomb the Love as a VR revival of the hypnotic animation I created in 1998: “Time Bomb the Love”. The original animation (sneak peek on my You Tube) is a digital manipulation of rockets to the rhythm of techno music. Frame by frame, the missiles turn into synthetic architectures I named “compressions-containers”. The VR artwork is composed of five compressed architectures in which you are welcome to enter by immersing yourself into five 360° abstract animations accompanied by electronic music.
“Crying at the Gypsotheque” 2019-2020. VR and sculptural project by Chiara Passa. Music by Raoul William Braghieri.
Crying at the Gypsotheque is a site-specific artwork consisting of a part that can be enjoyed through virtual reality and a tangible installation composed of various sculptures (diverse materials and 3D-printing) to be designed/assembled both by the public and an AI through machine learning. For Crying at the Gypsotheque, in October 2019 I started filming 360° some statues seen from different angles in the spaces of the “Museo dei Gessi '' of La Sapienza Università di Roma. The 360° video is the background to an immersive setting that looks like a boundless land where the dazzling colours invite the audience to move wide range. The viewer immersed in the artwork is invited to deform (while spectators take the statue's piece, they start the deformation inside-out, by vertices. Deformation continues over time holding the statue. Releasing it, viewers will stop the deformation), decompose, and reassemble all the pieces of circa forty virtual statues with mixed textures, scattered in a psychedelic techno-disco scenario. Crying at Gypsotheque, through the creative combination of the pieces, wants to overturn the statuary proportional Greek canon, proposing new rules of assemblage based on an abstract and algorithmic aesthetic. Meanwhile, the public in the real space is invited to design and build a statue (or diverse sculptures) with the various pieces printed through the 3D printer, that an AI can select directly from the virtual statues’ library while the VR artwork is running. The result will be a large abstract sculpture built by the spectators plus the AI. For Crying at the Gypsotheque, I designed the virtual environments using techniques such as photogrammetry and 3D scanning. So, I worked on the chromatic manipulation of maps and textures, creating singular and ontological objects that the user can irrationally transform.
"Still Life" virtual reality artwork and site-specific installation 2019-2020.
“Still life” analyses the processes of the nature by investigating the relation with it and what is represented in art nowadays as still life. The VR artwork puts in question what is really dead in nature and what is still alive in history of art, by speculating on landscapes, paintings and objects, and so creating through the virtual reality an object-oriented space formed by a lively still-life environment designed all around the spectators. My “Still life” by investigating and analysing the ancient and fervid European Still Life art-practice, wants to keep alive its tradition across the magical ontology of the vr vision. In “Still life” I designed each piece to behave and move beyond its own functionality, according also to the Object Oriented Ontology philosophy.
“Object Oriented Space” solo show at MLAC museum Rome. May 18 – June 19 2019. LINK YouTube video presentation (Ita/Eng)
Two fundamental things inspired to me the exhibition’s title Object Oriented Space: the Object Oriented Programming Language that often I use to create my artworks and the Object Oriented Ontology, philosophy that identifies the nonhuman as alive and vibrant.
Twenty Murals matrices (20X5X1 cm c.ca) for augmented reality logging into twenty 3D animations (each 1’) 2018. LINK VIDEO
"Object Oriented Stones" 2018-ongoing. Series of augmented reality sculptures.
Object Oriented Stones is a series of augmented reality video sculptures logging into different 3D animations (1’ each) showing an altered vision of stones, which appear animated by a sort of bizarre nature, transforming all beyond its own functionality. LINK VIDEO
2017 - “Climate objects” (White climate object, Black climate object, N climate object) series of virtual reality video sculptures on wall. Made: 3D printing, google cardboard, smartphone. The 360° animations last each 1’.30”.
The VR-video-sculptures work as a channel connecting through the wall outdoor space to the inner digital/fluid space.
In “Climate objects” the tangible 3D printing frame is placed over the wall, and it is meant to be the limbo to cross, carrying…
The Banner-VR-video-sculptures are the materialization of exploded super-objects (coming from the net-animation “the fourth dimension banner” 2012, that shattering randomly, turns itself into different pieces i.e. super objects). The 360° liquid animations beyond the tangible 3D printing frame, inside the VR-sculpture, contain the essence of the “Climate objects” while emitting an extended field generated from micro and macro dimensions playing with the concept of infinite. Executing random functions, “Climate objects” vr animations, generate harmonic bend dimensions made of infinite depths of their inner space.
From live architecture & Fourth dimension banner: “NULL (void *)0” a material cause architecture. Series of marble sculptures 2012-2017. 45X21X7 cm.
The immobile-indomitable Banner-Marbles from the wall emit imaginary concepts of space-time as if they were primordial representations of suspended aesthetics. The marbles standing on the wall emitting this void allure: aesthetic transcendence at the limit of the human - an escape from the wall towards a soothing contemplation though the sculpture void we can only imagine.
2016 - From the series "Into the land art: Earth spiral"
Virtual reality site-specific installation composed by 20 vr animations, 2015-16. Exhibited at RocciaMorgia festival, Salcito 28-31 July 2017. Read the synopsis and watch the video on my YouTube, Link.
2016 - “From live architectures and fourth dimension banner” diverse anaglyphic animations: White composition, Yellow composition, grey composition.
The anaglyphic animations are part of a series of digital and net artworks I made since the beginning of 1997 in a wide range of production. Developed to shake-up the static concept of architecture and digital environments as the Internet; by searching for new possibilities and dimensions offered by the digital world. So, viewers are forced to confront themselves within a fourth digital dimension, a virtual place that has become intrinsic to our daily lives and is impossible to ignore.
2016 - From the series Live Architectures: “Dimensioning extrusion n1 ”GIF-sculpture 13''.
"Dimensioning extrusion n.1" displays a video sculpture part of Live Architectures series, showing a geometric projection in continuous transformation deconstructing and reshaping an extreme and minimalist tangible surface.
2016 - From the series Live Architectures: “Dimensioning 1,2, 3” VR immersive experience thru Google cardboard.
"Dimensioning" VR animations is part of Live Architectures, a series of digital artworks and interactive installations I created over time in a multi-faceted production developed to reconsider the architecture of outer and indoor areas as an alive and vibrant entity. "Dimensioning" shows a space made by the pure shape of intuition, just a 'dimensioning' space in continuous transformation.
“Exploring extreme surface and terrains”, series of 25 google cardboard VR video-sculptures, February 2015.
“Exploring extreme surface and terrains” is a series of 25 virtual reality video sculptures made by diverse geometric animations in continuous transformation, deconstructing and reshaping extreme and minimalist surfaces and wireframe terrains. The VR viewers (google cardboard), incorporated into the plexiglas sculpture (as part of the VR video sculptures), project 360° onto the rough surface, which gives the three-dimensional spatial extension on geometric forms with an apparently icy and impersonal kind of abstraction.
From the series "Inside geometry double language: Two times four" VR site-specific installation 2015.
Virtual reality site-specific installation composed by 12 vr animations, 2015. Exhibited at Exhibited at Spectra Festival - Enlight Aberdeen, February 2018. Read the synopsis and watch the video on my YouTube, Link.
From the series "Inside geometry double language: Space filling curve" VR site-specific installation 2015.
Virtual reality site-specific installation composed by 11 vr animations, 2015. Exhibited at InSonic immersive show at ZKM museum, Karlsruhe December 2017. Read the synopsis and watch the video on my YouTube, Link.
2015 - From the series "Inside geometry double language: area between curves" virtual reality site-specific installation composed by 11 vr animations. Exhibited at Media Art Festival, MAXXI museum April 2017. Read the synopsis and watch the video on my YouTube, Link.
2015 - Inside the Geometry - double language (January 13 2015- ongoing) VR site-specific video-installations.
Inside the Geometry - double language is a virtual reality project, which takes the form diverse site- specific art-installations. The project involves the use of diverse Google Cardboards (the 3D viewers developed by Google for practice with mobile devices to experience virtual reality), plus various smartphones playing related VR animations. For Inside the Geometry - double language, the Google Cardboard are arranged in the exhibition space to orchestrate on the walls a series of geometric designs conceived for all occasion. I make a sort of détournement / decontextualization on the use of the vr medium itself, through designing immersive milieu in which, sometimes, the vr camera view angle is locked at 180°, 220°, or 310°, etc. So, the onlooker is forced to peek/peep through the real space into a reconstructed and resized immersive space sometime semi-open or semi-closed, but made of wired geometric angles and futuristic views.
Inside each viewer, the audience can take a journey beyond the wall, beyond physical space. Each geometric figure deconstructs an individual animation into different parts, the same number, as there are 3D viewers. The virtual reality animations - completely immersive - are generated by the language of geometry and its unpredictable variations, which, in this liquid dimension, overturn Cartesian coordinates. I use google cardboard as medium to interrogate outer spaces beyond wall and architecture.
Inside the Geometry - double language is an experimental project, which challenges architecture to render it “vibrant” and “participatory”. It is through experience that Inside the Geometry - double language addresses the paradox of the modern space-time condition, diluted between physical and liquid space. The spectator becomes blind and ultra-seeing at the same time, forced to immerse himself in the shifts generated by his perception of the dual language of geometry.
The whole VR series (more than 35 VR figures created since 2015 till now) is part of a research project which I began in 2015 and which slots into my artistic journey since 1997, the fruit of a deep interest in space and how it is transformed and shaped “by” and “in” the language of informatics. In software and electronic devices, I find potential vehicles for the investigation and visualization of my research and theories. Animation, video, installations, net-art, interactive projects, video-mapping, virtual and augmented reality have led to the materialization of these theories in the most original forms as part of the Live Architectures series (1999-ongoing); works designed to behave as if they were “alive”, to move “beyond their own functionality”. These are “super places”, a definition I gave in 1999 to characterize dynamic places, which project the spectator into digital and mediated reality.
2015 “Postcards from beyond, from elsewhere…” series of N widgets.
“Postcards from beyond, from elsewhere…” is a series of interactive widgets ready to be installed between the desktop interface and the dashboard, just writing few simple command lines in Terminal.
The widgets unfold in a very liminal space/place: between the network and the computer - between the Internet and the post-Internet. So, the Widgets are the conjunction between the medium and the message.
“Postcards from beyond, from elsewhere…” is the metaphor of a new imaginary and interactive media that would mediate impossible desires between machine and audience. These sorts of ‘mystic widgets’ are absorbed into an illusory threshold; hence some of them can be augmented thru AR, other widgets can answer to audience’ typing, being totally dynamic and interactive. The video installation explores architecture as interface thru several mini video-widget materialized (as paper video-brochure) and affixed all over the space, overlapping the projections of some geometric figures from the Dashboard series.
2015 “Object-oriented icons” live desktop generating objects.
The act of defragmenting is part of our infrastructure, as well as of our daily space/time. “Object-oriented icons” shows a live desktop interface under the guise of icons that, when clicked on, generate animated messages as images, pop-ups, live 3D objects and so on. Each fragmented icon contains a hidden file-object. “Object-oriented icons” explores and transforms the interface into a live software containing many sub-spaces (fragmented icons) as animated objects that mutate the desktop into something alive and vibrant, challenging thus the virtual/physical boundary between interface and subsystems, and highlighting the concept of how the interface itself is becoming even more of a ‘philosophical object’ in our everyday living.
2015 From Live Architectures: “The yellow film” VR-Video-App.
Live Architectures is a series of digital and interactive artworks created over time in a wide-range production developed to reshape the indoor and the outdoor architecture and environmental places as well as the ‘digital environment’, transforming it into something alive and vibrant.
“The yellow film” is a Virtual Reality full dome experience where a video performs a sun slowly going down on a beach, becoming bigger, so giant that incorporates the spectator totally permeated into the ever-changing yellow nuances. While the seascape disappears, the viewer becomes surrounded by a sort of tridimensional yellow environment, where shades of yellow-color are constantly fluctuating (gradient type). The color begins the creation of an uneven row – a sort of mystic equatorial line surrounding the audience and shifting like an audio spectrum. This line yet turns itself into a light beam tightening the viewer while the sun is mutating, blacking and remixing its color again. Light evolves becoming more orange until transforming the 3-D sun-scape into some randomic emoticons gestures; so nature is reduced to symbols and finishes in a dazzling baroque glow investing at all the spectator/believer that is standing for something odd… or for a bright bath.
2015 From the series Live Architectures: “Hidden forces”, interactive video installation, time variable.
Live Architectures is a series of digital and interactive installations I created over time in a multi-faceted production developed to reconsider the architecture of outer and indoor areas as an alive and vibrant entity.
I’ve always analyzed changes in liquid space through a variety of techniques, technologies and devices. Animation, video, installations, net art, interactive projects and video-mapping all become instruments of research targeted at the different ways space is configured and how it is generated from electronic language, from the interaction with humans to the way they blend and melt together at a given point.
The Live Architectures act as if they were «alive», moving beyond their own functionality, conditioned by human intervention called to determine the different geometric configuration and structure.
“Hidden forces”, interactive video installation thought for a cave-space, develops all around the viewer. The interactive video installation is based on the camera tracking technology and reacts to the spectator’s movements throughout the space redesigning the whole ambient constituted by various patterns.
“Hidden forces” is a sort of multidimensional space generated by some mysterious anti-physics forces, aiming to reshape spectator’s living and the whole animated environment, modifying in real time geometry and dimension of the place, creating an anti-architectural space.
“Hidden forces” is also a mathematical space wishing to structure the audience’s choices during the interaction process, against their rational thoughts.
2014 From Live Architectures: "Intuition gradient". Interactive VR full-dome experience.
Live Architectures is a series of digital and interactive artworks created over time in a wide-range production developed to reshape the indoor and the outdoor architecture and environmental places as well as the ‘digital environment’, transforming it into something alive and vibrant.
"Intuition gradient" is a Virtual Reality full dome experience where the orbicular space is meant as pure shape of our feeling, it is an unconventional area without any spatial prospective or constrictions. "Intuition gradient" allows audience to paint an empty space, simply by wearing the VR oculus and moving freely around the perceived place. This way the audience, totally permeated into the nuance, can generate and modify a wide range of gradients creating a kind of psychedelic and contemplative environment made by several ever-changing stratifications of pure colors.
"Intuition gradient" builds virtual environments and vibrations beyond corporeal limits, where space created by our intuitions, is the extension in all directions of our views. "intuition gradient" wants to expand these possibilities of perception where normally material bodies are placed.
2010-2011 “Live sculpture”, interactive video-sculpture on mirror, time variable.
"Live sculpture" is an interactive and performativity video-sculpture built as a communicating mirror where the body of the viewer is fully participating. The audience when in front of the mirror is scanned and filmed in real time by a web-cam installed behind the frame, then revived and reshaped in a human scale video projection, as a three-dimensional marble sculpture. This new three-dimensional live image of the viewer-sculpture is entirely built of an ever-changing interactive mesh, tuning into and reacting to body movement, environment light and speed of the spectator’s movement. My artistic research has always analyzed changes in ‘liquid space’ throughout a variety of techniques, technologies and devices.
The ‘liquid space’ in Live sculpture unfolds by the protagonists themselves aiming to reshape the human being condition, transforming it into something alive and vibrant, challenging the notion of sculpture itself.
The mirror is a sort of “mirror-mirror on the wall”, but instead to make appear the ‘fairest of them all’, it creates from the viewers, distorted three-dimensional monsters of themselves bringing out the hidden and chilling part of the psyche. The experience of watching themselves in another atmosphere begins a voyage where synthetic shapes become design, structure, figure and illusoriness.
A sensitive, unsolved, mental and transitory vision of the body is adjusted to the hidden requirements of the explorer (audience). The artwork is closely linked to the aesthetic and to the tensions of the new technologies exalting the conjunction between what is visceral, voluptuous and mind-expanding.
If the space is the extension in all the directions, by our intuitions, of the real world in which material bodies are placed, Live sculpture wants to expand these possibilities of perception.
This software-artwork could be considered a unique piece. Although it is digital and reproducible, it appears different every time thanks to the spectator’s ever-changing subjectivity. "Live sculpture" restores the aura of digital artwork and solves the issue related to the multiple in art. It's a multiple but always a different one.
2011 "Talking in strings", generative video installation. Time variable.
"Talking in strings" is a generative video installation inspired by the 'Rotor', a famous Luna Park rotating carousel.
"Talking in strings" born to be developed into a cylindrical space, all around the audience that create the installation itself, just sending in real time some text via Twitter. Also the not present public on site can participate by sending texts from their remote Internet locations.
The sentences run a recording system based on feed technology and are immediately displayed – The texts speedily rotate around the space, changing direction, color, font, and some of them ramble in absence of gravity - The generated phrases, dissolving and wrapping all around the disoriented people watching the texts becoming 'strings', no longer readable.
These ‘strings’ slowly disappear as light bundles surrounding the body of the spectators like colored trails left by comets, or as if we are inside of Newton’s disk.
2011 "Tales from space", generative video installation based on the theory of the quantum mechanics. Time variable.
"Tales from Space" is a generative video installation that develops in a hollow space, under a dome, and everywhere. The audience is surrounded by real-time generative projections (via node software) while listening shorts sentences (created ad hoc by me) about diverse physics concerns: super-space, gravitation, force, metaphysics, strings, micro and macro, etc. The spoken sentences generate a barrage of random points, blacks’ holes, micro-flash-dimensions and macro shapes of colored lights that intersect each other: envelope themselves, double back, widen and shrink. Tales from space is based and so depending, on the non-stop variations of the audio spectrum modulation of the sound-narrative that is built on the concept of quantum mechanics.
2010 From the series “Live Architecture”: “Augmented irreality”, interactive video installation, time variable.
"Augmented Irreality" is an interactive video installation that is projected onto three walls and the floor. The artwork (built in Quartz Composer and Artoolkit) puts the viewer into the 3D software by placing him in the "window-camera." The spectator, by using some matrices (having different patterns, hand palm sized) printed on squares, is able to operate, move, zoom, remove and interact with three-dimensional objects that meet on the Cartesian axes X, Y and Z of the simulated software. The artwork recreates a three-dimensional flat under construction, which the audience itself continues to customize through their movements. Also “Augmented Irreality,” like other video installations of the series "Live Architecture," is based on the concept of "super place" where the site is self-performing and moves beyond its capabilities. The video installation reflects on the idea of the virtual/unreal and how our bodies, in real space, are related to this kind of dimension/experience. “Augmented Irreality” highlights the paradox of how augmented reality, in truth, diminishes reality itself, removing and modifying the real levels, it increases the irreality in our real atmosphere.
2010 “The virtual Prigione”, interactive video-sculpture, time variable.
“The virtual Prigione” is an interactive portrait video-sculpture inspired by the concept of the latest “unfinished” sculptures of Michelangelo, named “Prigioni.” The website that hosts the virtual sculpture becomes dynamic and interactive. The user can sculpt using the mouse as a chisel. "The virtual Prigione" represents various states of being. The spectator can choose to liberate the sculpture from the marble and its dependence material, so the body-statue sublimates and the marble becomes virtual idea. Or the user can also choose to imprison the statue into the marble, bringing it to the primordial state where the
mass has a simple geometric figure.
2010 From the series Live Architecture: "Meta Motus", interactive video installation, time variable.
Mostly of my artistic research explores architecture as interface combining diverse techniques, technologies and devices. So, also Meta Motus, is part of my "Live Architectures" series.
“Live Architecture” shows site-specific and interactive video installations I designed in order to shake-up the static concept of architecture. Hence, Meta Motus behaves as if it is ‘alive’, moving beyond its own functionality. Likewise, it is part of my “Super places”, a definition I start using in 1999, for a wide range of digital artworks I made with dynamic places projecting the audience into digital and mediated realities. “Meta Motus”, develops all around the viewer, deconstructing and reshaping diverse extreme and minimalist surfaces and geometries, it generates a vibrant atmosphere in continuous transformation.
Meta Motus acts and reacts to the spectators’ actions and movements (via camera-tracking) they make freely throughout the space. The interactive screening is also influenced by the ambient light and distance. Audience activities is captured by a camera tracking system and real-time translated (via a node software) on the x, y and z coordinates, in order to redesign the whole ambient within various geometric patterns. Meta Motus challenges architecture to render it ‘vibrant’ and ‘participatory’ by pointing out the tension between the virtual and physical tools and achieves a strange oscillation between the virtual and the physical world.
2009 From the series "Digital art in public space": “Over the limbo”, interactive video installation, time variable.
“Over the limbo” is an interactive one-screen video installation. The artwork aims to connect and merge the virtual world of Second Life with the real world. The installation transforms a tangible atmosphere into a ‘limbo’ where the viewer's social identity is in question. In fact, the spectators can share with the avatars, outside Second Life, the same time and the same place. The audience is called to cope with a digital visual extension of time and space. This is the place in which both the landscapes overlaps and users interact with the avatars. Universe and meta-verse are trapped on the borderline of a real-scale-surreal-dimension.
I’ve designed "Over the limbo" using After Effect and Quartz Composer. With Quartz Composer I’ve imported scenarios of Second Life, in real time, on the computer. At the same moment a web-cam, connected to various patches in Quartz Composer, films the viewers and projects them to the middle of a virtual atmosphere. I've used some software effects to merge this space with the surrounding reality.
2008 From the series “Live Architecture”: "Landspace", interactive video installation, time var. Soundtrack: Morketid by Netherworld.
“Landspace” provides a view into a virtual extension through motion. Various overlayed currents compiled of a range of extreme terrain ebb and swell, transforming the artwork's internal atmosphere through harmonized fluctuations with Landscape's counterpart, an isolationist visual and musical artwork.
Constituting it's self through the concept of the new "second nature" of our digital time, the interactive video installation shows a sort of artificial 'natura-naturans' composed of large atmospheres in a state of constant change. The installation projects a virtual and interactive Land-Art, developed to be planned in the wide-open spaces which we inhabit, reiterating synthetic and essential notions of architectural atmosphere.
2008 From the series “Live Architecture”: "Speaking at the wall", interactive video installation, time variable.
“Live Architecture” is a series of site-specific interactive video installations I thought of and made in order to reshape the architecture in public places, as well as interior environments, into something vibrant and lively. "Speaking at the wall" synthesises the voice into virtual architecture. The spectator's voice is recorded from a microphone and live time audio-video processed through the software Quartz Composer. “Speaking at the wall” develops itself on two walls and the floor. The three screenings around the corner of the three Cartesian axes reconstructs one central illusory perspective.
While the spectator is inside the room and speaks close to the walls, he modifies with his voice (volume and spectrum) the whole environment around him. The words he pronounces draw a new atmosphere... a virtual desert. In this illusory dimension, infinite lines generating emptiness and distances are ‘attracted’ and skim one with the others, fading. The projections reconstruct the scene of a 3-D software grid as a virtual extension in motion of the architectonic space (like an animated “trompe l’oeil” on the ‘Z’ raw co-ordinate). The environments in motion crossing the spectator lead it to an‘unfinished space’. So the spectator is forced to confront himself with another atmosphere, a new ‘digital-where’. This dimension is by now ours, is the fourth dimension. “Speaking at the wall” is a virtual opening never averred, it is a process in constant transformation and therefore it doesn’t characterize any specific place.
A performance idea is the base of this artwork. Watching “Speaking at the wall “ the spectator will see a place that moves naturally beyond its functionality. Therefore the term "Super-place" (I had invented) can be attributed to this video installation. Exactly the contrary happens in the ‘no-where’ in which static presences have only the function to receive temporarily. “Speaking at the wall” probes the notion of space or better of place in order to search new possibility and dimensions which the digital world, not so much separated from the real one, offers. In fact, in this installation the space is meant as the pure shape of intuition. This three-dimensional interactive installation constructs a sort of virtual architectures and territories that elude the corporeal limits. The synthetic shape becomes design, structure, architecture and truth. If the space is the extension in all the directions by our intuitions of the real world in which material bodies are placed, “Speaking at the wall” wants to expand these possibilities of perception.
2006 From the series Live Architectures: "Rendering space", ( 1 pattern ) interactive video installation,four animations, 11 min. loop.
2006 "Optical rendering", ( 2 pattern ) interactive video installation, four animations, 11' min. loop.
"Rendering space" and “Optical rendering” are two contemplative environments of continual regeneration. Both the interactive video-installations never complete themselves. The walls display a rendering’s process that never gives any shape to any particular environment.
Inside the four uniformed walls of the installation the spectator experiences a sensation of being inside a rendering software-program, one that is configured to never achieve total realization. While the spectator closes at the walls the rendering's process augment the speed’s progression. The sensitive architecture feeds at the human pulsations contributing to visualize the environment. An environment which is no longer physical, but exists more so in a state of idea - always working, shifting through a continuous process of visual generation: materializing only through ephemeral suggestions of architectural forms.
2004 From the series Live Architectures: “The new medium’s order is to shift”, video installation, book; four animations projected ( video installation: 10’ min. book: time var. ); Soundtrack by Mokamed.
In this artwork (video installation + book), that displays itself on four walls, a window leads the visitor inside the computer rendering space. The spectator will be completely surrounded by water, or better the slow “work in progress” of the work in the room. The four walls contain the video projections, and at the same time keep within the force of nature during its creation and representation. Therefore the spectator feels a sensation always interrupted, waiting for some hint of progression and change.
The artwork comes with a book (an interactive book, in fact, the spectator can decide the frame speed, 15/25/30 per sec, to turn the pages) that contains all the images “frame by frame” of the whole animation. So, the book becomes "digital" and contains a "papery video installation". This operation transports and translates the artwork contents from DVD media-support to the book, assigning it a new meaning to the old media.
"The new medium’s order is to shift" invert and subvert: subject and object, contents and container, form and concept, medium and message. Also it forces the parallel between the concept of mechanical and physical interactivity. So the spectator will see on the four walls the work in progress of the project, but only reading the book will see the finished work.
2004 From the series Live Architectures: “El Paseo virtual” site specific Installation. Dimensions and time variable,
In this urban performance a part of the city will be transformed into a ‘virtual desert’. People, cars that cross this space, will not recognise any reference to the real urban planning but is like they are inside a computer. A virtual (3-D) grid to the ground will be extended. This new urban plan will force the ‘spectator’ to confront himself with another dimension into the city. In this illusory dimension, the essential structures draw an incomplete ‘original project’. Everyone that will go across “El Paseo” with a tom-tom will move on the virtual coordinates (generated by a 3-D software). Crossing “El Paseo”, the space will be the pure shape of intuition.
2004 From the series Live Architectures: "Exten(z)sion Project": "The origin of imagination" video installation (3 animations projected) 3’ 16’’. Soundtrack ‘styltriady’ by Mokamed.
“The origin of imagination” is a video installation that develops itself on two walls and the floor. The three screenings in the corner, of the three Cartesian axes, reconstructs one central perspective.
In this illusory dimension, infinite lines generating emptiness and distances are "attracted" and skim one with the others, fading; they become essential structures that draw an incomplete ‘original project’. The artwork represents a virtual extension of a space that describes both our being “by ourselves” and “our being surrounded by “the everything”. It’s like if the place was broken and this takes you towards freedom. A “virtual opening” never averred, because of its constant transformation and therefore it doesn’t characterize any specific place. In this “extension” all directions the spectator images to take are equivalent. “The origin of imagination”: space is the pure shape of intuition.
2003 From the series Live Architectures: “Exten(z)sion project II” animation, 4’05’’ min. Sound track by Mokamed.
2003 “Exten(z)sion project III” animation, 4’05’ min. Sound track by Mokamed.
2003 “Exten(z)sion project IV” animation, 3’02’’ min. Sound track by Mokamed.
Virtual room extensions are projected on one wall, offering a whole variety of views and insights according to the visitor directions that is moving in. Objects move, windows are opened; ultimately a door leads to the raw co-ordinates of an abstract, grey data space. The animation always places the spectator’s perceiving body at the center of the spatial structures, with co-ordinates extending virtually around it.
2003 “Psichedelikalflesh” Animation, 3’33’’ min. Sound track ‘sexyflesh’ by Mokamed.
Psichedelikalflesh draws ideas and construct synthesis images, giving shape to various combinations of alternatives spaces. Alluding traces of existing truth, the animation evades the corporeal limits to trigger sensorial, emotional and perceptive ones. “The construction of specifically numerical relationships between the parts brings a wonderful pleasure” (Leon Battista Alberti).
Psichedelikaiflesh becomes part of a conjunction way; an erotic and a self-referential trip between different sensorial reality. It is an intimate travel inspired by hypnotic power of the Mandelbrot’s Fractals. The vertiginous and alternate movement of geometric figures becomes gestures and convulsive movements: gymnastic or self-eroticism, which burst and escape every idea of tangible space for 3 minutes and 33 seconds. Psichedelikaiflesh constructs virtual territories beyond the corporeal limits, to create others. The synthetic shape becomes design, structure, architecture and truth. If the space is the extension in all the directions, by our intuitions, of the real world, in which material bodies are placed, Psichedelikaiflesh wants to expand these possibilities of perception. A sensitive, unsolved, mental and transitory vision is adapted to the requirements of the explorer. This is an artwork linked to the aspects of the aesthetic and to the tensions of the new technologies. Psicadelikalflesh exalts this conjunction between what it is visceral sexual and psychedelic and what favors exteriorize of the mind.
2002 From the series Live Architectures: “Exten(z)sion project”, 5’40’’. Video installation, four animations. Sound track by Mokamed.
This video installation is born to develop itself on four walls. The four screenings reconstruct the inside of a house, as s virtual extension in motion of the architectonic space (like an animated “trompe l’oeil” on the ‘Z’ raw coordinate). Are just the “environments” in motion, which crossing the spectator, leads it to an ‘unfinished space”. So the spectator is forced to confront himself with another atmosphere, a ‘digital-where’; this dimension is by now ours: the fourth dimension. In the study-room, while a ‘CD-Rom’ crosses two rooms, it is possible to notice a window, which points out on the ‘reticulum’s texture of a 3D software’. In the main body of the structure, passing for the hall, study, kitchen, the visual of the spectator will arrive to a door that is opened on one view of the same ‘texture’ and leads to a virtual desert gray. The video installation finishes just on the view of the interior of the ‘3D software’ that was used to give ‘life’ and ‘virtual feelings’ to the whole artwork.
A performance idea is the base of this video installation. The spectator will see a place that moves naturally beyond its functionality. Exten(z)sion Project is a "Super-place". Exactly the contrary happens in the "no-where" which static presences have only the function to receive temporarily.
It is just the notion of space or better of ‘place’ that the video installation probes, searching new possibilities and ‘dimensions’, that the digital world, not so much separated from that "real one" offers Exten(z)sion Project is a three-dimensional installation that construct virtual architectures and territories beyond the corporeal limits.
2002 “Calling a Conversation in Universe” video installation, 3’. Four animations Soundtrack: “Essential Contact II” by Mokamed.
This video installation develops itself on four walls. The animations are shown using four DVD readers connected to four digital video projectors. The projectors, they’d come arranges to up, into the centre of the space (installs itself with the affixed supports). The first one, project in direction of the floor, an other to the central wall and the others two respective to the walls right and left. Projecting the whole video-installation at the same time.
2002 “Calling a Conversation in Universe” animation, 3’40” min. Sound track: “Essential Contact” by Mokamed.
Watching "Calling a conversation in universe": Objective (camera lens), of which normally servants "the mediates information", also in order to distort the truth, "are animated" have now a "own virtual life". Decontextualized from the truth, they films to one with the other; isolated in a neutral background, are animated in continuously different versions: variations bordering on abstraction and research on the composition of image. The “attracted” camera lens, look inquisitively at each other, court and couple with each other to the rhythm of electronic music, especially created for the animation by musician Mokamed. In short: the usual everyday “war” inside the real and virtual one.
2001/2002 From the series Live Architectures: “Super Place Project” holographic animation, 1’ min. Sound track: “5M” by Mokamed.
In one minute the virtual space is crossed by two circles of writings, (“poor man’s wealth is it in the holy place” and “Rich man’s wealth is it in the city”), that are immediately transformed into a “3-D space”. Nine buildings of light form a circle on this atmosphere, named by me: “super place”; in which every building has the same distance from the center (as in Greek cities and the concept of equality). The “super place” is an holographic installation’s project, navigable by the spectator. However, it cannot be owned or bought because it is made up of pure light.
2001 “The yellow film”, video installation; 5’ 4 min. Sound track: by Mokamed.
This is a totally conceptual “yellow film”. Four projections that are developed to ‘random’ on the walls of one room not much large one. The animations are composed from 817 types of different yellows that are followed to rhythm of electronic music, creating one vision totally ‘optical’ and ‘oddity’ of the atmosphere and light.
2001 The Tales: “The Essential Circle” video, 2’35'' min. Sound track: LAB-303.
In the video, a boy makes a necklace of hickeys. The act of “sucking” becomes an obsessive ritual of a useless act. It wants to bring to the light; extrapolating from what’s deep...and the necklace is the final gift (temporary). Only at the end do we see difference between the color of the both skin and the necklace made up of red spots. The video was purposely recorded on a small red carpet, so as to not create any kind of space-time reference.
2000 “Pipeline Project”, animation, 3’45”. min ; interactive version for web (net-artwork) time variable. Soundtracks: “untitled” by Mokamed.
Pipeline is the interactive project of the interior of a cylindrical house made by the manipulation of a rocket. Pipeline is made of 4 floors, without “memories”. The house belongs to the artist who denies the concept of “absolute property”, it is a mental space...a kind of “super place”. Only when it is discovered, does one have the impression that all of the spaces are recurrent!
1998 “Time Bomb the Love”, animation 5’, min. Sound track: Underworld.
The animation is a digital manipulation of rockets to the rhythm of techno music. Frame by frame, the missiles turn into very acid, synthetic-basic architectures: “compressions-containers”. Through vertical-horizontal movements, they disappear in straight lines and points, reappearing under the guise of defused bombs (because now they have been transformed into architectures)..."Time Bomb the Love, or better: it’s time for love to explode!"
1997 “Spider’s Web” animation, 3’40” min.
In this “wire-frame” 3D-animation, cupolas open up in colorful spider webs. When they close they become “architectural” structures similar to a creative graft between a
pagoda and a meringue. (Pagodas-Meringue House). |