C + A [ rchitecture ]

[camilo-a-blog]

ik London

[camilo-a-blog]

[camilo-a-blog]

"Good-Time Mix Machine: Scrambler Drawings" I connected a gas generator and air compressor to buckets of paint and secured them into the seats of a Scrambler amusement park ride. Once the ride was in motion, paint sprayed out of the benches onto vinyl tarps placed underneath. The result is a series of enormous hypocycloid designs which recorded the hidden patterns created by the ride as it turned. 

[camilo-a-blog]

Film dialog, taken from subtitle files, defines movement and appearance of particles that leave traces on the screen. Smoky watercolor drawings emerge from each movies individual frequency of spoken words and their letters.

[camilo-a-blog]

Sonar drawing device uses a sonar detector to take a distance reading of a space, the people and objects within it. The device renders a circular wax crayon drawing based on the information the sonar distance sensor gathers. Each drawing it renders is specific to a particular space and the activity that takes place within it.

[camilo-a-blog]

Remote infrared drawing device consists of four individual drawing arms which are installed in a gallery space and are connected to four different infrared sensor arrays. The sensor arrays are mounted in different locations throughout a particular building. The information gathered from the sensor arrays, through people's interaction with them, is sent to each corresponding drawing arm. The drawing arms move in real time based on the information they gather.

[camilo-a-blog]

Phototropic drawing device is a small robot which is solar powered and attracted to the most intense light source. As the robot moves from light to light a small piece of charcoal tracks its journey. Lights are connected to timers and arranged in various patterns causing the robot to create different compositions.

[camilo-a-blog]

This installation produces drawings based on the subtle movements of houseflies. When flies enter a small chamber sensors detect their movements. A micro-controller articulates a drawing arm in real time based on the fly's movements. When a fly is no longer detected in the chamber the paper scrolls over and the device waits until a new fly enters the chamber to begin another drawing.

[camilo-a-blog]

This device was a multinational tele-presence robotic installation installed at Laboral Centro de Arte y Creación Industrial, Gijón-Asturias, Spain and the Visualization and Digital Imaging Lab, University of Minnesota. This installation consisted of a drawing arm and sonar sensor array installed in Minnesota and a drawing arm and sonar sensor array installed in Spain. The information gathered by the sensors was sent via the internet to the drawing arm in the opposite location. Therefore, the arm in Spain produced drawings based on the inputs it received from the sensor array in Minnesota and vise-versa. The public was encouraged to participate at both locations producing gestural drawings halfway around the world.

[camilo-a-blog]

The “Perpetual Storytelling Apparatus” is a drawing machine illustrating a never-ending story by the use of patent drawings.

The machine translates words of a text into patent drawings. Seven million patents — linked by over 22 million references — form the vocabulary. By using references to earlier patents, it is possible to find paths between arbitrary patents. They form a kind of subtext.

New visual connections and narrative layers emerge through the interweaving of the story with the depiction of technical developments.

By Benjamin Maus and Julius von Bismark

[camilo-a-blog]

The Movements are extracted from sequences of videos and translated as a graphs.

[camilo-a-blog]

A visual exploration of the human movements, focused on martial arts performances, printed on see-through paper on a large format book. The experiment aims to freeze the movements of martial art performers into a tangible series of layers of perception through the use of visual narrative techniques applied with the use acetate, draft film and tracing papers.

[camilo-a-blog]

KINETICA ART FAIR - 2011

Kinetica Art Fair is produced by Kinetica Museum and is the first of its kind in the UK. It brings together galleries, art organisations and curatorial groups from around the world who focus on universal concepts and evolutionary processes though the convergence of kinetic, electronic, robotic, sound, light, time-based and multi-disciplinary new media art, science and technology.

The fair provides an international platform for museums, collectors, curators and the public to view and buy artworks in this thriving and advancing field. Alongside the fair there will be special events, screenings, tours, talks, workshops and performances.

[camilo-a-blog]

MAADM - Interactions

Three levels beneath the pavement in London’s busy Marylebone road is a cavernous space. Previously home to the Polytechnic of Central London’s engineering department it was once a place to build and test physical structures. Now part of the University of Westminster, ‘P3’ (as it is known) plays host to exhibitions and events. On Monday 14th February 2011 the students of Westminster’s MA Architecture and Digital Media were given the opportunity to occupy the space and to create site-specific interactive devices.

[camilo-a-blog]

“Do I have to do what I want to do again today?”

Graffiti on a wall at the AA, cited by Fred Scott in ’ Myth, Misses and Mr Architecture’, James Gowan.

[camilo-a-blog]

Photography Exhibition - Pinhole Camera

Project by: Georgios Dimitrakopoulos and Camilo Aragon

[camilo-a-blog]

FRAME AND TRANSITION

The project is about a conflicting relationship between light and form.  Using light as a possible source for inaccuracy and ambiguity, as well as aiding accurate recognition, the photographic image is used in order to break up the distinction of the corner. In contrast to Le Corbusier’ famous quote; the photographic image is now applied in order to transform space by the very means that describe it.  The effects of photons on the retina of the eye allow us perceive reality while on the other hand the effect of such energy collected on the photograph prevents recognition. Space becomes obscure and ambiguous as shades and forms become unified in the lighter central part of the photograph. Opposing the human gaze the camera is now used to transcend between real and imaginary. Forms appear but also disappear into light.

Project by: Georgios Dimitrakopoulos and Camilo Aragon