idd

interaction design, art and technology

[id-d]

Haunted Chromatics from ejtech on Vimeo.

Haunted Chromatics is an ongoing sound experiment and installation work, where the self-printing screens translate the passage of time into movements onto the textile through thermographic printing and changing frequencies. Embodying continuous change it performs and interacts with the texture of time.

[id-d]

A research collaboration between Mette Ramsgard Thomsen (CITA) and Toni Hicks, Constructed Textiles, University of Brighton. Strange metabolisms is an exploration of knit structures in architecture. The project takes point of departure in the Knitted Skins workshops and develops the investigations undertaken with students. The project is the making of a city. Imagined as Manhattan like plots, the city exists in its own durational times coming alive through stop frame animation. The skins posit shifts between interiors and exteriors through their folds, protrusions, slits and layerings. Knitting together multiple fibre types, embedding armatures and small electronic circuitries allowing light and heat, the city is suggested through the complex performances of its skins.

[id-d]

[id-d]

[id-d]

[id-d]

NIKITA ZABELIN, art and music through the shape of electricity

[id-d]

Can emotions be engineered? The stress associated with living in urban areas has increased our susceptibility to mental illnesses. As our lives have become more condensed, there has also been a surge in the need to disconnect. In a time-pressed society, where every minute must be accounted and justified, mental and physical wellbeing need to become part of a tight schedule. The “brain spa” explores how we can trigger specific neurotransmitters in our brains to enhance and manipulate our senses. Collaborating with researchers, perfumers, sound and visual artists, I created a sensorial brain spa that can boost the production of Serotonin, one of the main mood elevating neurotransmitters in the brain. The experience is designed to enhance our mood, as well as allow the user to track, through an EEG headset, the effect the experience is having on them in real time. When combined with artificial intelligence, the use of emotional tech tools will enable us to measure, record and alter our brain activity easily and efficiently. This project aims to both raise awareness of the real potential of such digital tools, but also question the implication and mass deployment of such technologies in a future that is just around the corner.

[id-d]

[id-d]

 Julien Deceroi self-implanted a magnet into his middle finger. He says it works like a new sense, allowing him to feel magnetic fields, including their amplitude or modulations. He also wears microchips. He is the only grinder I met in Switzerland. (Grinders are biohackers who demand total freedom for their bodies, which they enhance by operating on them themselves, often in extreme conditions.)

[id-d]

[id-d]

[id-d]

Making New Land is an interspecies conversation with an archaic plant, which can be found on the shores of Venice: Salicornia Europea. This non human entity played a great part in the history of the City: it offered the glass artisans of Murano a local alternative to the imported resource of Soda Ash, an important component in glass-making. Outside of its industrial human use, Salicornia also plays a fundamental role in coastal intertidal wetlands: it creates land. Emerging from the sea, its roots gather debris of minerals, shells, sand and rock particles. Aggregated by cyanobacterias and diatoms, this soil enriched becomes a fertile land for other species to grow. The project Making New Land at the Swamp Pavilion focuses on this agency of Salicornia Europea as a plantarchitect in its ecosystem - outside of its human use. Through material and media experiments, Making New Land bridges between botanical research and human imagination, and is part of the larger ongoing project the Swamp School urated by Gediminas and Nomeda Urbonas.

[id-d]

Lenka Glisníková is a Czech artist who works primarily with photography. Glisníková expands this medium to create installations and performative events, where she questions the results of contemporary changes to human lifestyles that occur due to non-regulated technological progress. Glisníková perceives these developments as active phenomena that shape our ‘reality’. In her research, she explores effects these new technologies have on ourselves, human bodies, minds and feelings. In her interpretations, technology is perceived as curating the way we work, rest, think, and organize our time. Recent exhibitions took place at the Rudolfinum Gallery, at the INI Project and at the Fotograf Gallery, all Prague.

[id-d]

Studio Swine has built a reputation for its interdisciplinary practice that combines sculpture, cinema, poetry and research into an immersive experience for its viewers. Internationally renowned for its ability to build a rich narrative through multimedia, sensory experiences, the studio’s latest project ∞ Blue (Infinity Blue) takes us on a prehistoric journey of Earth’s molecular history. The experiential installation centres around one of the world’s smallest living beings, the cyanobacteria.

A three billion-year-old organism, cyanobacteria first developed oxygenic photosynthesis which forever changed the evolution of our planet, dictating the evolution of the living organisms that inhabit our world today (including ourselves). The sculpture that pays heed to cyanobacteria, is reimagined by Studio Swine as a nearly nine metre-tall sculpture. The 20-tonne object is a monument to bacteria’s creation which “continues to provide the oxygen in every breath we take.”

This is the most ambitious project Studio Swine has undertaken thus far, completing the project in under five months despite the monumental size of the sculpture. The project has produced the largest ceramic sculpture in the world and with the collaboration of the Paris perfume house Givaudan, the sculpture additionally emits fragrances imagining what the world smelled like during the primordial era. The co-founding artist Alexander Groves says the engrossing centrepiece absorbs the viewer into “the interconnectedness of geology, weather and life on earth.” He explains how “we wanted to make an immersive environment people could experience with all their senses. The installation is about the earliest forms of life that used the sun’s energy to create oxygen three billion years ago.”

The work taps into the power of scent that instils a primal instinct “that bypasses language and evokes feelings and memories”. ∞ Blue (Infinity Blue) represents an archetypal experience of the most fundamental kind, our very existence in itself. Exploiting “ephemeral materials” such as smell, Studio Swine enhances the experience of a young earth through the fleeting fragility of scent which “gives the artwork a spirit and a sense of life.”

∞ Blue (Infinity Blue) was commissioned as a centrepiece for the Eden Project and Future Pace. Alexander adds: “The scientists at Eden advised us on what the atmosphere was like on Earth at various periods, for example, four billion years ago the earth was a hot molten surface and the atmosphere would have had metallic smells from the gases in the atmosphere.” The multi-sensory experience creates a sense “awe and wonder”, delving into “the sublime invisible systems” of the work that specifically makes “our planet so special for life to thrive on.”

[id-d]

Led by speculative architect and filmmaker Liam Young, The New Normal researchers traveled on an expedition to the southern Urals – the industrial heartland of Russia – to explore machine landscapes and the precarious wilderness of the region. Explaining the urgency to engage with new landscapes and systems formed by emerging technologies, Young described them as “before culture,” meaning they arrived faster than our cultural or ideological capacity to understand what they mean.

[id-d]

INTERTIAL INTERFACES

gesture decay control

This interaction design research aims to investigate the link between digital experiences and mechanical forces.  The interaction with the four 3d-printed solids, with their different shapes and related inertial reactions, generates infinite gestural possibilities, exploiting and multiplying the shades between ON and OFF, evading from binary logic. 

[id-d]

Studio Mimik - White