Media Ecology

[mediaecology]

Marc Newson, 'Orgone' chair「奧剛」椅, 1993

Polished aluminium, painted aluminium. 87.6 x 72.4 x 99.7 cm (34 1/2 x 28 1/2 x 39 1/4 in.)

https://www.phillips.com/detail/marc-newson/UK050120/51

[mediaecology]

Peter Voulkos, Untitled vessel, 1963

Stoneware with cobalt oxide slip and glazes. 9 x 8 1/4 x 6 1/2 in. (22.9 x 21 x 16.5 cm)

https://www.phillips.com/detail/peter-voulkos/NY050220/125/

[mediaecology]

Joris Laarman, "Cumulus" table, 2010

Striato Olimpico marble. Larger table: 13 3/4 x 72 1/2 x 31 1/2 in. (34.9 x 184.2 x 80 cm) Smaller table: 13 3/4 x 18 x 13 1/2 in. (34.9 x 45.7 x 34.3 cm)

https://www.phillips.com/detail/joris-laarman/NY050220/74/

[mediaecology]

Studio Job - Job Smeets and Nynke Tynagel, Jewel safe, from the 'Robber Baron' series 來自「強盜男爵」系列的珠寶保險箱, designed 2006, executed 2007

Polished, patinated, gilded and painted cast bronze. 152.5 x 57 x 46.5 cm (60 x 22 1/2 x 18 1/4 in.)

https://www.phillips.com/detail/studio-job-job-smeets-and-nynke-tynagel/UK050120/48

[mediaecology]

Shiro Kuramata, 'Miss Blanche' chair「布蘭琪小姐」椅子, designed 1988, executed 1991

Acrylic resin, synthetic roses, anodised aluminium. 92.5 x 63 x 60 cm (36 3/8 x 24 3/4 x 23 5/8 in.) Manufactured  by Ishimaru Co., Japan. Number 21 from the edition of 56.

https://www.phillips.com/detail/shiro-kuramata/UK050120/22

[mediaecology]

Yuge Zhou, Cross Streets, 2019; Original video resolution: 5760 × 3240 pixels; 60fps; Private commission

Cross Streets weaves together the urban activities and textures of the iconic Chicago Loop and the vibrant landscape of one Los Angeles neighborhood into another. Footage filmed on locations in Chicago (by walking) and L.A. (by driving) are reassembled into interlocking patterns of these two cities and their seemingly endless streams of transitory encounters and architectural variations—a collective tapestry of their citizenry.

http://yugezhou.com/cross-streets/

[mediaecology]

Yuge Zhou, Underground Circuit,  2017; Original video resolution: 5280 × 5280 pixels; 3 minutes (infinite loop); Sound design by Stephen Farrell

Underground Circuit is a collage of hundreds  of video clips shot in the subway stations in New York. Station to  station, the movement of the commuters in the outer rings suggests the  repetitive cycle of life and urban theatricality and texture. The  inner-most ring includes people sitting on benches waiting; the central  drummers act as the controller of the movement, inspired by the concept  of the Four-faced Buddha in Chinese folk religion, the god who can  fulfill and grant all wishes of its devotees.

http://yugezhou.com/video#/underground-circuit/

[mediaecology]

XCEED, RadianceScape, New Vision Arts Festival, 2014

RadianceScape is a data-visualising audiovisual piece. It based on the live radiation data from the Safecast.org, a global sensor network for collecting and sharing radiation measurements, to generate a cityscape. It appears in a point-cloud depth-mapping visuals in which the density of the radiation level is representing the visibility of the cityscape. The sequence of the images is grabbed from the Google Streetview API’s hidden depthmap data.

In the sound composition, it is based on the relative radiation data to generate different tonal of drone ambience and noise. The graphical scores are composed with the mapped data-log. It consists of 2 separated parts, first part is illustrating the route of Hong Kong, where visualising the radiation level from Mongkok to Tsim Sha Tsui area. The second part is illustrating the route of Fukushima, where visualising the radiation level from the Fukushima Prefecture to the nuclear power plant.

http://www.xceed.hk/work/radiancescape/

[mediaecology]

Keith Lam, Stand Up, Light Up, Shape Up (2011)

When you own an a country, you can own light. You can own prosperity, culture and civilisation.

Yet light becomes luxury when you cannot afford bulbs. They struggle for lights, a basic right. And they struggle to read. Change their lives with light. Stand up and come close to the people, light them up and shape their future up. This is interactive installation, it doesn’t have the fixed shape. The final shape of the candle is the end of the show day, and depending on whether we stand up and come closer to the candle.

https://keithlyk.net/Stand-Up-Light-Up-Shape-Up

[mediaecology]

Keith Lam, Landscape of Cloud 雲圖境像 (2015)

The landscape of cloud is constructed by real lifeIt’s a reflection of real worldWe upload all kinds of matters in any kind of circumstance to the cloud which located at miles away – we somehow project our inner status to the virtualCo-create the form of cloud togetherAnd the result of it reflects to real worldVirtualise the real, Make virtual a realConstruct the new nation of virtual reality: a world of mixed-virtual-real. 

https://keithlyk.net/Landscape-of-Cloud

[mediaecology]

Keith Lam, “Soundscape of Body, 大音希聲”, (2018)

In the performance titled “Soundscape of Body”, the landscape of our body is scanned using low energy laser and reconstituted into music and lights. The body is transformed into a soundscape, so we can look at our body in a different way and reflect on its nature and relationship with our life.

https://keithlyk.net/Soundscape-of-Body

[mediaecology]

John Hilliard, “Camera Recording its Own Condition (7 Apertures, 10 Speeds, 2 Mirrors)”, 1971

Conceptual art became a dominant movement in the 1970s as artists rejected traditional practices for an art that reflected upon the protocols of art itself. For many conceptual artists, the grid functions as rigorous scaffolding for the expressions of basic ideas, articulated with or without limited aesthetic intervention. The idea of a camera examining itself might be seen to epitomise such a practice. Here the camera serves as a device as well as the central image; 70 photographs were taken using mirrors and combinations of aperture and shutter speed.

https://www.tate.org.uk/art/artworks/hilliard-camera-recording-its-own-condition-7-apertures-10-speeds-2-mirrors-t03116

[mediaecology]

Hennessey J., Papanek V., (1973), Nomadic Furniture, New York: Pantheon Books, pp. 24-5

[mediaecology]

Hennessey J., Papanek V., (1973), Nomadic Furniture, New York: Pantheon Books, pp. 62-3

[mediaecology]

Hennessey J., Papanek V., (1973), Nomadic Furniture, New York: Pantheon Books, pp. 20

[mediaecology]

Hennessey J., Papanek V., (1973), Nomadic Furniture, New York: Pantheon Books, pp. 23

[mediaecology]

Hennessey J., Papanek V., (1973), Nomadic Furniture, New York: Pantheon Books, pp. 118