RIXC Art Science Festival 2021
Clement VALLA. Pointcloud Garden
Daniel HENGST. Plants Per Second ‒ Towards a Plant Oriented Rendering Methodology.
Carly LAVE. The Golem-Labor: Researching Motion Capture Technology + Dance
Clement VALLA. Pointcloud Garden
The artist will discuss his works that come from an interest in how contemporary digital pictures of nature are constructed. The artists discusses his pictures, how they feel, how they translate space into a a flat surface, and how they situate an audience in an ambiguous time and a different kind of space.
Clement Valla is a New York based artist whose work considers how humans and computers are increasingly entangled in making, seeing and reading pictures.
He has had recent solo exhibitions at PC Galleries in Providence, XPO Gallery in Paris and Transfer Gallery in Brooklyn. His work has also been exhibited at ZKM, Karlsruhe, Germany; Draiflessen Collection, Mettingen, Germany; Stedelijk Museum, Breda, Netherlands; Bitforms Gallery, New York; Musée Cognacq-Jay, Paris, France; Haus der Photographie, Hamburg, Germany; Museum of the Moving Image, New York; KIM Contemporary Art Center, Riga, Latvia; Contemporary Art Museum, Raleigh; and The Indianapolis Museum of Art, Indianapolis;
His work has been cited in The Guardian, Wall Street Journal, TIME Magazine, El Pais, Huffington Post, Rhizome, Domus, Wired, The Brooklyn Rail, Liberation, and on BBC television. Valla received a BA in Architecture from Columbia University and an MFA from the Rhode Island School of Design in Digital+Media. He is currently an associate professor at the Rhode Island School of Design.
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Daniel HENGST. Plants Per Second ‒ Towards a Plant Oriented Rendering Methodology.
Plants appear in many digital environments in various forms. Compared to human bodies or human artifacts, they mostly appear highly stylized. They seem to be a part of the background against which the main action, usually human action, takes place. Thereby, their actual morphology, their species or/and biological community in which they can exist is very rarely of interest. Their visibility is therefore very low. As in the real world, plants are meant to serve humans and human self-realization.
How can a methodology be imagined that allows plants to have explicit visibility in digital environments? A lot of people visit more often digital environments than natural ones. Digital plants can represent and speak for themselves and can help to overcome a widespread blindness for plants. Detailed modeled plant avatars can show their beauty and their unconditional love for all other living beings, and thereby ignite in humans a passionate relationship with their real-life paragons.
The current technical benchmark for the performance of an application in creating real-time digital environments is “FPS”: an shortcut for “frames per second”. It is a value that indicates how many frames a computer can compute per second. A new guideline value “PPS” ‒ Plants per Seconds ‒ could be an orientation point, how many plants per second, with what level of detail and accuracy ‒ and therefore what level of affection and degree of visibility ‒ can be calculated.
In a 15 to 20 minute talk with a screencast from the 3D program Blender, the plant creation software PlantFactory, as well as pre-recorded videos, I would like to talk about the following points:
1. Current techniques and methodologies of digital plantation
2. Reasons and goals of a PPS methodology to be created
3. Challenges to generate this methodology
While working on my current artwork, ‘Blooming Love’, I have been thinking about, working on, and learning about digital plants a lot. Knowledge I would like to share in this presentation.
Daniel Hengst (*1981 in Leipzig/Germany) is a Berlin-based media artist & his artworks
are often developed and presented in the framework of the performance arts. Since
2015, works in virtual reality, video- and sound-installations, sound performances,
artistic research projects and web projects have been created. The works deal with the
society-changing potential of technologies or/and taking non-human subjects into
account.
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Carly LAVE. The Golem-Labor: Researching Motion Capture Technology + Dance
Golem-Labor explores interdisciplinary and transnationally the interface of art and technology, man and machine, physical and virtual reality.
Dancers and choreographers work together with XR-artists and experts on research tasks and a performance. The results will flow into the next laboratories continuing in 2021. From this research, a virtual database of international movements will be created.
Golem-Labor emerged out of a predecessor transnational performance “Golem”. The dancework pioneered using motion capture technology to stage a dance live onstage and live in VR viewable from anywhere around the world. “Golem” was created by Carly LAVE in collaboration with gamelab.berlin of Humboldt-Universität zu Berlin, Hochschule Kaiserslautern Virtual Design, Ghunghru Sounds, and supported by the U.S. Fulbright Program, Fulbright Commission Germany, Stanford University and private sponsors.
Golem-Labor is an international series of workshops organized by the Goethe-Institut that brings together contemporary dance and mixed reality technologies. The experiment started in autumn 2020 in Prague. More workshops will follow in 2021 – in Bogotá, Tel Aviv and Riga.
https://www.goethe.de/ins/cz/en/kul/the/gol.html
Energetic creative and analytical thinker with a passion for design, communication, and the arts. As both a data-driven and emotion-driven human, Carly Lave is fearless at finding new ways to make a positive impact in the world around us. (from Linked-in).