Works

RE:

Sofia Bustorff — 2010-11-03T14:30:00Z

RE: (NL, 2010) is a 360 projection-mapping installation that uses mirrors to enable a projector to project on every side of its own surface. Most art installations use the projector as a mere tool, often hiding it from view. By contrast, RE: makes it the central object of attention as both the sender and receiver of projected light.

Installation with projector, mirrors, computer, and tripod.
Contact us for more information on pricing and for the technical requirements of the work.
Detailed information is available on installation, space requirements and shipping.

RE: by Carolien Teunisse and Bram Snijders (Sitd) (2010) from V2_ on Vimeo.

Exhibitions:

Yebisu International Festival for Art and Alternative Visions Tokyo (JP), 10.-26.02.2012
STRP Festival, Eindhoven (NL), 17.-27.11.2011
WRO Biennale, Wroclaw (PL), 10.05.2011-19.06.2011: Winner of the Audience Prize

Drapery FM

Arie Altena — 2013-01-09T15:40:00Z

Drapery FM consists of a knitted piece of fabric that can electronically communicate the story of how it has been made to and through the surrounding radio receivers. The piece of fabric is essentially a micro FM transmitter that is, for the most part, made from copper wire and wool. Tuned into the right radio frequency, radios within the transmission range of this fabric receive and play out the sound recordings made during its production.

The installation proposes an atmospheric space made of airwaves. In tuning in with their personal radio receivers, moving in space or touching the fabric, participants can explore the spatial boundaries and haptic qualities of the installation. In the presence of a knitted electronic object viewers are invited to fantasize an alternative reality and speculate. What if, instead of purchasing hardware electronics we could directly knit them from scratch in our homes? In an imaginary world of home knitted electronics, how would we relate to our devices? Would we mend them with crossing threads for repair? Would we protect them with lavender sachets instead of silica gel? How would this alternation shift the way we value and prize materials, natural resources, geographical locations, personality traits, physical skills, and qualifications.

Technically, the underlying circuit is an adaption from Tetsuo Kogawa’s schematic of the “Simplest Radio FM Transmitter”. However, distinctively, electronic parts used as capacitors, resistors and the coil are made by knitting ordinary yarns together with electronically conductive yarns in deliberate configurations and patterns. Visually, the textile contains references to the ancient radio grill clothes that covered antique radios in the early 20th century.

Materials: Wool, Cotton, Copper, Silver, Stainless Steel, Silk, BC337 Transistor, 12V Power Supply, Audio Source, Radios.

Drapery FM has been realized during the Artist-in-Residency at V2_. It is conceptually and technologically based on the artistic research project “Punch Couture”.

Presentations:
Test_Lab: eTextile Sweatshop, V2_ , 29 November 2012
Wearable Senses Theme Lab, University of Technology Eindhoven, 4 December 2012

ebrukurbak.net/draperyfm/

Drapery FM from Jona Hoier on Vimeo.

Bumperband On-line

admin — 2011-07-28T14:40:00Z

Bumperband On-line (Ed Bezem, Pieter Jongelie) is the title of an installation that is displayed on Notes & Nodes. Here a number of players in Nighttown - and a lot more through the Internet - can simultaneously steer their own bumper car over a miniature bumper car track. Each car has its own specially assigned sound source and when they bump into each other this causes musical sounds.

Sensible 1.0

Sofia Bustorff — 2011-10-06T08:10:00Z

Sensible 1.0 is an interactive installation that enables users to 'sense' a virtual layer made of digital matter within a physical space. The core of the installation is the virtual layer; it consists of a digital representation of the x, y, z coordinates of the physical space. These coordinates are captured and translated real-time into their digital counterparts.

In the installation Sensible 1.0 the physical and the digital dimension overlay. Only when an object or person is positioned within the coordinates of the virtual layer, the latter is revealed by the manifestation of projected light.

Produced by V2_Lab.

Documentation of the first experimental setup of Sensible 1.0 from Bram Snijders on Vimeo.

V222

Sofia Bustorff — 2013-01-09T13:46:25Z

Bernhard Günter and Ralf Wehowsky's Un Ocean de Certitude contains one solo each by Wehkowsky and Günther and one collaboration.

Bernhard Günter's and Ralf Wehowsky's co-operation began in 1990 on an informal basis. In the middle of 1992, they decided to begin a closer collaboration project: the idea for Un Ocean de Certitude was born. First results were presented at the FESTIVAL EXPERIMENTELLER MUSIK in Koblenz, Mutter Beethoven Haus, December 1992.

This 3 CD-set follows the structure of that presentation (and later concerts): one part common works and each one part of solo works by Wehowsky and Günter. This release comes with extensive liner notes in a booklet, written by Manfred Wenninger of the "Hessischer Rundfunk".

Playlist

CD 1 Untitled Triptych
1-1 Bernhard Günter Untitled Triptych (4:26)
1-2 Bernhard Günter Untitled Triptych (7:16)
1-3 Bernhard Günter Untitled Triptych (6:43)

CD 2 Maze
2-1 Ralf Wehowsky I Am Sitting In A Maze (11:40)
2-2 Ralf Wehowsky Sitting In A Maze (4:24)
2-3 Ralf Wehowsky Still Amazed (4:10)

CD 3 Deceptive Likeness
3-1 Bernhard Günter & Ralf Wehowsky Deceptive Likeness (19:58)

The Others

Sofia Bustorff — 2012-12-03T19:10:00Z

A system for a hare to listen to the surface of the moon, supported and directed by the lunar movements of a moonflower. Based on the natural tendencies of the plant, an artificial symbiotic relationship is initiated between a nocturnal animal with mysterious behaviour, a psychedelic nightshade and Earth’s natural satellite.

By designing a poetic interaction between plant and animal, the idea of unmediated perception of nature is examined, where phenomena are perceived within the realms of miracle or spectacle. Once nature is interpreted and explained (by humans), the “filter” of knowledge can no longer be removed, and fauna / flora behaviours are subsequently experienced through a factual mindset.

It is this interpretation or ‘attribution of meaning’ that takes the primal elation out of the physical perception of non-human-mediated phenomena. Rather than meaning, this contraption emulates presence - a moment in which biology is repositioned in the supernatural territories of the unknown, the enchanting and the unspoken.

Materials: Moonflower, aluminum, nylon, solar panels, electronics

Sound Hoodie

Sofia Bustorff — 2012-10-30T06:50:00Z

This project was part of the STS CRISP research residency. As part of the whole betaKnit research, the Sound Hoodie, a scarf with integrated speakers, evolved as a first 'protosample'. It serves as an example of what can be done with easily interchangeable open source patterns for punch cards or hand knitting.

The project also includes creation and interchangeability of knitting patterns using conductive threads, thereby creating soft textile electrical circuits.

Creating electrical high end components that are soft to the the tactile senses is leading to different kinds of applications and new design strategies. Circuits can become wearable, bendable, washable and fully integrated into garments or interior textiles.

DataCloud 2.0

admin — 2012-01-23T11:05:00Z

DataCloud 2.0 is an information space containing a vast collection of media-objects. Each media-object is of a specific type - image, video, text, 3D model, sound file - and has its own characteristics. These characteristics (meta-data) are used for organising and querying the information space. Users perceive the entire information space as a 'cloud' through which they can 'fly' and which they can reorganise as desired. After an examination of their meta-data, objects in the cloud can be viewed and added to personal collections and storylines. Authorised users can add, edit and delete objects. This functionality, combined with a newsgroup facility, makes DataCloud 2.0 an effective information tool that can support a community. The technical framework on which DataCloud 2.0 is based will eventually be published as open-source software. It can therefore be used by other organisations and for other purposes. (Description from 2002).

BACKGROUND

(by Piet Vollaard)

The media-objects in DataCloud 2.0 are represented as 'real' objects and are arranged in a 3-D 'space' defined by the user and through which the user can navigate.

The proximity of objects to one another has an 'associative meaning'. Objects that belong together are located closer together (forming small constellations); objects that don't belong together are further apart. This belonging, this constellation within a differentiated cloud of objects, is rendered according to a specific command given by users (on the basis of a search of specific characteristics according to a keyword or string of such characteristics).

This idea of an associative - as opposed to hierarchical or linear structures and navigation - structuring of and navigation through data-objects is the main feature of DataCloud. The constellation of the DataCloud is fluid. It changes according to each new search or reconfiguration command from users. Users can change the characteristics of individual objects and thus the position of an individual object within its constellation.

The addition and alteration of objects, groups and (more linear organised) strings of objects enriches the set of objects and their characteristics and thus the 'intelligence' of the DataCloud as a whole. A DataCloud can be used to represent a mental map or knowledge map of a specific theme.

ADVANTAGES OF DATACLOUD 2.0

1. Shift from 2-d to 3-d environment
2. Enhanced user interface
3. Faster, more generic technology framework

V2V03

Sofia Bustorff — 2012-12-05T15:10:00Z

The 4 films presented were Fire Loop (1986, 3:00), Kindering (1987, 3:00), Loud Visual Noise (1987, 3:30) and I...Dreaming (1988, 7:00), with soundtracks by N.W.W., Hafler Trio, Zoviet France, Joel Haertling, Architects Office, Die Tödliche Doris and I.H.T.S.O. All films were made in 16mm.

VHS, PAL only, 1990, 16:30

An NTSC version for the US was released at the same time.

V2V05

Sofia Bustorff — 2012-12-05T13:50:00Z

It contained films from the installations and performances Speaker Swinging, Aquaeolian Whirlpool, Long Aeolian Piano, A Magnet That Speaks Also Attracts and Aquaelion Music Room.

Aquaeolian Whirlpool (1990, 5:00)
Documentary of a sound installation at the New York Hall of Science using a 10 feet high water vortex to activate aquaeolian tones on 100 feet long piano strings attached to a soundboard near the ceiling. The unearthly sub-acqueous tones accompany dramatic video close-ups of the vortex, looking like a tornedo in some alien landscape.

Speaker Swinging (1987, 7:20)
A music video depicting Gordon Monahan's monumental sound experiment for swinging loudspeakers. Three performers swing loudspeakers on 12 feet long cables to create dramatic Doppler shifts as Monahan transmits complex oscillating waves through the speakers. In this video collaboration with art director Bruce Mau, Monahan's dramatic lighting in performance is brought to a new level on video, as light trails follow the paths of the speakers, graphically linking the performance concept to both the atomic and the celestial.

Long Aeolian Piano (1986, 8:00)
An upright piano is used as a contact point for acoustic amplification of aeolian tones produced on 100 feet long piano wires. Erected in a park in downtown Edmonton, Alberta, this public-access sculpture creates a complex music using atmospheric phenomena to demonstrate that seemingly synthetic sounds can be created without the aid of modern technology.

A Magnet That Speaks Also Attracts (1986, 8:00)
A mechanical performing sculpture, that is part medieval weapon system and part modern audio system, was installed in a window display at Toronto's Union Station in 1986. This work examines the loudspeaker as a magnetic projectile capable of imitating most sounds in the human audio spectrum. A catapult to be blasted off again. The sound heard over the speakers are pseudo-space musics from the 1959 vinyl season. The video documents the kinetic aspects of the piece as well as social reactions of passers-by.

Aquaelion Music Room (1991, 4:00)
100 feet long wires are anchored into the Wupper River in Wuppertal, Germany. The flowing of water over the wires creates aquaelion tones on the strings, which are amplified by contact to aluminium sheets besides the river.

VHS, PAL, color, 1991

V215

Sofia Bustorff — 2012-10-08T11:35:00Z

The Witness to Disaster

..witness to transparency, gradual erosion of ground, distance, self, even: the body.
information is banal meaning, noise is excessive, pure information.

the erosion of body, a world "too close", of geography, does not result in a global village (don't think of endless festivals, only a festival of banality) but a global resurfacing, a flat, asphalt sphere weaved throughout by the nerves and spine of beings.

the body, the self, the being, reduced to noise.

by accelerating these conditions, by becoming transparent, the cyclotron of information could itself be forced into mechanical failure and collapse.

this is a recommendation.

otherwise, hold on: the cyclotron, the very temple of information, is allready overworking itself..

it's only a matter of time.

from the fax send by Eric Lunde in 1989 to V2_ for the Manifestation (Tele)communication in Art

Eric Lunde Witness to Disaster, LP - side 1 contains live recordings made at V2 in 1989, side 2 contains the soundtrack of the video with the same title (V2V04); also released as Cassette V215/C12, 1992.

V224

Sofia Bustorff — 2012-12-05T09:45:12Z

3''CD with booklet, 1997

As the mud dried, the numbers got bigger: 1, 2..
Four travellers were taking turns throwing fire-works into a large metal box. All kinds of fire-works were used; nearly a thousand pieces in total. Sparks were flying; and not only did the smoke billowed out from the opening on top, but it spouted from creaks alongs the edges as well.

(from the booklet text by G.X. Jupitter-Larsen)

Neither Ready Nor Present To Hand

Sofia Bustorff — 2012-12-03T15:30:00Z

Part prop, part fictional-function, part biology, part whimsy; by dislocating something as human as a finger it shifts the Heideggerian tool-state of the object from being ‘present-to-hand’ to ‘ready-to-hand’ which for a finger is, frankly, next-to-useless. After all we’d need more fingers in order to activate (and wind-up) the tool-finger. It is a tool no more, but an object never-the-less. By liberating it, it withdraws from us and leads a life independent of our anthropocentric perception.

Materials: Jesmonite, Plaster, Brass, Clockwork, Graphite

(C8H8)n ..

Sofia Bustorff — 2012-12-03T15:35:00Z

Cheryl Field writes about (C8H8)n, CSi, KAl2(AlSi3O10)(F,OH)2, C, C, CaSO4, Fe3C, SiH3(OSiH2)nOSiH3 (2012): For me, there is something uncanny about sensory and sensual organs (i.e. fingers and tongues) being dislocated from the body. Both the finger and the tongue are also fundamental to our sense of humanness and to some extent they are symbolic of our evolution i.e. the opposable finger and thumb and the power of speech and language have given us the dominant position on this planet. I want to take that wholly anthropocentric or teleological position and play with it. Specifically, this work is an opposition of objects – a reclassification of ordered structures if you will. On one side it is a simulacrum of a human tongue, cast from life in pink rubber. On the other side is a miniature mountainscape crafted from elementary chemicals such as silicon carbide, carbon (in both its graphite and diamond states) and mica. What links this miniature geology and with - surely the most democratic position of all; we, the planet and e-v-e-r-y-t-h-i-n-g come from stardust alone.

Materials: EPS, Silicon carbide, Mica, Diamond powder, Graphite, Plaster, Steel, Silicone, Electric motor

Nephology 1: Cloud Maker

Sofia Bustorff — 2012-12-03T15:30:00Z

Nephology 1: Cloud Maker attempts to construct knowledge of clouds through investigating how the clouds encounter the world around them.

Making a cloud is a little like making a wave in the ocean -- a gesture that seems Sisyphian in its futility and its absurdity. But if we consider the cloud as an object-for-itself, apart from its utility or its meaning for us humans, then the effort gains a different dimension. To make a cloud one has to understand it, and understand the forces that shape it. One has to ask oneself "what does the world has to be like for the cloud to exist?"

Constructing knowledge is, as Levi Bryant writes "like what takes place in building a house. Part of building a house will involve conceptual elements such as ideas found in engineering and architecture, part will involve social and political elements such as laws and cultural traditions in architecture, part will be real materials used such as the tools, the wood, nails, etc., and part the techniques or practices that construction workers have learned." Nephologies similarly attempts to weave together conceptual, social, material and phenomenological threads through a cloud’s particular point of view on the world.

Materials: custom misting system, styrofoam, weather balloon, video projection, C-print