I came across this amazing project when doing research for the project SAAD. The images are very powerful, and the technics is used with a purpose not just for the effect, which is something I love. Below the pictures find explanations about the project.
INFRA examines the conflict in Eastern Congo using Kodak Aerochrome, a recently discontinued film that was originally developed for military reconnaissance. These extraordinary colors are not the result of Photoshop. The project seeks a new strategy to represent Congo’s intangible conflict. Mosse chose to use this infrared aerial surveillance film out of context in order to explore how photography represents a place like Congo, a place deeply buried beneath its past cultural representations, from Heart of Darkness to Tin Tin. Infrared light is invisible to the human eye, and so the work alludes metaphorically to the conflict’s lack of visibility in our global consciousness, as well as (paradoxically) this endless war’s over-saturation in the mass media. Color infrared film portrays the world in a pink palette which the photographer uses to subvert the ways in which Congo and the African continent are traditionally photographed. He deliberately wishes to break the generic rules in order to question how we see (or don’t see) this war.
The Day and Night Light by Éléonore Delisse is not only a beautiful, richly hued lamp, it also has a psychological benefit. The way the colors oscillate within the lamp is coordinated with the body’s circadian rhythm, and can help rebalance our internal cycles. Set to cycle every 24 hours, the light changes due to a slowly rotating dichroic glass. In the morning, it casts a cool blue light to stimulate wakefulness. In the evening, it shines a warm amber, resulting in increased melatonin production to aid with sleep. By mimicking natural daylight, it helps stop the negative affects of winter. For those who may suffer from seasonal affective disorder, the Day and Night Light might be the perfect alternative remedy.
Swedish designers Siri Bahlenberg and Sofia Bergfeldt have created a lampshade made of ice that slowly melts back into its mould so it can be re-frozen and used again. Encased in an angular block of ice, the Melt and Recreate lamp is illuminated using a combination of LED lights and fibre optics. The LEDs are suspended above the ice and the light that they emit is conducted through the solid mass by the fibre optics – making the potentially lethal combination of water and electricity safe. The light is diffused through the frozen water, giving off a dim glow that gradually becomes brighter as the melted ice drips away.
“In one way it’s a throwaway product because it disappears, but we keep the water so it can be remade,” Siri Bahlenberg and Sofia Bergfeldt told Dezeen. The LEDs and fibre optics are contained within an element that detaches from the metal fixture. This element sits on top of the mould so the water freezes around it, holding it in place. Once solid, the element and its icy shade are clipped back into the conical fixture and connected to the electricity supply.
The lamp’s original mould is placed below the pendant to collect the meltwater, ready to be reused.
“We wanted to create a relationship between the user and product,” said Bahlenberg and Bergfeldt. “For this lamp to have a continuing life, the product has to be reborn and you have to engage with it to make that work.”
“We want to awaken reflection and awareness about the consumption of everyday objects that often are taken for granted,” they added.
It takes 10 hours for the lamp to melt and another 10 hours for it to refreeze – and each casting is different. Depending on the ambient conditions, the ice may be clear or translucent. The dimensions of the plastic mould are designed to fit a standard-sized freezer. Bahlenberg and Bergfeldt designed the light to become a centrepiece for a room. “Just like enjoying a fireplace, the lamp brings a natural element to the home that creates a soothing environment, both visually and with the soft dripping sound,” they said.
I have search around the history of turntable, and information on the one in the museum Linn Sondek LP12; looking for inspiration, the goal being to find objects or actions, related to the turntable itself I could transform into data, then to sound and playable on the turntable.
I search for hours, what kind of stories I could create from the objects in the Changing Nation Gallery in the National Museum of Scotland, without any conclusive results. After few hopeless days, I decided to sit down and try to be methodical. This is my technic: when I am a lost, and the head is not working anymore to find ideas by itself, I start with looking at the definition. I looked into the dictionary and found actually 2 definitions : 1. a circular revolving plate supporting a record as it is played. 2. a circular revolving platform for turning a railway locomotive or other vehicle. I really liked this discovery. Then I also made the connection between the wheels of the old trains and the harm of the turntable on the vinyl.
Then I looked at the history of the product. And the first Phonograph (old version of the turntable we know nowadays) has been invented by Thomas Edison, well known for his inventions contributed to mass communication and, in particular, telecommunications. He invented electric light and power utilities, sound recording, and motion pictures all established major new industries world- wide. It links the turntable not only to the communication and Home section of the gallery, but also to energy part.
I carried on investigating the turntable which is displayed in the gallery: Linn Sondek LP12. I directly noticed after few clics that it is a very well know brand world wide for vinyl lover, moreover…. it is a Scottish brand and they are based in Glasgow. I found articles from someone who actually visited the factory : on whathifi and dagogo. I think if we wanted we might be able to visit it as well.
Finally I started to look at some books, about music, turntable, evolution of the music industry…
From the book : UNDER-CURRENTS the hidden wiring of modern music edited by Wire and continuum. I already found so far some interesting quote:
p16: In the 18th and 19th centuries, electricity also catalysed the kind of heady enthusiasm that data devices do today.
p18: electricity is an experience before it is a fact, a dream before it is a science. In Watson’s case, electrical theories were mixed up with spiritualist notions.
p19: Thomas Edison discovered that changing an electric current in a stylus changed the amount of friction the stylus exerted on a rotating cylinder – which could therefore become a medium of sonic inscription.
P19: Freud dubbed the dread produced by the doppellganger “the uncanny”, which he connected to the queer feelings one gets from dolls and automata. It seems important to note that when Edison was imagining possible applications for his new device, one of his first notions, alongside producing platters of music, was to make dolls “speak, sing, cry and make various sounds”.
p22: Marshall McLuhan argued that electronic technologies were installing an “acoustic space” in the place of an earlier “visual space” […] he believes that electronic media eroded this crisp and objective grid of facts, dissolving it into a psychic, social and perceptual environment that resembles the kind of space we hear: multi-dimentional, resonant, invisible tactile, “a total and simultaneous field of relations”. Though McLuhan used “acoustic space” as an analogy for a psycho-social process that did not necessarily tickle the bones of the inner ear, his oceanic vision of acoustics does foreground the central role that music – and its electromagnification.
p 27: The song becomes a viral dissemination: technologies, broadcast, relayed, replayed, addressed to everyone and no one […] the song soon becomes a technological paradigm: something which can be turned up, levelled out.
Edison was a prolific inventor. He is particularly well know for the invention of the electric light and power utilities, sound recording, and motion pictures all established major new industries world- wide. Edison’s inventions contributed to mass communication and, in particular, telecommunications. Using this information that turntable and electric light have the same inventor, I propose an installation linking two topics of the gallery changing nation in the museum of Scotland : DAILY LIFE – HOME TECHNOLOGY and ENERGY – SCIENCE AND TECHNOLOGY.
The turntable would be transformed into generator, when it is playing, touching a special venial, it will generate light, using the rotation of the turntable to generate electricity or/and the contact of the needle onto the vinyl.
The turntable in the museum is a Linn Sondek LP12. Linn is one of the stalwarts of the British hi-fi industry. Taking its name from a local park in Glasgow, Linn was founded in the early ’70s and started off with just one product – the legendary LP12 turntable. Since then the company has developed an impressively comprehensive product range.
I was thinking to recreate the production line of the turntable by generating sounds from each steps of the production, from raw material to finish product. The single harm could go from one turntable to another, picking the sound related to the action (we should figure it out how we generate the sound: which data ? record in the factory ? …).
The harm would reading the sound, then add the second one on top of it. Like record a sample then add one on top of each other on the same principle of a loop pedal (exemple here)
It could be a reflection of the factory process (linking the communication part to the industry part of the gallery).
It also play on the on the production line method of the construction a mass produce product and the brand of the turntable Linn.
Finally there is a reflection on the music procession as well. The evolution of music and the possibility that turntable offered to musicians: Turntablism, which is the art of manipulating sounds and creating music using direct- drive turntables and a DJ mixer: the record player becomes a musical instrument. DJ use turntable to mix and samples. This installation would also be a homage to this art.
Combination of both
Edison was one of the first inventors to apply the principles of mass production and large-scale teamwork to the process of invention, and because of that, he is often credited with the creation of the first industrial research laboratory. From this information we can easy imagine and justify that these 2 concept could become a single one.
“Glowing Lines uses photo-luminescent paint to mark out the edges of the road, and is the first of five concepts to be realised from Dutch designer Daan Roosegaarde’s Smart Highway project – designed to make highways safer while saving money and energy.
Developed with infrastructure firm Heijmans, the paint absorbs solar energy during the day then illuminates at night. “Here the landscape becomes an experience of light and information,” said Studio Roosegaarde in a statement. “As a result this increases visibility and safety.” The lines are now installed along the N329 route in Oss for an initiative called Road of the Future. Three glowing green lines run along each side of the dual carriageway and illuminate every night.
Rooegaarde described driving along the section of road at night as “going through a fairy tale”. The project was first announced at Dutch Design Week 2012, and has since undergone a series of tests to gauge durability and user experience.
It was presented by Roosegaarde at the Design Indaba conference in Cape Town in 2013 and received an INDEX: Award later the same year.”
“When the Berlin Wall was built back in 1961, it literally went up overnight. Constructed first out of just barbed wire, then supplemented with concrete walls, landmines, and watch towers, the mauer split Berlin in half for nearly 30 years, until it one of the biggest bureaucratic gaffes of all time caused the wall to come down earlier than expected in 1989. To mark the anniversary of the fall of the wall, Berlin will once again cut the city in half starting in the middle of the night on November 7. But this time, it won’t be done with barbed wire–it’ll be done with balloons full of light.
Designed by light artist Christopher Bauder and film maker Marc Bauder, Lichtgrenze is a nearly 10-mile installation which will feature around 8,000 glowing white orbs, marking the original path of the Berlin Wall through the city. For two whole days, the German capital will once again be split between East and West, at least metaphorically.
Situated at six key locations along the path, Lichtgrenze will display historical footage of what was life in those areas while the wall was up. In addition, every 500 feet along the wall, visitors will be able to find personal anecdotes, memories, and stories–100 in total–from people who lived on both sides of the Wall, or whose lives were affected by it in some way.
The Lightgrenze will stay erected until November 9 at 7 p.m., at which point thousands of volunteers (called balloon patrons) will attach personal messages to the balloons and then disconnect their strings, sending the lit balloons streaking into the sky. But no need to worry about the environmental impact here: the balloons have been specially designed for the event by researchers at the University of Hannover to make sure that they are completely biodegradable.” From Fastcodesign
Revolights are a system of white and red LEDs mounted on the bike’s front and rear wheels which light up as the wheels spin. Sensors calculate how fast the wheels are spinning and turn the LEDs on and off to create arcs of light – white at the front and red at the back – which are visible from all angles. The original idea was actually to try to make a more efficient headlight by getting the light as close to the ground as possible. After the first prototype. the creator realised the huge added side visibility the motion of the lights created, which if you ride a bike you know is a big deal. Based on that he quickly made a red version for the rear wheel, and Revolights was born.
The See.sense “intelligent” bike light uses sensor technology from smartphones to assess the rider’s environment and responds by making them more visible when they need it most. When the sensors detect that the cyclist is at a road junction or roundabout, or passing through a dark underpass, it tells the light to flash faster and brighter.
“My epiphany came when I was cycling along looking at the smart phone on my handlebars. I realised that the smart sensor technology it contained could be used to give a light situational awareness. In essence, the light could be bright when it needed to be and conserve energy at other times. ”
The Lumen – handmade by Mission Bicycle of San Francisco – is the world’s first commercially available bike with a “retro-reflective” coating – with the frame and rims painted with hundreds of thousands of microscopic transparent spheres. The bike looks grey during the day – but when light hits the spheres at night it bounces straight back to the source, in a retro-reflective “cat’s eye” effect.
There are a few bike horns on the market at the moment but, unlike some noisier rivals, the Loud Bicycle Horn is deliberately set at 112 decibels – mimicking a typical car horn. The two-tone sound closely matches the pitch of a car horn too. Inventor Jonathan Lansey, a research engineer, says drivers react to car horns immediately – without locating where the sound has come from first.
“There are some bike horns that are louder than car horns,” he adds. “But we found that the sound of a ‘proper’ car horn is just right to get a driver’s attention without damaging your ears. There has been a lot of research showing that car horns are one of the best sounds to deter accidents.”
The Hövding – stocked in UK shops for the first time this month, a couple of years after its launch – is an airbag collar which inflates in under a tenth of a second when it detects the abnormal movement associated with a crash. The company cites crash tests by Swedish insurance company Folksam, which compared the Hövding to traditional cycle helmets and found it performed far better in reducing the chances of serious head injury or fatal injury.
Helios handlebars feature a super-bright headlight at the front, and two lights on the ends of the bars which can be used as directional indicators. Once connected to a smartphone using Bluetooth, the bar-end lights flash to offer easy-to-see turn-by-turn GPS navigation too.
” Commissioned by the Center for Strategic and International Studies for their new headquarters in Washington, Sosolimited partnered with Hypersonic Engineering & Design, Plebian Design, and Chris Parlato to design, program, and fabricate one-of-a-kind chandelier. 425 hanging pendants form a map of the world when viewed from below. This map becomes a low-res display for illustrating global data such as GDP growth rate, renewable water resources, and energy consumption.
Each data set is paired with a lighting animation. In addition, CSIS can highlight regions of the map that correspond with international developments or events within the building. The entire system is automated, linking to web-based data to dynamically build animations. By parsing CSIS website, the team can identify countries in the news and highlight them on the chandelier.
The system currently uses UN Data GDP growth rate, USEIA Total Energy Consumption per capitaand Aquastat Total Renewable Water Resources per capita. Each of these data sets updates on an annual or quarterly basis. The team wrote a series of python scripts that process the data and colour an SVG map of world to match a normalized value for each set. An openFrameworks app loads these maps and uses the data to drive a series of animations. Each animation is unique to the data set and attempts to resemble the underlying data: water feels like rain drops, energy pulses, and GDP grows. There are also visual modes that let researches at CSIS select specific regions of the world to highlight – either to show conflict, or to show progress — John Rothenberg of SoSo Limited explains to CAN. Finally, the oF app outputs DMX to a series of DMX dimmer boards that control the light fixtures. Each pendant lights contains an MR-11 LED bulb that becomes a pixel in the display. “from Creative Applications
” Rune Guneriussen, born 1977, in Norway. Education from Surrey Institute of Art & Design in England. Live and work in eastern Norway. Is an artist working in the transition between installation and photography. As a conceptual artist he works site specific, primarily in nature. The work on objects started in 2005, and has been photographed on locations all over Norway.
It is not as much photography as it is about sculpture and installation. The long oneman work on an largescale installation is a process triggering the artistic genom. This process involves the object, story, space and most important the time it is made within. It is an approach to the balance between nature and human culture, and all the sublevels of our own excistence. The work is made solely on site, and the photographs represents the reality of the installation itself.
As an artist he believes strongly that art itself should be questioning and bewildering as opposed to patronising and restricting. As opposed to the current fashion he does not want to dictate a way to the understanding of his art, but rather indicate a path to understanding a story. ” From his web site