” 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
In Boston, playgrounds are no longer just for kids. Twenty LED-lit circular swings have been installed outdoors as a part of “Swing Time,” Boston’s first interactive sculpture installation. The hanging, glowing orbs are a twist on traditional rubber-and-rope swings, dangling from a minimal steel structure similar to those used in conventional playgrounds. LED lights embedded in the swings activate and change color as each swing moves, returning to a dim white light when static. The piece is designed to blend Boston’s design community with its expanding technology sector while playfully engaging residents.
Inspired by traditional playgrounds, Swing Time aims to activate outdoor spaces in Boston using technology and creativity, and was designed by Boston-based Howeler and Yoon Architecture in response to a lack of opportunity for urban play in the city. Swing Time is located at the Lawn on D, a contemporary sculpture park that borders on the Boston Convention and Exhibition Center on D Street on the city’s southern waterfront. The Lawn on D belongs to Boston’s newly minted Innovation District, an experimental area designed to foster the city’s burgeoning technology sector. Mayor Thomas M. Menino has defined the Innovation District as an “urban environment that fosters innovation, collaboration, and entrepreneurship,” creating a unique challenge for the designers of Swing Time.
The project represents a fusion of technology and community engagement while providing a new platform to celebrate local ingenuity. Each swing is formed of custom moulded and welded polypropylene built in three sizes for optimal use by residents of all ages. Movement in each swing is measured by an internal accelerometer that triggers the change of colour in the LED lighting system, ranging from white to blue and purple. The brief from Howeler and Yoon adds: “Swing Time‘s responsive play elements invite users to interact with the swings and with each other, activating the urban park and creating a community laboratory in the Innovation District and South Boston Neighbourhoods.”
Chimecco by Mark Nixon is a kinetic sculpture ‘Chimecco’ is a large interactive wind chime by artist Mark Nixon. He has turned a bridge in Aarhus, Denmark, into a musical instrument by hanging metal pipes from the underside.
Mark Nixon’s kinetic sculpture ‘Chimecco’ has been realised as part of the exhibition ‘Sculpture by the Sea’ in Aarhus, Denmark.
The piece is constructed from 600 50mm diameter gold anodized aluminium pipes ranging in length from 120 mm up to 3750mm. These pipes are attached to the underside of a bridge and with a series of interactive nodes on the top surface that allow for people to “play” the instrument. Varying in length, the pipes move freely in the breeze, sounding like a traditional wind chime when they collide.
According to Nixon, “Chimecco” operates on three conceptual levels
1. The idea of music and interaction as a catalyst for conversation and play.
2. The non-visual object. The sculpture is ‘hidden’ beneath the bridge. A constant varying in wind conditions on the site mean that the sculpture will hide and reveal itself through the creation of sound when the wind choses to blow. Some days the sculpture will be discovered, creating a beautiful moment of realisation in the viewer, while other day the sculpture will remain still and may be completely passed by. The use of interactive nodes on the top creates another interesting effect. Due to the object being hidden while it is played a condition of performers and audience is created. The piece can be experienced in a number of different ways but never in its totality.
3. Creation through the combined interactions of human movement and natural movement.
“guiding cyclists through the dark dutmala tunnel in Eindhoven, the Netherlands, ‘transit mantra’ is an interactive sound and light sculpture designed by Amsterdam-based designers knol ontwerp. opened in august 2013, the symbiotic piece provides an improved sense of safety for people crossing through the tunnel. influenced by the history of eindhoven, a city fused by a cluster of former villages – its decentralized character is still apparent today when one passes through. based on the notion of ‘being in transit’, the swarm-like installation seeks to enhance this experience, offering a pleasant moment of reflection. when people move through the tunnel, the overhead sculpture reacts to the human movement. cleverly, it responds differently to an individual walking through versus a group of people on a bike – the velocity and number of passengers influences the behavior of the installation, leading to an ever-changing pattern of light and sound.”