Real-Time Face Tracking and Projection Mapping
Impressive proof-of-concept demonstration from OMOTE which accurately projects visuals onto a moving human face - video embedded below:
Well, this is nuts.
"Move 36" explores the permeable boundaries between the human and the nonhuman, the living and the nonliving. The title of "Move 36" refers to the dramatic chess move made by computer Deep Blue against world champion Gary Kasparov in 1997 — a chess match between the best player that ever lived and the best player that never lived. The work includes a plant, especially created for the work, that uses the universal computer code (called ASCII) to produce a "Cartesian" gene, that is, a translation of Descartes’ ontological statement "Cogito ergo sum" into a gene. As viewers walk into the space, they see a chessboard made of sand and earth, flanked by digital projections that evoke the players in absentia. The plant is rooted precisely in the square where the computer defeated the human, that is, where the "move 36" was made…
A game for phantasmic players, a philosophical statement uttered by a plant, a sculptural process that explores the poetics of real life and evolution. This installation gives continuity to my ongoing interventions at the boundaries between the living (human, non-human animals) and the nonliving (machines, networks). Checkmating traditional notions, nature is revealed as an arena for the production of ideological conflict, and the physical sciences as a locus for the creation of science fictions.
“In neither case are the technologies murderous on their own, but a very real problem lies in the goals they serve. Here are robots meant to streamline war. Make war go faster.”
The Year in Robotic Seduction by Anshuman Iddamsetty.
Read the rest of Hazlitt’s Year in Review.
In the early 1960s digital computers became available to artists for the first time (although extremely costly and cumbersome, and programs and data had to be prepared with the keypunch, punch cards then fed into the computer; systems were not interactive and could produce only still images). The output medium was usually a pen plotter, microfilm plotter, line printer or an alphanumeric printout, which was then manually transferred into a visual medium…
When computers kill us off, what will it look like?
I’m hosting a CYBERNETIC REVOLT-themed movie night at Rock Bar in SF next Thursday. COME!
"Knowing when to stop, knowing when to say no…all these rules that aren’t written down for you, and you have to figure it out yourself through trial and error—and I’m learning as I go." —Jacolby Satterwhite
New in Art21’s New York Close Up series: Artist Jacolby Satterwhite works down to the wire on his latest animation, Reifying Desire 6 (2014), leading into its premiere at the 2014 Whitney Biennial. The artist is shown at work at Recess, Lower Manhattan Cultural Council, and the Whitney Museum of American Art.
IMAGES: Production stills from the Art21 New York Close Up episode, Jacolby Satterwhite Is Going Public. © Art21, Inc. 2014. Artwork courtesy OHWOW Gallery, Los Angeles and Mallorca Landings Gallery, Spain.
God I love Jacolby’s art… so good.
Janet Cardiff & George Bures Miller, The Killing Machine, 2007
Partly inspired by Franz Kafka’s ‘In the Penal Colony’ and partly by the American system of capital punishment as well as the current political situation, the piece is an ironic approach to killing and torture machines. A moving megaphone speaker encircles an electric dental chair. The chair is covered in pink fun fur with leather straps and spikes. In the installation are two robotic arms that hover and move- sometimes like a ballet, and sometimes attacking the invisible prisoner in the chair with pneumonic pistons. A disco ball turns above the mechanism reflecting an array of coloured lights while a guitar hit by a robotic wand wails and a wall of old TV’s turns on and off creating an eerie glow. (video of installation)
Artists of the day: Janet Cardiff & George Bures Miller