Paola Lopreiato

PhD candidate at the Planetary Collegium, CAiiA Hub, School of Art & Media, University of Plymouth

Q (Quanta of Sound (2015)

Three main elements characterise the realization of this installation:

1. Reconsideration of acoustic spectrum

2.Analysis and use of acoustic I electromagnetic wave phenomena

3.Use of new media

There are great similarities between the behaviour of electromagnetic wave phenomena and phenomenain the acoustic domain, and those correspondences inspired the work “0” (quanta of sounds). Theinteractive installation akes as its point of origin of the electricity distr buted in

the spectrum of audible sounds generated by the instrument (in this case the voice of audience captured by microphones),treating it and returning it with profound deviations in time and space. The energy distr bution in the spectrum of the acoustic soundis its own identity,its character, a kind of genetic code or fingerprint that makes the event unique and unrepealable. The patch configured with the software MAX I MSPis responsible for analysing the ene gy distribution (energy of sound) by dividing the spectrumin typical critical bands that are also the one with which works the basilar membrane, located in the cochlea. The energy (of the original sound) captured in the 25 critical bands will be analysed and then returnedin time in small packets (quanta) no longer in a synchronized manner but with appropriate time intervals that make more distinct and perceptible their presence,opening like a ray of light refracted by a prism. Simila/ly,the or ginal sound source (where the microphonestpeople’s voice are located) will no longer be the location (not the only one) of the •quanta of energy” which will nstead be projected in the surrounding acoustic spacein every direction. Thanks to this irradiation in time and space,the energy contained in the acoustic spectrum will be perceivable in a direct way in its essential components. The energy distribution in the spectrum of the acoustic sound is its

identity while the quantization process andirradiation of the acoustic energy in different time and

directions provide an opportunity for exploration of the sound generated by people’s voices and this process will highlighting new variations of that identity of the sound,normally trapped in the structure of the sound itself.The release of the energy within the sound and its expression through this alchemical process put in place by the new dimensions of space and time,define a new identity or better yet a different way of reading what is happening.

info : www.i-node.org

Benjamin Pothier

PhD candidate at the Planetary Collegium, CAiiA Hub, School of Art & Media, University of Plymouth

info:www.i-node.org

Law C Alsobrook III

PhD candidate at the Planetary Collegium, CAiiA Hub, School of Art & Media, University of Plymouth

Assistant Professor, Virginia Commonwealth University,Qatar

Auxiliary Reality Cabinet of Curiosity (2015)

Our world and the relations we construct within it is an increasingly mediated experience. Attendant to this mediation, we will soon embark upon voyages of discovery that take us to realms previously unimaginable. The ARC2 (Auxiliary

Reality Cabinet of Curiosity) attempts to illustrate these alternate narrative paradigms that reflect a new engagement with nature, a nature defined and supplemented by innovative technologies and novel means of production. Like the

wunderkammer begun by curious collectors of the Renaissance, to the natural treasuries amassed by early natural scientists of the 16th and 17th centuries, ARC2 is a Noachian assemblage that seeks to interrogate the interstitial spaces

that exist between the realms of consciousness and dreams. These supernumerary dimensions exist, at a quantum level, as well as within the electronic construct of cyberspace, that consensual hallucinatory field that runs seemingly parallel to our own quotidian world.

The exotic flora and fauna that populate these domains is of our own design as well as one of invention. Indeed, the landscapes contained within these dimensions comprise the augmented and virtual terrains of the digital, to say nothing of the supernal and the nanoscopics of our physical world. The question

becomes: somewhere, within these confines, does human consciousness emerge as the narrative agent for understanding and comprehension, or does narrative emerge as an attempt by human consciousness to understand and comprehend?

ARC2 partakes of the dialectic and the dialogic, especially in regards to time and the varieties and vagaries of time present in spaces seemingly familiar, yet not. These augmented and virtual realms suggest alternate timelines, and by virtue

of this, they delineate new realities that encompass narrative realms, and thus alternate forms of consciousness. ARC2 endeavors to explore, catalogue and examine the potentiality of these new spacetimes as vicarial continuums for being

and existence.

info: www.i-node.org

Yana Chebotova

Head of the Department of Design

H.S. Skovoroda Kharkiv National Pedagogical University.

The purpose. The direction for the subsequent work on creation the design-conception of the project (the project of the clothes collection) is work on transferring of the main figurative structures of the subject “project” on the main basic silhouettes in clothes designing.

The main part of the material. The analysis of the abstract composition of the subject “project” created at the previous stage is the following stage of work with figurative structures which have to be the basis of the future clothes collection design. At this stage there is a definition of the basic graphic symbols which create originality of this composition.

The subsequent stage of the work comprises connection with the earlier defined symbols

(with typical constructive silhouettes) which are well-known in clothes designing and called

“the basic dress codes”. Their graphic characteristics are following: the rectangle, the

x-shaped silhouette (“sand-glass”), the oval and the trapeze. Some authors give more of

them, however these are the main. The many small sketches within basic design schemes

are result of this task performance. They have to be well grouped and balanced from the art

point of view.

The described work stages, from the psychology point of view, reproduce the analysis and

synthesis of visual information: when the analysis of graphic composition “project” has been carried-out, the synthesis of certain elements on the basis of the clothes constructive

silhouettes was performed. The result is the newest, harmonious composition at higher level of the graphic competence with orientation to clothes design. In such a way the subsequent intelligent steps in the clothes collection design on the basis of the image “project” are performed.

The presented example shows how the figurative composition of the subject “project” turns

into the graphic schemes (images) which reflect the conceptual idea of the future clothes

collection sketches.

The work with the images is carried-out according to the scheme:

– From the concrete to the abstract and further again to the concrete and so on

– It is possible to present it as the analysis – the synthesis – the analysis – the synthesis

info: www.i-node.org

Julia Heurling
Artist/Designer

A horizon is not flat

In the summer of 2014 I spent one month on Kefalonia participating in the “Mapping Kefalonia” workshop. The result was the project “A horizon is not flat”. It can be seen as an investigation in how to invite a viewer to read or visit a place through photography, and the limits and extensions of visual perception and representation of specific photographic works. After the stay I have continued working on the concept and the visual outcome. The poster is a result of this work.

By taking photos of the landscape in series I want to accentuate the human experience of place, focusing on ground perspective and three dimensional experience. The series aim to describe continuity, context and viewer perspective of visual appearance. When combined into patterns, the images address questions as: What do repeat do to the visual content in a photography? Will it be redundant or are other qualities than motive given attention?

Photography is often regarded as a tool of proof, or a medium of truth. A photograph proves, and reproduces the photographers visual experience. It is a sample of experienced reality. I see and use photographs as a tool for visual thinking. Photographs give opportunity to explore reality in separate constituent parts. When working with pattern, interrelations, continuity and rhythm within a composition are equally important as content of an image. The project can be seen as a subjective and slightly fictional take on a documentary medium as photography.

Similar to the idea of abstraction, pattern can be a tool to clarify, simplify and exaggerate certain visual characteristics. “A horizon is not flat” aims to communicate and highlight characteristics as shape, colour and spatial changeability of Kefalonian views and appearances. In the naturalist school sense, pattern also illustrates the idea of “reproducing nature by carrying it to its maximum power and intensity”.
“Next Nature” suggests the idea of reality as a flow of variables and I think “Ahorizon is not flat” is closely linked to this idea.
Visual experience is different to every individual, and to every moment of life. I think the differences, however small, are more interesting than what unites our visual experiences. I aim to use photography to emphasize reality as continuous, pluralistic and diverse rather than actual. Suggesting ambiguity and doubt rather than certainty is key to describing reality.

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