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From Karen Marcelo

Video of Mark Pauline on the Predator Arm

7:00pm social hour 8:00pm presentations
Nov 14 2018

Gray Area
2665 Mission St
San Francisco, CA

RE/Search will be there for all your alternative culture needs!

Free admission but $5-$20 donations for our hosts much appreciated

Gray Area
2665 Mission St.
San Francisco, CA

Naut Humon - 5 Projects from the Upcoming Recombinant Festival

At the last Dorkbot Naut Humon briefly announced Recombinant's upcoming marathon 7 day festival from November 26th to Dec 2 at Gray Area. The festival theme "Transmissions from the Seismic Stations" touches upon Seismo - Strobic synergistic oscillations between aural optic tremulant vibration and phosphene retina phenomena. Naut will take a look under the festival's hood with cameo clips by some of the artists and further discussions of the past and future projections for RML.

Artists' works from the Recombinant Festival to be examined are:
Ulf Langheinrich: who presents NIL - an extraordinary migratory adventure far beyond the ubiquitous & prevailing audio-visual show. The customary proscenium screen is commutated by a window into a phosphorescent bedazzlement , rich in multi-ayered saturated hues and retinal resplendence.
NIL can be presented as a live performance or an installation, The spectator peers into flickering formations of stroboscopic patterns creating a hallucinogenic field of light. The strobes are invisibly located in a white area behind a threshold which is marked and bordered by a screen like window, they project onto a large screen behind this window. The screen is significantly larger than the window. hence, the visible field of light lacks reference to the actual physical space behind the window.

Herman Kolgen critically acclaimed multidisciplinary artist and audio kinetic sculptor whose 7 cinematically scaled spectacles as RML Artist in Residence will display a propulsive laboratory of cross sensory experiences. His high tech audiovisual installations render the visible through radiographic detection and data. Though his projects have conceptual concerns, they all remain physically tangible pushing sonic boundaries into body undulating territory and altering visual perceptions playing on notions of physical, cerebral, and emotional tension and re-release.

V.Dream is a virtual reality installation by Li Alin in collaboration with Michael Saup and Ulf Langheinrich that uses the technological potential of sound and visual immersion of VR to induce the natural phenomenon of lucid dreaming (a dream where we are conscious we dream).

Michael Gendreau has composed and performed based on his studies in physics, his philopophies pertaining to temporal and environmental persistence, and his experiments with small motors and turntable mechanisms. His performances have involved sounds from one-off transcription discs cast by others in the middle of the last century, those cut in his studio using a decrepit lathe. More recently Gendreau has sought to extend these later studies and to use buildings as speakers. He records the infrasonic vibrations of the performance space and in concert, uses the structure's resonances as an additioanl instrument in his site-specific compositions. These practices are based in part on his current work as an acoustician working primarily on low-vibration and noise design for buildings.

Craig Dorety's work is inspired by understandings of visual perception, the subconsious and memory. Vision as our main sensory input for the world in which we exist and in general he creates art through the use of abstracted image data which he renders visible blindness occuring in the brain not the eyes. This understanding let him to use mathematics and engineering to create colorful three-dimensional digital sculptures and mimic those occurences. He uses industrially pre-fabricated LED technology and custom electronic hardware and firmware to collapse space and re-map it formulating physical space-time distortions. When treating color as information rather than image, Craig can do anything he wishes to the data electronically. This result is a meditative slightly hypnotic active display of color. By re-displaying information rather than image Craig gives the viewer a glimpse into space-time as seen through the installer's eyes.

RML was founded in 1991 by Naut Humon, and further evolved by technical directors Vance Galloway and Barry Threw, along with artists Edwin van der Heide, Egbert Mittelstadt, and Li Alin. Qualified support from Obscura Digital, UCSD, ICAS, Gray Area, and Goldsmith's University, London, has expanded the base.

Naut Humon has been the Director of International Creative Operations for the RML CineChamber, Asphodel Records and AV curator for select portions of the annual ARS Electronica Festival in Austria where he also acted as the main American coordinator for their Prix Ars Digital Music and Sound Art jury category for a full decade. Recombinant Media Labs (RML) emerged from Humon's lifetime of performance exploration and cross media cooperations.

Scott Kildall - Performing Nature: Audio Synth at Dinacon

DinaSynth Quartet is a live audio-synth performance between a plant, the soil, the air and the water in nature. This quadrophonic melange emits a synthetic soundscape that interacts with the buzz of cicadas, the croaks of frogs and the songs of the birds. This project demonstration builds on Scott Kildall's Sonaqua project which he presented at Dorkbot last year.

DinaSynth Quartet was prototyped at Dinacon - an art + science "conference", which took place in June-July 2018 on a small island in Thailand with artists, scientists, thinkers and designers. Kildall will discuss this experience as an effective model of collaboration between artist and scientists. He will end the talk with unveiling Xenoform Labs: a new artist-in-residency program, studio and workshop space, which invites a fluid collaborative space in the Mission District.

Scott Kildall is a new media artist who works with datasets related to natural sciences and how they interact with human civilization, transforming these into sculptures and interactive installations. His work spatializes data to create experiences where viewers can move and interact with the data itself. Because data has physical consequences, his work generates meaningful real-life experiences for the viewer. Recent artworks range from stone tablets etched with meteorite impact data to interactive sound installations based on water quality to virtual reality installations where viewers can fly around data involving the artificial construct of the nation-state.

His work has been exhibited internationally at venues including the New York Hall of Science, Transmediale, the Venice Biennale, the Vancouver Art Gallery and the San Jose Museum of Art. He currently resides in San Francisco.


Mark Pauline - Predator Arm Presentation

SRL has been commissioned to make a robotic arm that can interact with people using depth perception technology and machine vision.

Survival Research Laboratories was conceived of and founded by Mark Pauline in November 1978. Since its inception SRL has operated as an organization of creative technicians dedicated to re-directing the techniques, tools, and tenets of industry, science, and the military away from their typical manifestations in practicality, product or warfare. Since 1979, SRL has staged over 45 mechanized presentations in the United States and Europe. Each performance consists of a unique set of ritualized interactions between machines, robots, and special effects devices, employed in developing themes of socio-political satire. Humans are present only as audience or operators.

Mark Pauline (born December 14, 1953) is an American performance artist and inventor, best known as founder and director of Survival Research Laboratories. Pauline founded SRL in 1978 and it is considered the premier practitioner of "industrial performing arts", and the forerunner of large scale machine performance. SRL is known for producing the most dangerous shows on earth. Although acknowledged as a major influence on popular competitions pitting remote-controlled robots and machines against each other, such as BattleBots and Robot Wars, Pauline shies away from rules-bound competition preferring a more anarchic approach. Machines are liberated and re-configured away from the functions they were originally meant to perform.

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