Electrical network

Evolving Spark Network

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• published: 30 Mar 2011
• views: 780

The installation Evolving Spark Network consists of a grid of electric spark bridges that traverses the whole exhibition space. Together the bridges form a plane with a height of about 3 meters above the floor. The sparks are a metaphor for the electrical impulses by which our nerves communicate information. Just like neurons that form networks in our body, the spark bridges also form an interconnected network. There is no hierarchical process that determines the patterns of the cells but they are the result from relationships between the individual cells of the network. The movements of the visitors in the installation are being detected by means of radio frequent movement detection sensors and used as input for the network. The visitors activate the network and are being invited for a spatial dialog with the network. The behavior of the spark bridges is a form of artificial life with the physical world as input. Evolving Spark Network is a sound and light installation. The sparks produce both sound and light. The generated patterns have a distinct visual and a distinct sounding quality. The use of sound makes it possible to perceive the space as a whole. With our eyes we’re always focusing on something (while not focusing on the rest) but with our ears we always listen around us. With sound we can hear movements that for example come from behind us, travel over us and move in front of us. In this installation the electric spark represents beauty, purity and simplicity. A spark is one of the most elementary forms of light generation. The arc lamp is an example of this. The impulse that is being produced is the shortest imaginable sound. Composing with these impulses can be seen as one of the most fundamental forms of composition in time and space. http://www.evdh.net/evolving_spark_network/ concept: Edwin van der Heide realization: coproduction of Edwin van der Heide and V2_Lab

ELECTRICAL PULSES - A multimedia art project

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• published: 07 Mar 2016
• views: 395

http://josemanuelruiz.net I understand electricity as a complex and chaotic network, as the primary vehicle for the generating of cartographies, physical as well as virtual, that connects us daily and instantaneously to any place in the world. With electricity we are capable of globally extending our central nervous system and linking it immediately with the rest of humanity. I understand electricity as a process, a continual process of creation and relational transformation of material, data and information which we feed on in order to exercise communicative action. I also understand it as being responsible for automation; with electricity a machine becomes autonomous, independent, ceasing to be a simple medium for the artist, and as such becoming the feasible vehicle that allows it to carry out the transformation of the representational paradigm. And, lastly, I understand it as the cause of our ‘electrical being’, the being that avoids the heavy blow of new technology and contains that violence with full knowledge (McLuhan, 1964), the being that flows with its use and, also, is capable of reflecting on its impact. Electricity as a phenomenon, of comparable antiquity to basic life material or energy itself, that went from being an element which for centuries was only visible -through small scientific experiments- to being used as an indispensable media, installing itself definitively in the daily lives of human beings after the Industrial Revolution, with the arrival of digital technologies –even more so and due to its extreme assimilation from its habitual use- it situates itself in an elevated stratus of visibility and consciousness then, at the same time, it is one of the main causes of a radical change in sensory perception. And it is here that the artist, due to their experience, is obliged to reflect, to generate questions, to establish dialogues and propose answers to the endless issue of representation, an undertaking that indispensably happens by the use of the new medias, current resources, contemporaries, with which the digital native, mainly, is found linked, then a technique is meaningful expression of a society and therefore determinants for these practices (Alsina, 2007:24). Electrical pulses establish conceptual links between the human being and electricity, between speed and network, between light and sound, between physicality and virtuality, all of which are unavoidable links for the artist that integrates the use of new technologies in their work as a plan of action, as a continuous process of the now, as a natural extension of doing, as an indivisible part of their thought. In this way, a constant dialogue is constructed between the automatic machine and the electrical concept; a continual battle to force the machine to amplify the capacity of its techno-functional principles, to warp those principles farther than what has been pre- established by industry and engineering, to force it as such to act in the creative context. Through installations formed by audiovisual projections and bi- and tridimensional digital printings on large pieces of plastic –a material which does not conduct electricity and which allows for space- time fixation of an image before the viewer-, from urban registries accumulated during the mapping developed by different sectors of the city –guided by the continuous meeting of chaotic entanglements generated by the connecting cables of powerlines-, and mechanical registers from the extrusion of a 3D printer which, located in a vertical position, moves its non-retinal gaze in the form of a filament from the electrical landscape to the screen of the scanner, it refers to the multitude of layers and networks of knowledge and information that day to day generates said electricity, breaking up the topographical map of its connections and nodes. And our machine, guided by electricity, generates sound. Loud noise and iconographic noise, making themselves visible in a coherent and interrelational way in each of the processes presented. A multimedia project that aims to give a representational form to the electric imaginary of the 21st century, so ever changing and in a continual process of transformation, employing for this the very latest perceptual-sensory elements that are directly linked to the concept of electricity: light, image, noise, movement and magnetic fields.

Evolving Spark Network

• Report rights infringement
• published: 30 Mar 2011
• views: 780

The installation Evolving Spark Network consists of a grid of electric spark bridges that traverses the whole exhibition space. Together the bridges form a plane with a height of about 3 meters above the floor. The sparks are a metaphor for the electrical impulses by which our nerves communicate information. Just like neurons that form networks in our body, the spark bridges also form an interconnected network. There is no hierarchical process that determines the patterns of the cells but they are the result from relationships between the individual cells of the network. The movements of the visitors in the installation are being detected by means of radio frequent movement detection sensors and used as input for the network. The visitors activate the network and are being invited for a spatial dialog with the network. The behavior of the spark bridges is a form of artificial life with the physical world as input. Evolving Spark Network is a sound and light installation. The sparks produce both sound and light. The generated patterns have a distinct visual and a distinct sounding quality. The use of sound makes it possible to perceive the space as a whole. With our eyes we’re always focusing on something (while not focusing on the rest) but with our ears we always listen around us. With sound we can hear movements that for example come from behind us, travel over us and move in front of us. In this installation the electric spark represents beauty, purity and simplicity. A spark is one of the most elementary forms of light generation. The arc lamp is an example of this. The impulse that is being produced is the shortest imaginable sound. Composing with these impulses can be seen as one of the most fundamental forms of composition in time and space. http://www.evdh.net/evolving_spark_network/ concept: Edwin van der Heide realization: coproduction of Edwin van der Heide and V2_Lab

ELECTRICAL PULSES - A multimedia art project

• Report rights infringement
• published: 07 Mar 2016
• views: 395

http://josemanuelruiz.net I understand electricity as a complex and chaotic network, as the primary vehicle for the generating of cartographies, physical as well as virtual, that connects us daily and instantaneously to any place in the world. With electricity we are capable of globally extending our central nervous system and linking it immediately with the rest of humanity. I understand electricity as a process, a continual process of creation and relational transformation of material, data and information which we feed on in order to exercise communicative action. I also understand it as being responsible for automation; with electricity a machine becomes autonomous, independent, ceasing to be a simple medium for the artist, and as such becoming the feasible vehicle that allows it to carry out the transformation of the representational paradigm. And, lastly, I understand it as the cause of our ‘electrical being’, the being that avoids the heavy blow of new technology and contains that violence with full knowledge (McLuhan, 1964), the being that flows with its use and, also, is capable of reflecting on its impact. Electricity as a phenomenon, of comparable antiquity to basic life material or energy itself, that went from being an element which for centuries was only visible -through small scientific experiments- to being used as an indispensable media, installing itself definitively in the daily lives of human beings after the Industrial Revolution, with the arrival of digital technologies –even more so and due to its extreme assimilation from its habitual use- it situates itself in an elevated stratus of visibility and consciousness then, at the same time, it is one of the main causes of a radical change in sensory perception. And it is here that the artist, due to their experience, is obliged to reflect, to generate questions, to establish dialogues and propose answers to the endless issue of representation, an undertaking that indispensably happens by the use of the new medias, current resources, contemporaries, with which the digital native, mainly, is found linked, then a technique is meaningful expression of a society and therefore determinants for these practices (Alsina, 2007:24). Electrical pulses establish conceptual links between the human being and electricity, between speed and network, between light and sound, between physicality and virtuality, all of which are unavoidable links for the artist that integrates the use of new technologies in their work as a plan of action, as a continuous process of the now, as a natural extension of doing, as an indivisible part of their thought. In this way, a constant dialogue is constructed between the automatic machine and the electrical concept; a continual battle to force the machine to amplify the capacity of its techno-functional principles, to warp those principles farther than what has been pre- established by industry and engineering, to force it as such to act in the creative context. Through installations formed by audiovisual projections and bi- and tridimensional digital printings on large pieces of plastic –a material which does not conduct electricity and which allows for space- time fixation of an image before the viewer-, from urban registries accumulated during the mapping developed by different sectors of the city –guided by the continuous meeting of chaotic entanglements generated by the connecting cables of powerlines-, and mechanical registers from the extrusion of a 3D printer which, located in a vertical position, moves its non-retinal gaze in the form of a filament from the electrical landscape to the screen of the scanner, it refers to the multitude of layers and networks of knowledge and information that day to day generates said electricity, breaking up the topographical map of its connections and nodes. And our machine, guided by electricity, generates sound. Loud noise and iconographic noise, making themselves visible in a coherent and interrelational way in each of the processes presented. A multimedia project that aims to give a representational form to the electric imaginary of the 21st century, so ever changing and in a continual process of transformation, employing for this the very latest perceptual-sensory elements that are directly linked to the concept of electricity: light, image, noise, movement and magnetic fields.