Peter Pan’s Shadow 2 – Interactive Projection

“I wasn’t crying about mothers,” he said rather indignantly.
“I was crying because I can’t get my shadow to stick on. Besides, I wasn’t crying.”
“It has come off?”
“Yes.”

Then Wendy saw the shadow on the floor, looking so draggled, and she was frightfully sorry for Peter. “How awful!” she said, but she could not help smiling when she saw that he had been trying to stick it on with soap. How exactly like a boy.

De Selby’s Parallel Mirrors – Interactive Installation

In the book The Third Policeman by Flann O’Brien, a philosopher describes the arrangement of parallel mirrors. His madcap theory goes that, if you get a couple of mirrors, the cleanest and most reflective you can find, then as you look towards the end of the reflected concentric mirrors, you should be able to see yourself younger – because light takes time to travel when bouncing off the mirrors!

Shadow Puppet Performance 7.3 – 8
Free Admission

TAKTAL invites the people of Wandsworth to visit and engage with the experimental art space Testbed1 as part of the Wandsworth Arts Festival 2011.. The ex dairy warehouse complex is a stunning sequence of spaces beside Ransomes Dockwhich is largely unknown. Through the construction of a series of large scale interactive installations we propose to transform Testbed1 into a space of visual splendor. A combination of Architecture and Visual Arts each installation will play with and manipulate with the spatial qualities within the Testbed1 complex enticing users to engage with the space and have fun. The exhibition will be a collaboration between ex-students from the Bartlett School of Architecture, Westminster School of Architecture and the Glasgow School of Art.

The doodle bar will be open in the courtyard all day so come down and enjoy the view by the Dock.

T E S T B E D M A I N S P A C E

RELAY – Architectural Light Installation
Kite and Laslett – Westminister School of Architecture
http://www.kiteandlaslett.com/
http://vimeo.com/17562263

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C O U R T Y A R D

TWO WAY – Interactive Projection
Tetsuro Nagata – Bartlett School of Architecture
http://tetsuronagata.co.uk/pitzhanger.html

I HAVE THESE TWO FACES – Interactive Installation
David Di Duca – Bartlett School of Architecture
http://vimeo.com/13348533
http://vimeo.com/22594024

NECKS OF THE WOODS – Musical Shadow Puppet Performance 7.30pm – 8pm
Puppets and Visuals by PLANFLASHTIC – SeePlats, – Glasgow School of Art
http://www.seeplats.com/

Music by Lime Headed Dog
http://www.limeheadeddog.com/

WARMBABY – Architectural Installation
Sample section of their installation which they are constructing at The Burning Man.
http://warmbaby.tumblr.com/

ROYAL REFORMATION – Animation
Paul Nicholls – Bartlett School of Architecture

ECO COMMUNE – Animation
Richard Hardy – Bartlett School of Architecture

THE ELEPHANT SUBWAY (KALEIDOSCOPE EDIT) – Shortl Film
Jonathan Gales – Bartlett School of Architecture

LE GARE – Short Film
Frank Hanna – Greenwich School of Art

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P  E  R  F  O  R  M  A  N  C  E  S

Film Screenings
Courtyard
2:30pm, 4:30pm, 5:30pm

Interactive performance in with RELAY installation
Main Space 3pm, 5pm

Shadow Puppet Performance
Courtyard 7:30pm

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Corneli, is an artist who uses light and shadow as a medium for drawing.  This pieces is aluminium, painted iron pieces which pick up the evening sun. His website is here

Apaptive Fritting
Harvard School of Design, 2009

‘Built on the practice of standard fritting with the addition of real-time dynamic motion via motorized control. While conventional fritting relies on a fixed pattern, Adaptive Fritting can control its transparency and modulate between opaque and transparent states. This performance is achieved by shifting a series of fritted glass layers so that the graphic pattern alternately aligns and diverges.

The installation at Gund Hall consists of six motorized panels comprising a 24-foot by 4-foot window, housed within a curved wall. These panels are programmed to form a dynamic field where light transmission, views, and enclosure continuously adapt and change. As the panels transform, the visual effect is of sparse dots blossoming into an opaque surface’.

Expanding Sphere

Expanding Geodesic Dome

3 day festival recording using time lapse cinematography technique whereby each film frame is captured at a rate much slower than it will be played back. When replayed at normal speed, time appears to be moving faster.

“I took photo locations from the Flickr and Picasa search APIs. The base maps that they are plotted on top of are from OpenStreetMap. I wrote some perl scripts to identify and plot the clusters of locations. The scripts generate PostScript which I then converted to JPEGs using Ghostscript.

The maps are ordered by the number of pictures taken in the central cluster of each one. The central cluster of each map is not necessarily in the center of each image, because the image bounds are chosen to include as many geotagged locations as possible near the central cluster. All the maps are to the same scale (a square measuring 15 miles on each side), chosen to be just large enough for the central New York cluster to fit. The photo locations come from the public Flickr and Picasa search APIs”.

Treatise is a musical composition by British composer Cornelius Cardew (1936-1981). Treatise is a graphic musical score comprising 193 pages of lines, symbols, and various geometric or abstract shapes that eschew conventional musical notation. Implicit in the title is a reference to the philosophy of Ludwig Wittgenstein, which was of particular inspiration to Cardew in composing the work. The score neither contains nor is accompanied by any explicit instruction to the performers in how to perform the work. Cardew worked on the composition from 1963 to 1967. Source – Wikipedia.

In 2001 Michael was invited by the Museum of Modern Art in New York to record the re-development of their building  on one exposure. He set up eight cameras in four different corners and photographed the destruction and re-building of the MoMa until 2004. Using large format cameras (4×5 inches) he captured the light of his objects for up to 3 years in monochrome or colour.

Website here

Using both praxinoscopes and the technique of matching up the frame rate of the spinning record to that of the camera, no computer super-imposing was used; what you see is what rolled off the camera. The transitions between each section of animation was created by simply cutting or wiping between the bits of footage.

All the animations were created, drawn and coloured by the director David Wilson

Making of video here.

Produced by Blinkink
http://www.blinkink.co.uk