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The work reflects on the early days of cybernetic research and its influence on the art movements emerging from the period of 50/60s - minimalist/conceptual art. It deals with the concept of complex systems and uses feedback to represent a basic example of self-adaptive system i.e. artificial intelligence. The cube construction purposefully reminds of the minimalist/conceptualist works of the 50/60s, such as the forms of Soll Lewitt, the father of conceptual art/programmatic art. This symbolically suggests the link between scientific ideas from the late 40s and their reflection onto the global conscience of the 50/60s.

This cube is one of the three cubes that are planned for construction and will consequently form a larger piece with a possibility of modularly assembling them.

The construction of the work loosely resembles the paper tape transport on the first computer Colossus that the British code breakers used to read encrypted German messages during World War II.

The cube is constructed out of thin steel tubes as a sturdy support for the magnetic tape loop. The magnetic tape is looped around the wheels that are fixed to the cube construction with elastic bands to keep the angle and the tension of the tape. A stepper motor is moving the tape around the wheels with constant speed. A system of play/record magnetic heads is connected to the cube construction. All of the connecting wires are hidden inside of the steel tubes of the cube. The sound of the surrounding space and the visitors is broadcast and recorded randomly on different parts of the looped tape making a constant feedback/delay loop that is gradually developing more and more.

As opposed to classical feedback loop this one is hyperspacial, since it has multiple recording points that trigger randomly on random parts of the tape. The spatial recording of the space and the interactions with the space and the constant rewriting of the loop would serve like a spatial amplifier, accenting the characteristics of the particular space of the performance and removing the articulated sounds, abstracting it until the only thing left is the sound of the space and how it resonates. The resulting sound is best describable as deep, distorted, saturated echo with a dose of positive feedback.

Produced by T.R.I.B.E. and MoTA – Museum of Transitory Art

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Pages: 130
Medium: Perfect Paperback + eBook
Product Dimensions: 216 x 140 x 7 mm
Publisher: Departamento De Ficción
Language: Spanish

About the book and a download link

amazon link for the book

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Proceedings of re-new 2013 media art conference and festival, held October 27 - November 2, 2013 at PB43, Copenhagen, Denmark. The annual re-new media art conference/festival is a meeting-point for all those active in the art-science-technology amalgam. The event is a platform for artists, technologists, curators, researchers and scientists alike, and facilitates networking, knowledge sharing and dissemination.

Pages: 346
Medium: eBook
Product Dimensions: 210x280mm
Publisher: RE-NEW Digital Arts festival
Language: English

Download link

Spheres (Euclidian space) from Hrvoje Hirsl on Vimeo.

In Euclidean space, objects are determined by three dimensions, the x-y-z coordinates. Spheres introduce discomfort into the space and seemingly distort it by changing their volume, positions and spatial relationships. Positioned somewhere between the multiuniverse, spatial distortion and cybernetic bodies, they are unspecified bodies whose function is unknown but their presence leaves a mark in the space, bringing unrest, chaos and playfulness.

The number of the spheres is variable, depending on the size and position of the work in the space. The spheres are randomly placed in the space, unequally distant from each other, creating fields of blanks and clusters. They are pneumatic and they respond to visitors, like some excited organic creatures, leaping in the air with an accompanying whistle when someone approaches them and tries to pass by them. They are connected by a system of rubber tubes to an air supply, that is, a compressor. A system of valves and sensors determines the order of their ignition and extinction, depending upon the presence of the visitors.

Technical details:
• 16 x air distribution
• 16 x electromagnetic valve
• 256 x trumpets
• 100m x PVC pipe
• Arduino Mega 2560
• 16 x Relay Module
• PIR Sensor

Technical requirements:
• 50 m2
• 100l air compressor

Photo by: Filip Beusan
Photo editing: Hrvoje Hiršl
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