NL:

Modeontwerpster Maartje Dijkstra maakt barokke futuristische kleding met behulp van 3D printing technieken. In de video Brain Drain zien we hoe ze speelt met verleden, heden en toekomst door klederdracht van het Groningse platteland te vertalen naar een futuristische vormgeving.

EN:

Fashion designer Maartje Dijkstra creates Baroque futuristic clothing by employing 3D printing techniques. In the video Brain Drain we see how plays with past, present and future by translating Dutch folk costumes from the Groningen area to futuristic design.

NL:

Bij GOGBOT 2016 zal zeer bijzonder video‐werk worden vertoond van Neil Harbisson. Deze kunstenaar, die kleurenblind werd geboren, heeft via met een chirurgische ingreep een soort antenne-vormige sensor in zijn schedel laten monteren. Hiermee is Harbisson, als een echte cyborg, in staat om beelden te scannen, de kleuren te herkennen in de vorm van een spectrum van geluidsfrequenties. Zo kan hij gezichten, landschappen, en zelfs het weer vertalen van kleur naar geluid en andersom.
Harbisson werkt samen met choreograaf en mede-cyborg Moon Ribas, met wie hij samen optreedt en presentaties geeft. Ribas heeft een sensor in haar elleboog laten implanteren die draadloos in verbinding staat met online seismografen. De sensor geeft vibraties af al naar gelang van de data die deze seismografen doorgeven, waardoor Ribas aardbevingen van over de hele wereld kan voelen. Zij verwerkt deze ervaring in haar dansstukken.
Harbisson en Ribas richtten samen de Cyborg Foundation op.

EN:

At GOGBOT 2016 we present special video work by Neil Harbisson. This artist, who was born color blind, had an antenna-like sensor surgically implanted into his skull. With this device Harbisson can, like a true cyborg, scan images and recognize colors, which appear as a spectrum of sound frequencies. He can translate faces, landscapes, and even the weather from color to sound and back.
Harbisson collaborates with choreographer and fellow-cyborg Moon Ribas, with whom he gives performances and presentations. Ribas has a sensor implanted into her elbow that is wirelessly connected to online seismographs. The sensor gives off vibrations according to the data produced by these seismographs, enabling Ribas to sense earthquakes anywhere in the world. She uses this experience in dance pieces.
Harbisson and Ribas initiated the Cyborg Foundation together.

cyborgproject.com

NL:

De Spacebak64 is een interactief audio-object. U wordt uitgenodigd om een podium te betreden. Een grote katheder met smakelijk gekleurde bolletjes verwelkomen U… Planeten? Snoepjes? Schuw niet en voel, grijp ze zachtjes vast, draai en U wordt verrast. Elk bolletje is uniek en ze maken eigenzinnige muziek. U wordt een machtig personage in een sculptuur. Wat betekent deze positie, voor jou en de mensen die je plotseling zien staan? Wie stuurt wat aan? Het personage zijn publiek? Of het object zijn personage? Waarom zijn sommige geluiden zo aangenaam en tegelijk irritant?

EN:

The Spacebak64 is an interactive audio-object. You are invited to tread on a stage. Big lectern with tastefully colored spheres welcome you… Planets? Candy? Don’t be shy and feel, grab them carefully, twist, turn and you’ll be surprised. Every sphere is unique and they make quirky music. You become a powerful personage in a sculpture. What does this position mean, to you and to the people that all of a sudden see you standing there? Who is controlling who? Is the personage controlling it’s audience? Or is the object controlling the personage? And why are some sounds so pleasing yet annoying?

Multiversescope

NL:

Er bestaat veel meer dan wij kunnen meten of waarnemen. Verschijnselen die niet te meten of waar te nemen zijn in ons Universum. Zoals verder in het heelal dan onze telescopen kunnen observeren of kleiner dan onze microscopen kunnen waarnemen. Maar daarbuiten bestaan er naast onze realiteit ook nog andere realiteiten in parallelle universums. Deze realiteiten hebben waarschijnlijk compleet andere natuurkundige regels. Met andere deeltjes, krachten of regels die niet voorstelbaar zijn voor de mens. Maar met de Multiversescope kan ik deze andere realiteiten observeren. Dit apparaat kan verschillende soorten deeltjes en krachten van andere realiteiten meten en modelleren.

EN:

Much more exists than we can ever measure or observe. There are phenomena that can’t be measured or observed in our Universe. Such as further away in the universe than our telescopes can observe or smaller than our microscopes can perceive. Furthermore, other realities in parallel universes exist alongside our reality. These realities likely have completely different physical rules. With different particles, forces and rules no human can imagine. But with the Multiversescope I can measure these different realities. This device can measure different kinds of particles and forces of other realities and model them.

NL:

Het concept achter deze installatie is om een structuur te creëren dat de interesse van mensen in mijn academie visualiseert op een per-studie-basis. De studies worden weergegeven door een patroon, geïmplementeerd in de kern van de structuur. Dit resulteert in 13 studies bovenop elkaar, waardoor een zogenaamde Totempaal wordt gecreëerd. Om de interesse in studies visualiseren, beschikt elke studierichting over een LED-licht. Elke LED varieert in intensiteit. Hoe feller het licht is, des te meer interesse er is in de des betreffende studie. Het was mijn doel om een structuur te creëren dat communiceerde naar zowel studenten als docenten. Door hen een gevoel van verbondenheid te geven met potentiële nieuwe studenten.

EN:

The concept behind this installation is to create a structure that visualizes peoples interest in my university on a per-study-basis. Each study is represented by a pattern, implemented in the core of the structure. Resulting in 13 studies on top of each other, creating a so called Totem Pole. To indicate the amount of interest in studies, each studies is given a LED-light. All LED-lights vary in intensity. The brighter the light becomes, the more interest there is in that particular study. It was my goal to create a structure that could communicate to both students and professors, by giving them a sense of connection with potential new students.

« Incidentally they’re all gone, well not exactly gone… more sort of… absent… »

The tapestries pay tribute to a web that is gone or -say- hidden and contribute to saving that part of the Internet history that went missing in its fast evolution. They work as a triptych and are inspired by their traditional construction : The birth – the life – the death. I’ve started theses tapestries with my thesis (Welcome to my homepage), which is an investigation through the history of the Internet and its archeology – in a sociological perspective. The Internet arrived like an ufo, bringing a promise towards the future. When it became accessible to the broad public, users started to play around and share their hopes and dreams, interests and production with the global village in which their children will be living. The birth of the Internet created a specific utopic spirit. The Internet changed a lot over the last decades, this utopic spirit began to fade and its users with it. Today those webpages have been hidden and forgotten by everyone. Luckily, our digital heritage defenders do exist and are truly active ; there seem to be a resurge of our digital culture and artefacts. This thesis is a contribution to saving that part of history that went missing in the fast Internet evolution.
Therefore, the idea of making tapestries came naturally. Initially, tapestries were made to warm up a space but also to educate people that couldn’t read about subject or stories of war, religion and so on. The connexion between the Internet archeology and tapestries was really straight froward; they recall the welcoming and warm past of the Internet, but also recall the computer screen and pixels.

The Collide Sound System

With this sound installation I want people to play with the sound waves as well as becoming more aware of how sound waves actually travels in a certain space and time. Everyday we are surrounded with sound, what also effects or even influence our lives.

Sound has the ability to express different experiences that allows the listener to not only hear but also feel the sound and could even trigger emotions in our bodies. With this musical playground I want the audience becoming more aware as well as understanding how sound can change our perception or experience.

NL:

Van kinds af aan is Sjoerd Schunselaar al gefascineerd door audiovisuele en elektronische technieken, de kracht van de natuur en het menselijk lichaam. Wat op jonge leeftijd begon met het demonteren van een game boy, resulteerde vele jaren later op de Rietveld Academie in ‘De Ontdekken Van Het Broekzakstof’; een project waarin al deze elementen verwerkt zijn. Dit project zoomt in op een microscopische wereld die we allemaal onbewust dicht bij ons dragen. Stof, vuildeeltjes van minder dan een halve micrometer (vaak samengesteld uit huisstof, zand, huidschilfers, haren en/of etensresten) verzamelen we bij alles wat we doen, en kan dus veel vertellen over de sporen van ons leven. Refererend naar zijn thesis over onze blinde vlek voor persoon data dat gigantisch veel wordt verzameld op het internet via commerciële profilering. Deze machine onderzoekt het broekzakstof door het te analyseren op kleur, transparantie, formaat en hardheid en zet deze gegevens om in een abstracte tekening. De uitkomst van de analyse wordt samen met het stof van de vrijwilligers gearchiveerd en tentoongesteld zodat de bezoeker met eigen ogen kan aanschouwen en fantaseren wie er achter het stof zit.

EN:

From my childhood i’m fascinated by audiovisual and electronic techniques, the power of nature and the human body. What began at a young age with disassembling of a game boy, resulted many years later on the Rietveld Academy in ‘The Discovering The Pocketdust’; a project in which all these elements are incorporated. This project zooms in on a microscopic world that we all unconsciously carry close to us. Dust, dirt particles of less than half a micrometer (often composed of housedust, sand, dander, hair and / or waste) we collect in everything we do, and so can tell a lot about the traces of our lives. Dealing with a thesis about our blind spot for how personal data is massively being collected on the internet for commercial profiling, the pocket dust machine also works as a metaphor. It seems we treat our personal data with the same disregard as our own pocket dust. This machine explore the pocketdust by analyzing the color, transparency, amount and toughness, and converts this data into an abstract drawing. The outcome of the analysis, together with the dust of the volunteers, will be archived and exhibited so that visitors can see it with their own eyes and imagine who is behind the dust.

Wipkip pills:
3 fiberglass pills (viagra, ecstasy and painkiller) mounted on a spring and a concrete structure. People can try to ride it carrefully if they want.

Big Snicker bar:
A big fiberglass replica of a Snicker chocolate bar, can be used as a bench.

World largest farting pillow:
A huge pvc balloon that can be jumped on. It is an attempt to break the actual world record of the largest farting pillow. people can jumps on it (at their own risk) from a 3 meter high scalfholding, or anything high enough to jump on it.

Statik car:
A car impossible to enter. The doors has been removed and the car painted as new. The keys are inside, ready to start. It is supposed to be exhibited outside among any other car, making it very difficult and subbtle to notice. The car can also be exhibited inside if necessary.

Laura Bottin looks for intensity in making everything on her own and turning artisanal techniques into something closer to future. She gathers in her work seemingly distant notions by creating the container as well as the content of her installations. Along the path she raises a question about the artist status in their practice of art whether it comes to a conceptual, technical or practical aspect.

With her hologram-piano, she introduces three works and presents an all-in-one object.

She sculpted an actual piano that is not only musical but above all visual. It still has keys and works like a piano. The notes turn into holograms and bring this instrument to an actualized level of transmission.

What holograms show are small knives made of wood and steel, by hand. They actually exist, as the piano does, in a tangible reality. But here, the object transforms the reality into a switch game without erasing its existence.

And the magical trick remains in the instrument itself because you become the master of this representation box she proposes, like a musician. Holograms may be presenting objects of the real life, but they load the knives of a mystical dimension, between video games items, early human industry, virtuality – far from their basic function.

This work is questioning the relation between hi-tech and low-tech in our society, the power of representation through utility, the future of humanhood and the ability to evolve, make up new directions.