This project explores the invisible terrain of WiFi networks in urban spaces by light painting signal strength in long-exposure photographs.
A four-metre long measuring rod with 80 points of light reveals cross-sections through WiFi networks using a photographic technique called light-painting.
Music by Jun Miyake, Lilies in the Valley
From Pina by Wim Wenders, A film for Pina Bausch
Artworks by Lab212
Starfield, 2012
Bruits de fonds, 2012
Playtime, 2010
Appel d’Air, 2012
Drawing Machine (v2), 2010
Portée/, 2014
Les métamorphoses de mr. Kalia, 2014
Moc, 2010
Empreintes, 2015
Lab212.org | @lab212
How do robots see the world? How do they gather meaning from our streets, cities, media and from us?
This is an experiment in found machine-vision footage, exploring the aesthetics of the robot eye.
This film was made for the HABITAR exhibition at Laboral :
« This new urban landscape is no longer predicated solely on architecture and urbanism. These disciplines now embrace emerging methodologies that bend the physical with new measures, representations and maps of urban dynamics such as traffic or mobile phone flows. Representations of usage patterns and mapping the life of the city amplify our collective awareness of the urban environment as a living organism. These soft and invisible architectures fashion sentient and reactive environments. »
Du petit gazouillis de moineau au grand cri de corbeau, tous les piaillements d’oiseaux prennent forme au fil des pages d’un cahier. D’abord discrètement puis de manière envahissante …
An account of a journey from home to work as seen through the filter of the conscious and subconscious mind.
SOLIPSIST is a three part experimental fantasy short film about otherworldly beings whose minds and bodies converge into one entity. Filled with elaborate costumes, stunning visual effects, and underwater puppets, the film is a non-narrative purely visual/audio experience designed to transport viewers through a hypnotic, dream-like experience. It consists of three parts, each featuring visually fantastic characters and creatures that converge with each other in surreal ways. The film concludes by featuring all three segments combine into a colorful, psychedelic finale.
Sortie en 2010, le clip We Got More d’Eskmo, réalisé par Cyriak Harris, œuvre emblématique de l’animation surréaliste numérique, met en scène une série de transformations grotesques et hypnotiques, où des corps humains se métamorphosent en créatures absurdes et mutantes.
« Can time be made to stand still? Can it be reversed? Koji Yamamura’s Muybridge’s
Strings is a meditation on this theme, contrasting the worlds of the photographer Eadweard Muybridge—who in 1878 successfully photographed consecutive phases in the movement of a galloping horse—and a mother who, watching her daughter grow up, realizes she is slipping away from her. Moving between California and Tokyo, between the nineteenth century and the twenty-first, the film focuses on some of the highpoints in Muybridge’s troubled life and intercuts them with the mother’s surrealistic daydreams—a poetic clash that explores the irrepressible human desire to seize life’s fleeting moments, to freeze the instants of happiness. Enriched by Koji Yamamura’s refined artistry and Normand Roger’s soundtrack, Muybridge’s
Strings observes the ties that cease to bind, fixes its gaze on the course of life, and presents a moment in time suspended on the crystalline notes of a canon by J.S. Bach. »
