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. »
« Une rencontre insolite entre un dessinateur performeur, un danseur chorégraphe et un créateur d’espaces sonores.
La performance questionne les frontières entre le motif et le mouvement, dans un dispositif plastique et sonore où entrent en résonance des êtres survivants et naufragés, rescapés d’une catastrophe inconnue et ordinaire, hors du temps et de toute appartenance. »
Variation sur le coup de dés mallarméen ou réécriture du poème relu par Marcel Broodthaers.
FRAC Champagne-Ardenne, Reims : Robin Rhode mai 2006
Going Nowhere 2 presents a walk through a landscape at the bottom of the Adriatic Sea. A figure dressed in jeans and a white shirt walks purposefully away from the camera and steps laboriously through a landscape of fish, rocks and watery light until he disappears into the murky distance. A series of shots capture the figure travelling on his journey through this parallel universe – how is he able to walk 10 meters beneath the surface of the sea or where he is going is not clear, but he seems to have an objective or path that he is following.
Une page de magazine est froissée et défroissée, dans un geste répété : l’image disparaît à vue d’œil tandis que l’encre de la page s’imprime sur les mains qui, alternativement, dérobent et révèlent au regard l’image évanescente. Ce transfert dissout les visages et les corps idéalisés de ces images publicitaires, les réduit en poussière, les imprime sur les doigts, tandis que la feuille de papier devient elle-même une peau, un tissu organique.
