computerized music box

March 27, 2006

Jin-Yo Mok's and Gicheol Lee's MusicBox is a sound instrument that
integrates an installation with interactions over the Internet. The
physical installation consists of an old-fashioned music box with a
crank handle, in which the pins have been replaced with LEDs and the
notes with photo sensors for user interaction.
Users can draw a shape and pattern on the screen with their mouse and
the same pattern of LEDs will light up on the physical music box.
Turning the crank handle on the LED cylinder, any sensors that detect
light from the LEDs will make a sound. Data submitted by users is
stored in a database and shared by the online and offline music box.
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Drawing on Music Box : Users can design the lights on the music box by drawing on the computer screen, April 2004

Driessens & Verstappen

March 11, 2006

The many facetted oeuvre of Erwin Driessens (1963) en Maria Verstappen (1964) shows a strong fascination for processes of growth. Either in artificial intelligence programming or observed in nature itself. The artist’s couple studies and generates various structures in nature (Frankendael), artificial intelligence (computer programming), but also in chemistry (etching and galvanising).


tickle, 1999.

Robotic ‘pack mule’ displays stunning reflexes

March 11, 2006

This video is scary and almost feels cruel,

A nimble, four-legged robot is so surefooted it can recover its balance even after being given a hefty kick. The machine, which moves like a cross between a goat and a pantomime horse, is being developed as a robotic pack mule for the US military.


BigDog is described by its developers Boston Dynamics as “the most advanced quadruped robot on Earth”. The company have released a new video of the robot negotiating steep slopes, crossing rocky ground and dealing with the sharp kick.

Kenji Yanobe

March 8, 2006

copyright Kenji Yanobe

2005 720cm×460cm×310cm
aluminium, steel, brass, FRP, styrofoam

This GIANT TORATAN doll is the ultimate child’s weapon, as it sings, dances, breathes fire, and follows only those orders given by children.

Tim Hawkinson

March 8, 2006

Hawkinson has created numerous sculptures that function as machines, many of which have characteristics of robots or automatons. Other pieces serve to record time or create sounds. He has produced an astonishing variety of time-telling sculptures, often using unconventional materials, such as strands of hair caught in a hairbrush for the hands of one “clock.” Spin Sink (1 Rev./100 Years) (1995) is a 24-foot-long row of interlocking gears, the smallest of which is driven by a whirring toy motor that in turn drives each consecutively larger and more slowly turning gear up to the largest of all, which rotates approximately once every one hundred years. Several of his mechanical works function as eccentric musical instruments, whistling, honking, and clacking to the artist’s own scores or popular songs. From Feather (1997), a tiny feather fashioned from the artist’s own hair, to a football field-sized pipe organ, Überorgan (2000), Hawkinson’s work combines humor and diligence to make the familiar territories of the body, machinery, and time surprising and new.


Uberorgan 2005

The offsite installation of Tim Hawkinson’s signature construction, Überorgan opens February 11, 2005. The deeply sonorous piece, too large to be shown at the Whitney itself, is on view in the Sculpture Garden at 590 Madison Avenue (between 56th and 57th Streets), where it remains up through May 29, concurrent with the run of the Whitney exhibition of Hawkinson’s work. The Sculpture Garden at 590 Madison Avenue is open to the public from 8 am to 10 pm daily.

Überorgan, created from multiple bus-size biomorphic balloons, each with its horns tuned to a different note in an octave, is a gargantuan self-playing organ. Its musical score consists of a 200-foot-long scroll of dots and dashes encoding old hymns, pop classics, and improvisational ditties. Tim Hawkinson explains: “The score is deciphered by the organ’s brain—a bank of light-sensitive switches—and then reinterpreted by a series of switches and relays that translate the original patterns into nonrepeating variations of the score.”
For more info and video’s seach Tim with Hawkinson with google.

Momoyo Torimitsu

March 8, 2006


Momoyo Torimitsu, “Miyaya-san In Action”, 1996

In Japanese, Miyata-san is what in English is called a “salary man,” a “kaishain,” or what translates best as a businessman, or employee. He is perfectly dressed in a business suit and performs between high rises in business centers. What differentiates the Miyata-san from any other businessman in this world is that he is made to look so uniform. He just crawls on the floor. Just crawls–he doesn’t do or know anything else but crawling since he is a life-size, crawling robot designed by the Japanese artist Momomyo Torimitsu, who assists him dressed as a nurse.

more here

Fred Abels; Dirk

March 8, 2006

Great Footage of Dirk at upbove link


Dirk the electric tramp
Dirk is a live size figure, reassembling a tramp, who walks behind his rattling shopping-trolley. Dirk is pushing the trolley, the mechanism in the trolley pulls the strings, the strings make Dirk walk pushing the trolley, a vicious circle…
Fabels has brilliantly succeeded in making dirk walk natural by using a lowtech system. The body is connected with only four strings to the mechanism almost like a marionette. At first sight the audience has the illusion they are dealing with a real human being, as the mechanism is more or less hidden between plastic bags and bottles. Most people don’t appreciate people like tramps and bagladys in there surroundings and are really confronted with there ideas the moment they realize Dirk is artificial. To watch the puzzled look on peoples faces is as interesting as Dirk himself. Dirk continues to evolve, he will be gaining more and more�uman qualities, maybe even smell….

Dirk is created in collaboration with Mirjam Langemeijer ‘Compagnie de Draak’.