April 19, 2006
Trimpin, a sound sculptor, composer, inventor, is one of the most stimulating one-man forces in music today. A specialist in interfacing computers with traditional acoustic instruments, he has developed a myriad of methods for playing, trombones, cymbals, pianos, and so forth with computers. Trimpin sums it up as “extending the traditional boundaries of instruments and the sounds they’re capable of producing by mechanically operating them. Although they’re computer-driven, they’re still real instruments making real sounds, but with another dimension added, that of spatial distribution. What I’m trying to do is go beyond human physical limitations to play instruments in such a way that no matter how complex the composition of the timing, it can be pushed over the limits.”
November 18, 2004
University of Victoria’s Music Intelligence and Sound Technology Interdisciplinary Center
April 10, 2006
A Rube Goldberg machine or device is any exceedingly complex apparatus that performs a very simple task in a very indirect and convoluted way. Rube devised and drew several such pataphysical devices. The best examples of his machines have an anticipation factor. The fact that something so wacky is happening can only be topped by it happening in a suspenseful manner. A Rube Goldberg machine usually has at least ten steps. One story about Rube Goldberg is that while sleep-walking barefoot in a cactus field, he screamed out an idea about a self-operating napkin.
April 7, 2006
Thomas Kvam and Frode Oldereid
The Machine 5.0 was constructed in 1999, for the DETOX exhibithion curated by Stahl Stenslie, after the initial exhibition at the contemporary art museum in Norway, the robotic installation/perfromance toured with the Norwegian Touring Exhibithions to all major museums in Norway for one and a half year.
After the Detox show, the Machine was not used for over 2 years. But late 2002 the Machine 5.0 was redesigned with new text, sound and back projections. The final result was a 25 min long performance.
The machine 6.0 perfromed alongside the big machine, as
The sound to the performance is composed and played back in surround sound, and six megaphones connected to sampler. The robots movements are controlled live through a special interface, enebling a thight chorecraphy with the music and the audience. During the perforrmance the Machines shifts identity from male to female.
Machine 5.0 1999.
April 7, 2006
from the artists website
Three self-portraits, each possessing an animal, vegetable, or mineral mind, debate the nature of violence with each other, and discuss their fears – generally their fears about each other. They also wonder about “that thing” before them, and we hear how they project their own interior worlds onto it in an attempt to figure out what it really is. Although they hear each other, nothing seems to penetrate or influence their ideas; no matter what the subject matter discussed, they eventually return to their own interests and fixed ideas.This work is a “cinematic sculpture”. The dialog is not pre-recorded, and is different each time someone visits it, generated in real time by a computer program. The conversations that these figures carry on are neither completely scripted, nor are they random; rather, the software gives each a "personality", a vocabulary, associative habits, obsessions, and other quirks of personality which allow them to behave as if in a scene of film, acting out their role over and over, but always changing.
"The Animal Vegetable, Mineralness of Everything"
Ken Feingold, 2004
silicone, fiberglass, steel, software, electronics, computers
April 2, 2006
Robodock is a unique international summer festival, that merges technology and art. During Robodock spectacular theatre acts, multi-media, visual arts, music, industrial installations, robots and experiments sweep the audience off their feet in an overwhelming flood of experiences.
April 2, 2006
Having been around forever SRL have influenced lots of artists and follow on from the Tinguely school of industrial destruction, with the exception of ever increasing appropriation of ex military technologies to produce what they calll “the greatest show on earth’.
April 2, 2006
Jean Tinguely was asked in 1960 to produce a work to be performed in the Sculpture Garden of the Museum of Modern Art in New York. In collaboration with other artists/engineers, among them Billy Klüver and Robert Rauschenberg, he produced a self-destroying mechanism that performed for 27 minutes during a public performance for invited guests. In the end, the public browsed the remnants of the machine for souvenirs to take home. This hommage to the energy of a city that keeps rebuilding itself time after time is a wonderful example of the different and sometimes conflicting conceptions of artists and engineers on how machines should work–and as such an early collaborative effort that foreshadowed the events staged by E.A.T.—as well as a document on the 60s with the rise of happening and performance.