Radical Friend is a directorial duo comprised of Kirby McClure and Julia Grigorian, which makes colorful music videos, commercials, and films that literally rock your socks off. By combining their obvious love for the wildest aesthetics of the late 70’s and early 80’s with the modern technology of interactivity, Radical Friend have been the only ones to really push the boundaries of how to even conceive of, let alone execute promotional standards like the music video. Their uniqueness is seriously unmatched and while a majority of people may not understand what they’re doing now, they will soon be immersed in the kind of things that Radical Friend probably dreamt of years ago. To get a small taste of Radical Friend’s world, I suggest you watch the pieces in this article and then play around with THIS interactive Black Moth Super Rainbow extravaganza.
Dane Lovett mixes retro and modern electronics with the tried and true classic, floral still life, to create a completely modern take on the idea of “still life”. His work looks into modern relationships with technology and pulls at the strings of technology of days past. Each piece is serene and intriguing, feeling both familiar and new all at once.
An amazing project taken on by two groups/individuals which I very much revere: Champagne Valentine & Aaron Meyers (responsible for YouCube)’ latest collaborative creation uses augmented reality (and a QR code which you download and print out) to create a virtual musical instrument. The future is so promising!
Tom Beddard plays around with home-brew programmes that can generate interesting pictures and are interactive nature. He also does what any good open-source artist does: offer the source-code for download. This particular project (result of “true fractal structure in three dimensions”, which renders out to look like a couple thousand year’s worth of exquisite pottery study) is called the 3D Mandelbulb Ray Tracer. So if you’re feeling a bit like foraying into “graphical-geekery”, go check out Tom’s site and code!
I heard this discussion over the ethics of killer robots (ENERGETICALLY AUTONOMOUS TACTICAL ROBOT, appropriately shortened to “EATR”) on the battlefield on KPCC radio bright ‘n’ early this morning and became excited over the possibility of science fiction plot lines inching closer and closer to reality. This picture above will not be what they look like (a more accurate modeled depiction after the jump), but how frightening would it be if these self-refueling lovelies really did jump into the uncanny valley? The government is trying to make more “ethically” aware EAT(E)Rs that will reject tasty corpse morsels on the battlefield (this is apparently against the Geneva convention?) for more Brontosaurus-friendly scraps. The question comes then, if your robot kills someone on the battlefield, who’s moral dilemma does it become? Obviously robots are not of a sentient mind to make such decisions…or are they?
British/Turkish fashion designer Hussein Chalayan is not only an internationally known figure in the industry’s runway, he is also an artist and catalyst for change of what it means to wear something. With his progressive attitude to clothing as a decorate-able and manipulatable second layer of skin, Hussein Chalayan has expanded the the materials of construction to an awe-inspiring breadth of technology and innovation.
Lucy McRae straddles the world of fashion, technology and the body. Classically trained as a ballerina and architect, her work inherently is fascinated by the human body and how behaviour constantly shapes the ways in which our body interacts with the world and vice versa.
"Lake Intervention", 2007/2008. Sound installation/ 30" x 24" Digital C-Print. Collaboration with Samuel Ekwurtzel.
Tiffany Sum’s work explores the im/possibility of intimacy between body and technology. Through interactivity in participatory situations, impressions alternate between the visceral and palpable, the fleeting and intangible. The responsive environment generates a constantly changing social formation among the audience. The process of internalizing these impressions into personally meaningful enactments can be voluntary — as in the gallery, or involuntary — as in the public place.