fabric | rblg

By fabric | ch

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As we continue to lack a decent search engine on this blog and as we don't use a "tag cloud" ... This post could help navigate through the updated content on | rblg (as of 08.2021), via all its tags!

FIND BELOW ALL THE TAGS THAT CAN BE USED TO NAVIGATE IN THE CONTENTS OF | RBLG BLOG:

(to be seen just below if you're navigating on the blog's html pages or here for rss readers)

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Note that we had to hit the "pause" button on our reblogging activities a while ago (mainly because we ran out of time, but also because we received complaints from a major image stock company about some images that were displayed on | rblg, an activity that we felt was still "fair use" - we never made any money or advertise on this site).

Nevertheless, we continue to publish from time to time information on the activities of fabric | ch, or content directly related to its work (documentation).

Note:

An upcoming exhibition for fabric | ch, which will open next week at the ZKM in Karlsruhe.

We'll present a new work in this context (Atomized (re-)Staging), about which we'll hopefully find time to post some documentation on this blog later.

Via @beyondmatter

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Matter. Non-Matter. Anti-Matter delves into the significance of digitality and computer-generated environments in the context of the material understanding of art production and the showcasing of it.

The exhibition presents the digital models of Les Immatériaux (Centre Pompidou, 1985) and Iconoclash. Beyond the Image Wars in Science, Religion, and Art (ZKM, 2002) on the newly developed Immaterial Display.

Furthermore, a selection of artworks and artifacts, mainly from the collections of the @centrepompidou and @zkmkarlsruhe, attest to a conceptual dematerialization and digital re-materialization of artworks.

 

 

 

 

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A post shared by Beyond Matter (@beyondmattereu)

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Via @ptrckkllr

 

 

 

 

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A post shared by Patrick Keller (@ptrckkllr)

Note: 

fabric | ch had the pleasure to present our recent works at the invitation of Swissnex China, during an online panel along with Ms. Xi Li, curator and director of the Aiiiii Art Center in Shanghai.

This was in particular the occasion to introduce Platform of Future-Past, a new installation and environmental device realized for the exhibition at How Art Center (Shanghai) 

The panel was moderated by Cissy Sun, Head of Art-Science, Swissnex in China.

Via Swissnex China

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Art x Science Dialogues: Curation In The Context of Artificial Intelligence

Join the upcoming Art x Science Dialogue, exploring the topic of curation and artificial intelligence with Mr. Patrick Keller, Architect and Co-founder of fabric | ch and Ms. Xi Li, Curator and Director of Aiiiii Art Center.

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When

Atomized (curatorial) Functioning, by fabric | ch

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PROGRAM

ART X SCIENCE DIALOGUES

Note: We had the chance at fabric | ch to initiate a new research / project last Spring, in collaboration with the Nam June Paik Art Center (warning: long loading time!) in South Korea and ECAL / University of Art and Design Lausanne (HES-SO).

In this context, we're having the opportunity to work with some of the amazing material of the museum's collection and archive. It contains some of Paik's major works (single & multi-channel video in particular), that have been difficult to see since the passing of the artist, and most of its archives.

The museum indeed has the largest collection Paik's video, as well as some important installations and a large primary and secondary material about the production of the artworks themselves. The research undertaken is looking to give access to this material in new ways and forms, out of the physical museum and through digital means. For this task, we're planning to further dig into the archives and look at works that were realized, or not, during the Fluxus period ("Symphony for 20 Rooms", "Exhibition of Music, Electronic Television").

The aim of this research is to work on automated curating and digital display (likely AR) of exhibitions at anybody's place (home, appartment, office, warehouse, "garage", etc.), resonating with the concept of "Viewing Rooms" and therefore the title of this first phase of the research: (Re-)Viewing Paik. We are seeking forms of personal exhibitions, for specific spatial configurations and in which the artworks organize their presence themselves, according to an objective understanding of the space.  

To achieve these research objectives, we'll work with fabric | ch's software and ongoing project that allows us to automate the creation of environments, based on sensors inputs: Atomized (*) Functioning (pdf), which is based on customizable/scriptable algorithmic and AI procedures. In the specific case of (Re-)Viewing Paik, it is used for curation and exhibition design purposes, therefore Atomized (curatorial) Functioning (pdf). Like we already did for this exhibition at HeK, in 2019.

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By fabric | ch

Below are early tests with a digital transposition/reconstruction of TV Buddha (literally), the zen media buddha in between a glitched and mirrored digital environment containing other artworks (video and photographies of the famous 1963 exhibition: Exposition of Music - Electronic Television).

This early phase of the work will see us work with the pieces selected by Nam June Paik Art Center curator and archivst Sans Ae Park. These pieces were selected mainly to test different artwork types and durations into their new display setup.

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Note: an interview about the implications of AI in art and the work of fabric | ch in particular, between Nathalie Bachand (writer & independant curator), Christophe Guignard and myself (both fabric | ch). The exchange happened in the context of a publication in the art magazine Espace, it was fruitful and we had the opportunity to develop on recent projects, like the "Atomized" serie of architectural works that will continue to evolve, as well as our monographic exhibition at Kunshalle Éphémère, entitled Environmental Devices (1997 - 2017).

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By fabric | ch

Note: this publication was released at the occasion of the exhibition Entangled Realities - Living with Artificial Intelligence, curated by Sabine Himmelsbach & Boris Magrini at Haus der elektronischen Künste, in Basel.

The project Atomized (curatorial) Functioning (pdf), part of the Atomized (*) Functioning serie, was presented, used  and debatedi n this context.

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By Patrick Keller

Note: an online talk with Patrick Keller, lead archivist and curator Sang Ae Park from Nam June Paik Art Center (NJPAC) in Seoul, and Christian Babski from fabric | ch.

The topic will be related to an ongoing design research into automated curating, jointly led between NJPAC, ECAL and fabric | ch.

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Via Nam June Paik Art Center

How would Augmented Reality change exhibition curating and design in the future? Join our June Science Club and learn how the ECAL and Nam June Paik Art Center are collaborating to develop a novel range of museums. This talk program is hosted by Swissnex and Embassy of Switzerland in the Republic of Korea. All talks shall be in English.

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Note: More than a year ago, I posted about this move by Alphabet-Google toward becoming city designers... I tried to point out the problems related to a company which business is to collect data becoming the main investor in public space and common goods (the city is still part of the commons, isn't it?) But of course, this is, again, about big business ("to make the world a better place" ... indeed) and slick ideas.

But it is highly problematic that a company start investing in public space "for free". We all know what this mean now, don't we? It is not needed and not desired.

So where are the "starchitects" now? What do they say? Not much... Where are all the "regular" architects as well? Almost invisible, tricked in the wrong stakes, with -- I'm sorry...-- very few of them being only able to identify the problem.

This is not about building a great building for a big brand or taking a conceptual position, not even about "die Gestalt" anymore. It is about everyday life for 66% of Earth population by 2050 (UN study). It is, in this precise case, about information technologies and mainly information stategies and businesses that materialize into structures of life.

Shouldn't this be a major concern?

Via MIT Technology Review

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By Jamie Condliffe

fabric | rblg legend: this hand drawn image contains all the marketing clichés (green, blue, clean air, bikes, local market, public transportation, autonomous car in a happy village atmosphere... Can't be further from what it will be).

An 800-acre strip of Toronto's waterfront may show us how cities of the future could be built. Alphabet’s urban innovation team, Sidewalk Labs, has announced a plan to inject urban design and new technologies into the city's quayside to boost "sustainability, affordability, mobility, and economic opportunity."

Huh?

Picture streets filled with robo-taxis, autonomous trash collection, modular buildings, and clean power generation. The only snag may be the humans: as we’ve said in the past, people can do dumb things with smart cities. Perhaps Toronto will be different.

Related Links:

Note: this "car action" by James Bridle was largely reposted recently. Here comes an additionnal one...

Yet, in the context of this blog, it interests us because it underlines the possibilities of physical (or analog) hacks linked to digital devices that can see, touch, listen or produce sound, etc.

And they are several existing examples of "physical bugs" that come to mind: "Echo" recently tried to order cookies after listening and misunderstanding a american TV ad (it wasn't on Fox news though). A 3d print could be reproduced by listening and duplicating the sound of its printer, and we can now think about self-driving cars that could be tricked as well, mainly by twisting the elements upon which they base their understanding of the environment.

Interesting error potential...

Via Archinect

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By Julia Ingalls

James Bridle entraps a self-driving car in a "magic" salt circle. Image: Still from Vimeo, "Autonomous Trap 001."

As if the challenges of politics, engineering, and weather weren't enough, now self-driving cars face another obstacle: purposeful visual sabotage, in the form of specially painted traffic lines that entice the car in before trapping it in an endless loop. As profiled in Vice, the artist behind "Autonomous Trip 001," James Bridle, is demonstrating an unforeseen hazard of automation: those forces which, for whatever reason, want to mess it all up. Which raises the question: how does one effectively design for an impish sense of humor, or a deadly series of misleading markings?

Related Links:

Note: in the continuity of my previous post/documentation concerning the project Platform of Future-Past (fabric | ch's recent winning competition proposal), I publish additional images (several) and explanations about the second phase of the Platform project, for which we were mandated by Canton de Vaud (SiPAL). 

The first part of this article gives complementary explanations about the project, but I also take the opportunity to post related works and researches we've done in parallel about particular implications of the platform proposal. This will hopefully bring a neater understanding to the way we try to combine experimentations-exhibitions, the creation of "tools" and the design of larger proposals in our open and process of work.

Notably, these related works concerned the approach to data, the breaking of the environment into computable elements and the inevitable questions raised by their uses as part of a public architecture project.

The information pavilion was potentially a slow, analog and digital "shape/experience shifter", as it was planned to be built in several succeeding steps over the years and possibly "reconfigure" to sense and look at its transforming surroundings.

The pavilion conserved therefore an unfinished flavour as part of its DNA, inspired by these old kind of meshed constructions (bamboo scaffoldings), almost sketched. This principle of construction was used to help "shift" if/when necessary.

In a general sense, the pavilion answered the conventional public program of an observation deck about a construction site. It also served the purpose of documenting the ongoing building process that often comes along. By doing so, we turned the "monitoring dimension" (production of data) of such a program into a base element of our proposal. That's where a former experimental installation helped us: Heterochrony.

As it can be noticed, the word "Public" was added to the title of the project between the two phases, to become Public Platform of Future-Past (PPoFP) ... which we believe was important to add. This because it was envisioned that the PPoFP would monitor and use environmental data concerning the direct surroundings of the information pavilion (but NO DATA about uses/users). Data that we stated in this case Public, while the treatment of the monitored data would also become part of the project, "architectural" (more below about it).

For these monitored data to stay public, so as for the space of the pavilion itself that would be part of the public domain and physically extends it, we had to ensure that these data wouldn't be used by a third party private service. We were in need to keep an eye on the algorithms that would treat the spatial data. Or best, write them according to our design goals (more about it below).

That's were architecture meets code and data (again) obviously...

By fabric | ch

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The Public Platform of Future-Past is a structure (an information and sightseeing pavilion), a Platform that overlooks an existing Public site while basically taking it as it is, in a similar way to an archeological platform over an excavation site.

The asphalt ground floor remains virtually untouched, with traces of former uses kept as they are, some quite old (a train platform linked to an early XXth century locomotives hall), some less (painted parking spaces). The surrounding environment will move and change consideralby over the years while new constructions will go on. The pavilion will monitor and document these changes. Therefore the last part of its name: "Future-Past". 

By nonetheless touching the site in a few points, the pavilion slightly reorganizes the area and triggers spaces for a small new outdoor cafe and a bikes parking area. This enhanced ground floor program can work by itself, seperated from the upper floors.

Several areas are linked to monitoring activities (input devices) and/or displays (in red, top -- that concern interests points and views from the platform or elsewhere --). These areas consist in localized devices on the platform itself (5 locations), satellite ones directly implented in the three construction sites or even in distant cities of the larger political area  --these are rather output devices-- concerned by the new constructions (three museums, two new large public squares, a new railway station and a new metro). Inspired by the prior similar installation in a public park during a festival -- Heterochrony (bottom image) --, these raw data can be of different nature: visual, audio, integers from sensors (%, °C, ppm, db, lm, mb, etc.), ...

Input and output devices remain low-cost and simple in their expression: several input devices / sensors are placed outside of the pavilion in the structural elements and point toward areas of interest (construction sites or more specific parts of them). Directly in relation with these sensors and the sightseeing spots but on the inside are placed output devices with their recognizable blue screens. These are mainly voice interfaces: voice outputs driven by one bot according to architectural "scores" or algorithmic rules (middle image). Once the rules designed, the "architectural system" runs on its own. That's why we've also named the system based on automated bots "Ar.I." It could stand for "Architectural Intelligence", as it is entirely part of the architectural project.

The coding of the "Ar.I." and use of data has the potential to easily become something more experimental, transformative and performative along the life of PPoFT.

Observers (users) and their natural "curiosity" play a central role: preliminary observations and monitorings are indeed the ones produced in an analog way by them (eyes and ears), in each of the 5 interesting points and through their wanderings. Extending this natural interest is a simple cord in front of each "output device" that they can pull on, which will then trigger a set of new measures by all the related sensors on the outside. This set new data enter the database and become readable by the "Ar.I."

The whole part of the project regarding interaction and data treatments has been subject to a dedicated short study (a document about this study can be accessed here --in French only--). The main design implications of it are that the "Ar.I." takes part in the process of "filtering" which happens between the "outside" and the "inside", by taking part to the creation of a variable but specific "inside atmosphere" ("artificial artificial", as the outside is artificial as well since the anthropocene, isn't it ?) By doing so, the "Ar.I." bot fully takes its own part to the architecture main program: triggering the perception of an inside, proposing patterns of occupations.

"Ar.I." computes spatial elements and mixes times. It can organize configurations for the pavilion (data, displays, recorded sounds, lightings, clocks). It can set it to a past, a present, but also a future estimated disposition. "Ar.I." is mainly a set of open rules and a vocal interface, at the exception of the common access and conference space equipped with visual displays as well. "Ar.I." simply spells data at some times while at other, more intriguingly, it starts give "spatial advices" about the environment data configuration.

In parallel to Public Platform of Future Past and in the frame of various research or experimental projects, scientists and designers at fabric | ch have been working to set up their own platform for declaring and retrieving data (more about this project, Datadroppers, here). A platform, simple but that is adequate to our needs, on which we can develop as desired and where we know what is happening to the data. To further guarantee the nature of the project, a "data commune" was created out of it and we plan to further release the code on Github.

In tis context, we are turning as well our own office into a test tube for various monitoring systems, so that we can assess the reliability and handling of different systems. It is then the occasion to further "hack" some basic domestic equipments and turn them into sensors, try new functions as well, with the help of our 3d printer in tis case (middle image). Again, this experimental activity is turned into a side project, Studio Station (ongoing, with Pierre-Xavier Puissant), while keeping the general background goal of "concept-proofing" the different elements of the main project.

A common room (conference room) in the pavilion hosts and displays the various data. 5 small screen devices, 5 voice interfaces controlled for the 5 areas of interests and a semi-transparent data screen. Inspired again by what was experimented and realized back in 2012 during Heterochrony (top image).

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 PPoFP, several images. Day, night configurations & few comments

Public Platform of Future-Past, axonometric views day/night.

An elevated walkway that overlook the almost archeological site (past-present-future). The circulations and views define and articulate the architecture and the five main "points of interests". These mains points concentrates spatial events, infrastructures and monitoring technologies. Layer by layer, the suroundings are getting filtrated by various means and become enclosed spaces.

Walks, views over transforming sites, ...

 Data treatment, bots, voice and minimal visual outputs.

Night views, circulations, points of view.

Night views, ground.

Random yet controllable lights at night. Underlined areas of interests, points of "spatial densities".

Project: fabric | ch

Team: Patrick Keller, Christophe Guignard, Christian Babski, Sinan Mansuroglu, Yves Staub, Nicolas Besson.