LOVE CITY – an urban menage à trois

by Active Ingredient

It's 3 ways or the freeway…

Active Ingredient present their plans for 'Love City' - a unique multi-player game using mobile phone cell technology.

As part of a series of lectures across the East Midlands, Active Ingredient will demonstrate their designs to create an artwork which takes the computer game out of the bedroom and into the cities' streets, looking for a moment of connection and a chance for 3 cities to fall in love.

Through a series of mock-ups, videos and diagrams they will discuss mapping the mobile phone networks of Derby, Leicester and Nottingham, criss-crossing the highways and bi-ways on bicycles, in an attempt to create a street map for the never never land of 'Love City'.

The Love City project is a Three Cities, Create and Connect initiative delivered by a partnership of Broadway Nottingham, De Montfort University Leicester, Metro Cinema Derby, Nottingham Trent University, Phoenix Arts Leicester and the University of Derby.

Corine Stubi 

WORKING GIRL, 16mm (Master on Digibeta PAL), 4’56’’, 2004.

Working Girls are automata / robots / clones who know only one thing: howto do their job. A job which is predominantly feminine.  They represent the clichés which turn them into consumer goods.

But beneath the standardized automated images lurks the possibility of

disfunction. A disfunction which can only flow from the restricted nature of the job or activity.

They are ideal "machines"  who, under the veneer of their

hyperfunctionality, come within a hair's breadth of a hysteria which

bursts out for a brief moment only to be quickly repressed again.

GLAMOURAMA, Mini-DV, 6’12’’, 2005 Corine St

The myth of the star and death : GLAMOURAMA portrays the border between

the celebrity cult and suicide. Death as a glorified media event and the cult of immortality are reduced back to the loneliness and banality of the act and alienated by the limelight. The death of stars becomes

interchangeable, artificial, « prêt-à-porter ».

dies irae

Food of the Brave is the hyper-symbolic depiction of a blond haired, blue eyed boy playing with his food. The baby awakes to a feast of all you can eat red, white and blue food.? The eating builds to a frenzy of audio-visual-editorial action.? Food of the Brave combines elements of A/V and DJ/VJ culture with experimental audio and video technique.? ?O?er the land of the free and the??

Laurent Pernot 

Still Alives :

This project of musical video, by linking the languages of animation and the video compositing, puts in dynamic report a series of old and more recent photographic images, and from various sources (Hungary, Germany, France, Russia, etc). The camera (here virtual) plunges in a luminous child's face and lets us cross over a sequence of portraits in morphing, and hence, which seem to be animated the ones with the others, like an unique alive flesh...until the rise and the obliteration of each face into the nothingness. Still Alives calls a broad concept about the transmission of life, memory and disappearance. Thus, it tries to propose, by the construction of a poetic universe, an arborescent and universal vision of the human being.

The obsession of an Italian opera, the memory of Brussel 57, the desire to change scale and relationships with others…assembled in a ‘still evocation of the east’, sum of nursing repeating starts, more abstract but more complete, mixed to a funny universe made of obvious birds, flying saucer, cosmonaut, cold ‘graphically modified landscapes’….

Kim Collmer

Pod, 2006

In the heat of the Croatian summer, a caretaker sweeps while the daydreams of sunbathers take form. A running man propels himself through the arid landscape, a dreamer floats and swirls in the salty sea. Together they all contain the circle of movement, filling the fluid mass, their thoughts fuel the pod....

 Carole Kim

"Chasing the Pools" is a single-channel video based on an immersive

performance/installation exploring live cameras on dancers seamlessly

integrated into the landscape of live video projection.  Their lit bodies became one moving image, dematerializing or re-materializing the body, while the background remained another.  These channels were projected onto numerous scrims in a large tree grove. The video combines the composite image with the original source material.

"Taipei Dreams" presents the landscape of an urban dream.  Modern Taipei scenes flash by with images of clouds, entire buildings draped in cloth blowing in the night wind, abandoned buildings, a woman, a catepillar, and city lights.  An unexplained buzz disturbs the night's melancholy sounds. 

See U in Heaven is a short experimental video work: an ambient and haunting portrait of a derelict and neglected property which is awoken and brought back to life by an assortment of drawn and printed characters, scrawlings and words. Filmed in Budapest and Brighton, the piece is a montage of still video and animated photography, drawing on street art and vandalized cityscape as inspiration, and is set against a soundtrack of electronic noise, and mysterious sampled coded radio messages and electronic voices. This is a reaction to the myriad of personal languages (oral, pictorial, written and numeric) which surround us and more often than not we fail to acknowledge or even recognize. Yet they intertwine blending into each other and mutate into the fabric of our environment.

Format: DVD

Length: 8’38

Produced, filmed, animated by Andrew Wood

Audio by Philip Cass and Duncan Speakman

January 2006

Scopac - Since about 1997 I’ve made images for performance, usually in collaboration with musicians and sonic artists. Images are made in direct response to sound, using video and overhead projectors, video footage, live camera, and some software image processing. More recently I've been working with sound, too, on a project called Foreign Correspondence.

I'm interested in the way combining image and sound creates something more than the two original elements. It can be a physical and immediate correspondence or clash between the two senses. There's also a different relationship to television and the cinema made possible by using images as an improvising musician works with sound.

http://www.scopac.org/  

I have borrowed the computer hacker term "Cruft" and applied it to my current series of images. I create these Cruft images by writing 'recipes' (also known as an algorithm). An automated system follows the instructions in my algorithms, first harvesting selected source material from the Internet, and then processing that information into a Cruft, generating images 24 hours a day, 7 days a week.

In today's world the main stream media bombards us with information all the time. To survive, most of us just tune it all out. But as an artist, to become aware of it means we have a choice to do something with it. And when I choose to use that information, it raises issues regarding randomness and lack of control, leading me to explore how much can I tolerate. Communication contains ambiguities and creating cruft images is an exploration in discovering how much control I need to reach a state of self-delusional comfort.

The source material on the Internet changes over time, influencing and altering the content of the cruft images, yet my conceptual algorithms stay constant. These cruft images represent the world we live in, but they do not look like the world as you might remember it. Crufts look more like a memory than conventional photographs  

www.robertspahr.com

It is an attempt to translate the world that in economic sense is

connected through the same brands into the internet.

On the graphic surface the user has the possibility to explore

different urban situations.

Through clicking on different persons she/he can enter a dialog with

some of the people living in this city.

They refer to their different experiences in this apparently similar

world.

CROSSING THE BRIDGE

21:40 minute video

Crossing the Bridge takes the audience on a journey through Gölyazi, a small fishing village on an island near Bursa in Turkey. The video, which was taken during a month long residency in the summer of 2005, shows my stroll around the village, accompanied by a continuous sound of Ezan - a call for prayers, recorded in a local mosque.

My walk through the village causes a subtle disturbance of the village’s daily routine. I could almost pass as another local peasant woman, except for the fact  that my hear is uncovered and blond, and my load is not heavy. My strange appearance underlines my position of a foreigner, but the oversized load which I carry on my back evokes a familiar image.

The work simultaneously underlines the feelings of displacement and alienation, and a desire to integrate and become part of one’s present environment. Crossing the Bridge confronts East and West, foreign and familiar, celebrating the momentary, the passage, the intangible and the spiritual in human relations.

33.3

33.3 is part of an ongoing body of work exploring the theme of negotiation. These works are concerned with psychological and social survival strategies and internal / external power relations. Each work represents a fragile balancing between opposites or multiples which must be maintained to give order.

Each of the three monitor’s displays a hand engaged in a game of paper, scissors, stone, with the action speeded to the point where the game is lost. Each hand bangs out its own rhythmic accompaniment which continuously reasserts its position as both an opposing autonomous force and part of the collective. The infinite repetition strips away the humanity, sanitising the action and allowing a pseudo-hybridisation which questions authorship, presence and the similarities in function of man and machine.

Artists include:

PopulouSCAPE

An incredible vista of the earth's changing population and the ever increasing flight paths which allow populations to shift from one space to another

http://www.populouscape.com/

Myriam Thyes – EU 2020 

The flag of the European Union transforms itself into all the flags of its member countries, from west to east, and further more into the flags of future and possible members. While the EU expands eastwards, the wolves return to the west. But who knows what the EU will look like in the year 2020?  

Maria Barthelemy and Rene Sultra

“Saint Adresse”allows a collection of objects to swirl into the pictures that host them.  Saint Adresse is a pebble beach located in Normandy and the objects are mental objects .  Each of them may show a shape of a different universe.  The softness of the round goes through a discrete series of pictures, where boys, clouds, game bowl players (pétanque) and pedestrians, etc..are caught by a stop and go game.  Their encounter, a coalescence   of sequential and continuous becoming, offers  the picture  a  profoundness; that of an in-depth image. (Celle d’une image profonde).

Manhattan/souls & Nanoglus is the simulation of reactivated images of atoms in photographic form and applied  in the space of the gallery.  It is also the story of an invisible flux that will link two things.

One element will be agglutinated particles, objects in the colors of the cathedral glassworks conceived by the abbé Suger, displayed on the walls of the gallery as in a catalogue, and thus put in the market place of the desire for objects.

The second element, a veritable wild becoming* , circumventing the present and coalescing the macro and the micro as in Alice's Wonderland; a repetition of a one-way crossing with no return from Manhattan to Staten Island, in a continuous loop of unrepresentable fiction.