Shrub is a tool for painting-and-traveling, and even for painting while moving your own body (for example to use the color of your own pants).
If you touch with two fingers, you can immediately send your drawing as an SMS message. Shrub is designed as a mobile communication tool as much as a mobile drawing tool.
More pro tips: For the best drawings, pinch with your fingers to change the brush size. Twist with your fingers to change the brush softness. And of course, tap with one finger to show and hide the viewfinder.
3d collages composed in Unity with scans collected in botanic gardens, backyards, beaches, natural parks…
Flux Æterna is a musical composition for Internet. It comes in the form of an endless audio stream. Listening conditions of Flux Æterna are similar to those of a web radio. But here, the user can influence the contents of this work by providing his own sound files.
This work can be adapted to multi-channel installation or concert.
Technical setup
The composition of Flux Æterna is a technical set including:
1 : The website to connect to the stream, to upload sound files to the sftp server and to find information about the work.
2 : The score, written in the form of a software made in MaxMSP. Therefore, a software that reads and converts the sounds arriving at the server, following differents features deterministics, randoms or stochastics. A transcription, as musical notation, is attached to this program.
3: The audio stream, is published on the Internet through a server broadcasting in format mp3 stereo 320 kbps. It can be read by many softwares : VLC Quicktime iTunes Flash... running on any platform (PC, smartphone or tablet).
Listen to the flux here : http://srv-aeterna.univ-st-etienne.fr:8000/fluxaeterna
Collaging like Painting with clouds...
Satellite Collections
digital prints
2009-2011
You can see from pole to pole and across oceans and continents and you can watch it turn and there's no strings holding it up, and it's moving in a blackness that is almost beyond conception.
-Eugene Cernan, an astronaut on the Apollo 17, on seeing the Earth from space
In all of these prints, I collect things that I've cut out from Google Satellite View-- parking lots, silos, landfills, waste ponds. The view from a satellite is not a human one, nor is it one we were ever really meant to see. But it is precisely from this inhuman point of view that we are able to read our own humanity, in all of its tiny, repetitive marks upon the face of the earth. From this view, the lines that make up basketball courts and the scattered blue rectangles of swimming pools become like hieroglyphs that say: people were here.
The alienation provided by the satellite perspective reveals the things we take for granted to be strange, even absurd. Banal structures and locations can appear fantastical and newly intricate. Directing curiosity toward our own inimitably human landscape, we may find that those things that are most recognizably human (a tangle of carefully engineered water slides, for example) are also the most bizarre, the most unlikely, the most fragile.
http://news.gestalten.com/motion/john-stezaker
In an image-saturated world, British collage artist John Stezaker rather creates more with less. Cutting up yesterday photographs, subtracting pieces, and juxtaposing faces, he transforms forgotten photographs and postcards into symbolic portraiture of modernism. Stezaker’s artistic interests in examining hidden relations between images have bestowed international success and recognition upon him and his collage art. Gestalten.tv had a precious opportunity to speak with the artist at his exhibition in Berlin’s Capitain Petzel Gallery. Featured in the celebrated group exhibition The Age of Collage, his topical work is now on display at Gestalten Space in Berlin until January 12, 2014. The accompanying book The Age of Collage: Contemporary Collage in Modern Art takes an insightful behind-the-scenes look at those working with this interdisciplinary and cross-media approach.
Homoglyphi.cc is a simple tool for writing Unicode-calligraphy. The user can combine characters from the Astral Planes of the code structure to create alternative word-images. These can, for exempel, be pasted into typographically restrictive social media. The point of view of homoglyphi.cc is the basic character set of cloud-english.
A homoglyph is a symbol that has a similar form to another symbol. The Unicode Standard is a utopian masterplan where each archetypical symbol is given its own space in an immense skeletal structure reaching for the sky. The FAQ says: “Unicode covers all the characters for all the writing systems of the world, modern and ancient.” At the time of writing, 110,182 symbols are encoded. Many of these are homoglyphs. This offers possibilities for creative users wishing to embellish their writing.
The Standard defines a true essence beyond the stylesheet. Milleniums of human cilvilization snapped to a flat grid. This universal, ultimate standard is the codebook of global text-communication. On a material level this world of symbols depends on fonts, files installed on the local machines, to become visible. If the required font is missing the reader sees a crossed out box, a question mark or nothing.
Cassandra C. Jones ( http://www.cassandrac.net ) work uses "found photography" from search engines to explore how we relate to images online.
Christian Marclay (born 1955) is a visual artist and musical composer based in New York, who is exploring the pattern languages connecting sound, photography, video, and film.
Most pieces are painstakingly constructed from thousands of audio snippets taken from TV, radio, film and popular music; The Parker Tapes was constructed using the laborious, primitive process of manually splicing segments of audio together