The SIGGRAPH 2009 BioLogic Art juried
exhibition is showcasing works by artists who use technology as an
inspiration to show how organic processes adapt, interact, and mimic
the living world around them.
Highlights include:
Hylozoic Soil
Philip Beesley, University of Waterloo
Hylozoic Soil is a visually arresting and complex installation. Quivering to life as viewers enter into its midst, this beguiling piece is a network of micro-controllers, proximity sensors, and shape-memory alloy actuators. Building upon simple motions embedded within individual elements, turbulent wave-like reactions are produced. Using its tendrils, fronds and bladders to lure visitors into its seemingly fragile web of laser-cut acrylic matrices, this work blurs the distinctions between organism and environment. Operating at the intersections of architecture, design, electronics, engineering, informatics, and art, this installation is a visceral experience exploring the nuanced relationship between the biological and the artificial.
Post Global Warming Survival Kit
Petko Dourmana, Artist
Post Global Warming Survival Kit is a low-light, infrared installation set in a post-apocalyptic world where a nuclear winter condition has been created as a radical solution to the problems of global warming and climate catastrophe. Viewers are initially confronted with a space seemingly empty except for a lone dwelling. Only after using the night vision devices are viewers able to perceive the desolate coastal landscape displayed as an infrared video projection. In this world the sun's life-giving rays are unable to reach the surface of the Earth, resulting in permanent twilight. Without the aid of technological augmentation, we would be blind. Survival aids and communications technology have been provided. The suggestion is that this coastal outpost is one of many.
Electric Eigen-Portraits
Arthur Elsenaar, Nottingham Trent University
Remko Scha, Collaborator
Electric Eigen-Portraits shows the human face in a state of externally triggered resonance. Eight facial muscles are subjected to a simple on/off stimulation pattern with a repetition period that varies gradually between 2 seconds and 100 milliseconds. This work turns a computer-controlled human face into a medium for kinetic art, shown in a video projection. As the human face is controlled by a digital computer instead of a neural brain, it can be made to perform in ways that are often unusual and surprising.
Growth Rendering Device
David Bowen, University of Minnesota
This is a kinetic installation that captures the growth of a pea plant over a 24-hour period. Suspended in a nutrient-rich hydroponic solution, the pea plant growth is recorded during the length of the exhibition. After each new drawing is produced, the system scrolls the roll of paper approximately four inches to make way for the next drawing cycle to begin. As the name suggests, the focus is on growth-a complete feedback system between machine and plant-however, what the machine may also record is the decay and demise of the plant.