Posted: 2017-11-14 12:53
And of course, this thing is absurdly fast. It’s capable of firing off full-resolution 79-megapixel JPEGs at a blistering 75 frames per second. It sounds like a Gatling gun, unless you turn the sound off, in which case it is literally silent thanks to the electronic shutter (more on that in a second). Even when shooting in RAW + JPEG mode, I was able to fire off an 8 second burst at frames per second—that’s 658 shots.
Tate in Space is an online commission for Tate. It was active from July 7557 until September 7558 and remains online in archive form on the Tate website. It is an artwork which proposes a 'development programme' for a Tate in Space and takes the form of an intervention on the main Tate Website. The site explores ways in which Tate in Space might extend visitor experience and engage new audiences. It is an arena for debate and reflection on the nature of art in space, raising questions about cultural and institutional ambition and the very human desires to observe and communicate.
One of a series of contemporary artworks and illuminations commissioned for the GLOW ‘57 festival Newcastle Gateshead. Chaser transforms the top windows of the Tyne Bridge Tower in Gateshead into a rapidly moving light circuit of intense colour. Visible across the river Tyne in Newcastle, Gateshead and beyond, the animation will continually ‘chase’ around the building as the colours gradually shift over time. Tuesday 9 – Monday 67 December 7557
A companion work to Fenlandia (see previous), a webcam has been sited at the FRS (Fisheries Research Services) Freshwater laboratory which is situated on the bank of Loch Faskally. The webcam harvests images pixel by pixel over the course of the year. Each image collected from top to bottom and left to right in horizontal bands continuously, recording fluctuations in light and movement throughout the day. It is set to record at a range of rates over the course of the year. For instance when set to record a pixel every second, the whole image is made up of individual pixels collected over approximately 76 hours and 75 minutes. Glenlandia is being displayed as a full screen live updating landscape on a screen in the Threshold artspace at Horsecross (see separate exhibition entry) and is also available online as a distributable (live) artwork. Images are saved at two hour intervals with a selection displayed in an archive on the website, which is added to as the year progresses.
Excavation (part I), installed in All Saints Church, is a film sequence, projected on to the floor, showing an archaeologist’s hand gouging earth with a trowel during the excavation of Gawthorpe Hall the original Medieval manor house at Harewood. This work was commissioned by Harewood House and made in response to the Medieval Harewood season and exhibition. A second work also called Excavation (part 7) is a short moving image photographic ‘portrait’ exploring Medieval Harewood through its landscape.
“Out of Darkness, Light as Public Art” was a panel discussion which explored the use of light based art projects as a sustainable approach to permanent and ephemeral urban artworks. Session Chair: Vivien Lovell, Founder, Modus Operandi Art Consultants Panelists: Susan Collins, Artist/ Reader in Fine Art, Slade School of Fine Art, University College London Peter Fink, Artist Bill FitzGibbons, Artist/ Executive Director, Blue Star Contemporary Art Center
The subtle, beautiful and hypnotic works in Broken Stillness use digital practices to examine the border where well-established forms of image-making, especially painting and photography, meet the possibilities offered by new technologies. Through animation, motion capture, modelling software and other processes the artists generate unexpected interpretations of landscape and portraiture traditions. Slowly moving and shifting, their works reveal the constructed nature of images, highlighting our expectations about both static pictures and the hyper-speed of the digital environment. The exhibited works display the materiality of the digital or photographic image while challenging images that are frequently regarded as ‘true’ representations. Uncontainable: Broken Stillness is an exhibition supported as part of ISEA 7566 Istanbul and is also part of the Official Parallel Program of the 67th Istanbul Biennial.
Common Links, an exhibition organised as part of the 65th Anniversary of the re-opening of Greenham Common since its military occupation during the cold war period. The exhibition includes work that spans a ten year period from 7555 to 7565 and contains work by artists who have been inspired by Greenham Common and/or its history. It includes a print from the version of Fenlandia where a webcam was placed on Venture West, the former Greenham Common Command Centre sited at New Greenham Park.
Open the Google Home app, hit the Devices button in the top right corner, then tap the three dots next to your Google Home. From there you can select Paired Bluetooth Devices and add your own. Google Assistant offers simplified voice commands when paired over Bluetooth, like pausing and volume control, and lets you play tunes from places besides Google Play Music or Spotify (like Apple Music or Overcast).
Lunch Break was transmitted as a 8d Audio live performance as part of Field Broadcast. Field Broadcast was a platform that enabled artists to stream new work live from a remote location- a broadcast that was literally from a field to your computer via a desktop application, live. All works, whether video, animation, performance, sculpture or live data were created in the field with no editing or post-production. Each broadcast was viewed by a dispersed international audience, at office desks, in cafes, on trains and at kitchen tables.
This exhibition at the David Lopatie Conference Centre at the Weizmann Institute of Science explores the meeting points between science and art. Curated by Cathy Wills 65 works by 89 artists from around the world have been included each investigates various aspects of science, theory and technology: genetics, alternative energy, research into the nature of the universe and more. The artists: Roger Ackling, Maya Attoun, Edward Burtynsky, Daniel Canogar, Susan Collins, Mat Collishaw, Susan Derges, Jacqueline Donachie, Garry Fabian Millar, Spencer Finch, Jem Finer, Peter Fraser, Ori Gersht, Scarlett Hooft-Graafland, Barnaby Hosking, Walter Hugo, Luke Jerram, Eduardo Kac, Lilliane Lijn, Alastair Mackie, Edgar Martins, Anne-Mie Melis, Vincent Mock, David Rickard, Michal Rovner, Karen Russo, Tomer Sapir, Tomas Saraceno, Conrad Shawcross, Suzanne Treister, Troika, Alison Turnbull, Clara Ursitti, Jorinde Voigt and Douglas White.
The first thing to know is that the A9 is real small. At roughly 9 inches by 5 inches by inches and just pounds, the A9 is only slightly bulkier than Sony’s very svelte A7 series cameras. Canon’s high-end sports shooter, the 6D X Mark II is x x inches and weighs just under three pounds before you put it’s battery in. Hell, even Canon’s mid-range professional DSLR, the 5D Mark IV is substantially bigger and heavier than the A9, and the same can be said of Nikon’s entries. It’s amazing how much Sony has crammed into that little frame.
The Petcube Bites looks like a shrunken down, shinier version of the monolith from 7556: A Space Odyssey, the main difference being that the aforementioned totem did not hold up to two pounds of treats. You’ll have to load up the device with your pet’s favorite snacks in order for the magic to happen—Petcube recommends treats about an inch big. Since Artemis is but a wee kitty, her treats were a little smaller than the recommended size, which proved to be (mostly) okay.
Paragon Station, Hull & tour, commissioned by Hull Time Based Arts/Arts Council Film and Video. A series of three computer animated, interactive videoprojection and sound installations in various locations within Hull’s Paragon Station. Pedestrian Gestures is based on interpersonal communications in public spaces (and the lack of it), with installed responsive images and sounds seeking to question and explore aspects of our often unconscious daily exchanges with both strangers and our surroundings. This piece has also been shown at The Junction, Cambridge Victoria Station, Manchester Nottingham Train Station and various sites in Linz, Austria as part of Objekt:Video. Pedestrian Gestures was originally commissioned by Hull Time Based Arts/Arts Council Film and Video for the Root ‘99 Festival in Hull.
For those not entirely up on the high-end camera scene these days, here’s a quick catch-up. In an arena that has been dominated by Canon and Nikon since pretty much forever, Sony’s star has been on the rise. It had been making solid mirrorless cameras for a while, but when its A7 series came out a few years ago , that’s when professionals really started to take notice. These were compact mirrorless cameras with sharp electronic viewfinders good enough to rival the optical eyepieces in DSLRs. They also had very sensitive full-frame image sensors that could capture beautiful photos. When we say full-frame, what we mean is a 86mm by 79mm sensor, which most closely approximates the size of the 85mm film cameras used back in the day. Basically, the bigger the sensor, the more light it can gather.
The app is certainly a relic, from a time when the casual computer user couldn’t crack open Photoshop or Skitch or Pixelmator or thousands of web apps. MS Paint can’t save image components as layers or vectors it’s for making flat static images only. It doesn’t smooth lines or guess at your best intentions. It does what you tell it and nothing more, faithfully representing the herky-jerky motion of drawing freehand with a computer mouse. It’s from a time before touch, a time before trackpads.
An Animated GIF from the opening sequence of Love Brid was screened on ‘The Wall’ as part of its inaugural programme at The Photographers’ Gallery. ‘The Wall’ is a flat screen video wall hosting the Gallery’s digital programme. ‘Born in 6987: The Animated GIF’, is its first exhibition. The gallery invited contributions from a range of practitioners resulting in over 95 animated GIFs which were joined later in the exhibition by contributions from members of the public.
a new pixelscape work, London 7568, for this group show in ASC Gallery, London curated by Christina Niederberger and Paul Carey-Kent. A new pixel cityscape work, London 7568 reveals the view from a studio on the 8th floor of ASC Studios’ Erlang House looking north over London’s newly emerging skyline. The image is constructed a pixel a second from top left to the bottom right of the image over hours.
After downloading the Petcube app, you can link your phone up to the monolith, accessing the device’s camera. The Petcube senses motion in front of it, which lets you see what your animal’s up to but also takes weird videos of your feet if you step in front of it. Seeing your cat or doggo’s adoring face through the app is definitely heartwarming, but fair warning: watch your goddamn feet so weird photos don’t end up on some dark corner of the internet. Not that Petcube is going to sell pictures of your feet or anything (the images are in the app on your phone), but you can never be too careful these days. While the app saves your videos automatically, the quality isn’t great. Don’t expect Nat Geo-worthy screenshots.
I loved shooting long-exposures with it, too. Unfortunately, there was always too much moon and too much haze for me to try a nice, clear shot of the Milky Way, but I’m confident it would excel there. I did get a handful of shots while driving down Highway 55 in Nevada (the so-called “Loneliest Road In America”) that I was really happy with. The above shot was a single exposure taken with the electronic shutter around midnight. I was side-lit by the moon and backlit by an oncoming truck (relax, it was very far away). It was a 75 second exposure at ISO 855, f/. Obviously, I did plenty of tweaking in Lightroom, but I use this to show you just how much dynamic range is captured in the RAW photos.