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Light Pushes Stuff - Late Interactive
An interactive mechanical light installation created by Late Interactive for Science in the City 2017.
Light pushes stuff is an artistic representation of the concept of radiation pressure. A sensor in each sphere relayed data to a central computer which in turn communicated to the winch lights.
Late Interactive is an artistic collaboration based in Malta dedicated towards creating interactive installations. The main goal of Late Interactive is to bring to life accessible and entertaining work that stimulates the audience by putting it in the driver seat and challenging it both through new concepts and unconventional aesthetics.
Source: vimeo, lateinteractive
This installation is represent potential of rain. Rain has several scene like: silent rain, light rain, heavy rain, sun shower, misty rain … and more! I guess rain is beautiful and it scene will makes us happy. But almost people feel the blues in the rains…
So that I started to make a installation about rains. Because I hope to provide that people will be able to feel the rain is beautiful, how nature is cool.
One day while doing making a prototype, I had thought about myself in the rain. Then, I realised that rain is also works as an interactive Media for us! After that I changed the installation style: adjust lighting that looks more naturally as phenomenon.
If you installed to my installation that space is just rain, wordless world, you might be think about yours.
I hope to see you in the rain!
‘Heofon’, an old English word which means ‘Heaven, sky’, is a 2m high maze based on triangular geometry made from 23 panels of acrylic glass.
A dichroic film on one side of the acrylic glass converts the panels into semi-transparent and reflects the light rays along the entire colour range of a rainbow while spectators move inside the installation.
On the outer perimeter, the panels are covered with a mirror film converting the interior in an infinity room – a unique cosmos of overlapping light patterns and constantly changing colours.
Heofon is a project lead by ARRO Lighting, the installation was designed by Ben Busche of Brut Deluxe, and manufactured by Ilmex S.A.
"Flow” is an interactive installation for Estonian Presidency of the Council of the European Union, set up at Tallinn Creative Hub and Brussels Europa Building. Part of the interior design for the presidency, “Flow” is a digital artwork that visualises nature through digital algorithms and allows viewers to interfere with the forces of nature – catch a virtual gust of wind, float in the breeze of Ristna peninsula or try to form a tornado with passing-by Chancellor Merkel. In the absence of visitors the flow will by itself, based on the wind speed measured at the Ristna peninsula weather station on Hiiumaa Island.
In the middle of Tokyo, Midtown, vegetables are growing.
They sunbathe inside a plastic greenhouse, and are living through photosynthesis and absorbing water. Leaves, roots, flowers, fruits. Their shapes and colors are their survival strategy.
They are design. Start off by touching the 7 types of lives now growing strong in the soil. Then, bathe in the design of vegetables, enhanced by videos and sounds.
“Beyond”, Light and Sound Installation. Signal Festival, Prague. 2017
"BEYOND" is an immersive audiovisual installation that explores relationships between space, time and perception. A geometrical architecture transforms space into a container for the abstract language of light and sound.
BEYOND is also a study on visual and auditory perspective. By generating a long tunnel, vanishing points are made visible, reinforcing depth effects and the perception of scale. A cluster of speakers along the tunnel mimic this very same perspective and depth effect through sound.
Anthony James’ work takes up the concepts of the universal and transcendental in order to demonstrate the impossibility of their representation. The historical cosmology of Plato is a primary inspiration, both for the sculptures of icosahedrons and for the silhouette of Baroque architect Francesco Borromini’s dome for Sant’Ivo in Rome. Colorful rings of neon nod to the ancient concept of the universe as a set of concentric planetary orbits. The effect is both esoteric and industrial, orphic and distinctly concrete. Modern art historical references abound as well – Bruce Nauman, Ellsworth Kelly, Minimalism – but the artist’s attention is on the wonderment and possibility presented by distant ideals.
The neon spectrum works that provide the title for James’ exhibition are particularly poignant in the tension between references, effects, and materials. The Absolute Zero works are meticulously calibrated spectra of colored neon tubes arranged in concentric circles to evoke the radiance of sacred enlightenment. The hue and intensity of the colors are designed to create white light. The historical references here span empirical experimentation with prisms to the image, across cultures, of the universe-wheel. Neon is already in our time a somewhat outworn material and the visible wires and plugs that trail from the vibrant rings interrupt any illusions of transcendence. This is the paradox that James’ objects show, a formal certainty and perspicuity (exact symmetry, white light, accurate shape) that registers a loss of purity or autonomy or wholeness. His works illustrate ideals, but they themselves are very contingent and actual, particular, not universal: they are for today.
A new five-metre high interactive installation responds to the built environment of the Victoria Cross intersection in North Sydney and will be a great selfie spot. The sculptural form, angles of incidence, is composed of differently angled planes of a reflective, interactive, safety glass referencing the multiplicity of reflections on a faceted surface. Says Davis: “The dialogue between the sculpture and its surroundings is a metaphor for the ‘interactions’ that have happened on this site from its pre-colonial past to the commercial and entertainment precinct it is now.” By night, it changes from a reflective form into a glowing icon, a marker point, a location finder, an announcement. A blue LED light source creates a glowing icon of extraordinary visual beauty. Blue is the colour of calm and of infinity, a reference to the past, present and future importance of this site as a place of social and physical intersection/convergence.
L&L is the technical sponsor of the artistic installation Wave/Cave on display at the INTERNI Material Immaterial exhibition in the Cortile d’Onore courtyard of the University of Milan as part of the FuoriSalone 2017.
The installation, designed by the New York firm SHoP Architects, evokes the idea of geological time marked by the different eras. It uses 1670 blocks of unglazed terracotta to create 797 profiles on 3 levels, alluding to the idea of rock stratification.
The lighting, designed by PHT Lighting Design, brings out the beauty and porous nature of the material and creates a play of volumes between the façade, compact and regular, and the interior, which reveals a surprisingly rich ornamentation.
For this installation, L&L supplied 89 FLORI 1.0 projectors, which were positioned on the external perimeter and between the strata of the interior.
The chosen outdoor lighting fixtures have 15° optics, a 2700K warm white light colour, and anthracite finish.
Project SHoP Architects
Construction NBK KERAMIK, METALSIGMA TUNESI
with Arup, Cricursa, PHT Lighting Design
Lights L&L Luce&Light
On January 6, the Danish popular radio P6 BEAT held its annual music event P6 BEAT Rocker Koncerthuset. For the fifth year in a row, the show hosted a variety of different established and upcoming artists from home and abroad.
The overall lighting concept was based on the creation of a festival feeling inside DR Koncerthuset, which is a concert hall designed for classical music. For this concert, four stages were set up inside the 360° venue. Every stage performance had its own unique expression. The show was an ongoing concert, where each band played three to four songs, until the hosts led the audience's attention to a new stage with the artist next in line. Lighting designer/operator, Sune Verdier, elaborated:
"Because of the fact that the mounting opportunities were very limited, we had a general festival-like lighting rig with an even distribution of wash og spot moving heads. On the floor we had 20 pcs. of SGM P-5 wash lights as a border around the stages. To create this border and a backdrop for the audience and the tv camera, we used the P-5s to light the artists up close. The rectangular shape of the fixture gave a geometrical finish to the edge of the stage, which provided a sharp look for the otherwise small stages."
For the installation, Sune Verdier needed both a good wash and strobe light that could also function as a backdrop for the artist. He found all these features combined in the P-5. He highlighted the high power level and strong saturated colors as the main advantages of the compact LED wash light. Furthermore, he added:
"Whenever I can, I tend to use the P-5 as it’s a very good static wash light, which is also very versatile due to its outdoor capability being IP65-rated."
Supplier: Litecom A/S
Lighting Designers: Sune Verdier/Jacob Møller
Operator: Sune Verdier
Project Manager: Jacob Møller
By LEDs ★☆★
Light installation AnTUenna consists of ample 10,000 LED lights attached to the chimney at the ‘groene loper’ of the Eindhoven University of Technology campus. These LED lights generate red, green and blue light and are individually controlled in colour and intensity by a central controlling system. These light points are grouped around the chimney in rings of 60 LEDs each. It starts with a 15 centimetres’ distance between the upper two rings to be increased up to a distance of several metres between the two lowest rings. Horizontally, the distance varies between 14 and 32 centimetres. And owing to this specific division, a conic, low resolution screen appears which depicts images, videos and animations to be seen at great distance.
During GLOW, several moving image projects are shown representing scientific and technical processes. These images are supplied by several faculties of the University of Technology, exemplary for the many fascinating studies that take place on campus. After GLOW, AnTUenna will remain on site permanently.
By Jamie A.
At Designers’ Saturday 2016 Belux turned the focus of their product presentation onto the new cable system light Hello. Their presentation was accompanied by an installation conceived by Stephan Hürlemann. ‘Hello Hello’ celebrates the spiral cables that supply the lights with electricity and lend them their unmistakeable character. Five 4-metre tall double helix ribbons hang in a darkened room. They consist of horizontal bars hanging from a vertical band. At the ends of each bar are one white and one black sphere. Operated by electric motors, the bands turn fast, and then slower. Yet in the low light only the white spheres are visible which continually describe new spirals as they perform their poetic dance. Sometimes they are tight spirals, sometimes they almost make a straight line and sometimes they seem distilled into individual points. Visitors stroll between the dancing spheres, listening to a song of overlapping pure tones composed specifically for the installation.
WaveFrame is the first of a series of installations based on RGB LED tubes and a new software development line.
Installed for the DGTL festival in August 2016 in Barcelona, WaveFrame parasites a public sculpture formed by square arches for a total length of around 70 meters, creating a light tunnel where people could stand and pass by.
Using oscillator generated pixel textures, wave forms fill the led tubes with oscillating light. When delayed from one arch to the other, light creates perspective and time effects, reinforcing the idea of traveling inside a tunnel.
Source: playmodes, showjockey
Pixel Avenue est un écran géant pixelisé qui forme un « ciel lumineux » sur la sous-face de l’ouvrage permettant de rompre avec l’effet d’enfermement existant dans ce passage. Cette installation lumineuse met en évidence les mouvements dynamiques qui traversent le site : piétons, cyclistes, trafic automobile et le cycle jour/nuit. À partir de capteurs de mouvements et de vibrations, l’artiste crée des variations symptomatiques de l’activité du quartier. Les différents scénarios lumière, couleurs, formes et rythmes lumineux sont en interaction directe avec la vie du site. Pixel Avenue se veut être l’œuvre symbole d’une région, Plaine Commune, innovante, ouverte et créative.
Pixel Avenue met en lumière les flux dynamiques traversant le lieu.
Très perceptibles lorsqu’on traverse le tunnel, les vibrations de l’autoroute diminuent ou s’intensifient au passage des voitures et des camions. De même, le flux de piétons amenés à emprunter cet axe de transition vers le Stade de France, évolue tout au long de la journée selon des temporalités bien définies (horaires de bureau, évènements sportifs…). Ces variations sont révélatrices de l’activité du quartier. Elles sont par ailleurs facilement mesurables en temps réel à l’aide de capteurs de mouvement et de vibration. Ce sont pour nous autant de données qui permettent de “prendre le pouls” de l’activité du quartier à un moment donné de la journée.
Pixel Avenue intègre ainsi ces paramètres dans la programmation des animations lumineuses afin de créer une interaction entre les usagers et l’espace. L’installation fonctionne alors comme une véritable entité vivante dont le comportement serait la traduction de son environnement direct. L’éventail de possibilités qu’offre le dispositif dans la programmation des animations lumineuses et la prise en compte des données extérieures, élabore un langage visuel sophistiqué, capable de hiérarchiser certaines priorités, de prendre des décisions, des initiatives, d’éveiller la curiosité ou de susciter la surprise.
Parfaitement autonome, l’installation génère ses propres scénarios de comportement, si bien qu’elle n’est jamais exactement la même selon les différents moments de la journée et de la semaine ou encore des saisons.
Face au spectre de possibilités que permet la programmation d’animations lumineuses, les paramètres extérieurs qui influencent le comportement de l’installation sont les suivants:
Flux de piétons et de vélos: des capteurs infrarouge PIR sur les poutres en plusieurs endroits du tunnel calculent en temps réel le nombre approximatif de personnes se trouvant sous le pont au même moment et sur la voie piétonne prenant en compte la direction des piétons et leur vitesse moyenne.
Trafic sur l’autoroute: L’intensité du trafic sur l’autoroute est également pris en compte grâce à des micro fixés à plusieurs endroits du plafond de l’édifice.
Les exemples d’installations interactives monumentales sont aujourd’hui rares dans l’espace public. Digitalarti est fier de prendre part à ce projet pérenne, symbole d’un environnement urbain ouvert, créatif, et porteur de sens pour le territoire.
Installation électronique interactive de Fred Sapey-Triomphe Saint-Denis, 2016
Une commande de Plaine Commune, Territoire de la culture et de la création, et du Stade de France, en partenariat avec la ville de Saint-Denis.
By Jamie A.
The existing Slater & Gordon Building in Melbourne has a very tall but narrow atrium flanked by office floors on the north and south sides, and glazed structures on the east and west. In 2011, the architectural team, as part of a series of ground floor foyer upgrades, suggested that the atrium space could be an ideal location for an integrated art installation. The brief was simple: create a unique light element that is visible during day and night, works with the atrium design and its servicing requirements, and fits within the project budget.
The installation itself was designed around the abstracted concept of individual raindrops falling into an invisible pool. This was created by using twenty pairs of concentric luminous rings. Each individual ring was kept as simple as possible, with blue neon selected for its overall luminous intensity. The 360 degree light output of the neon tube allowed people to look down on the installation with the same effect as viewing it from below. The final outcome of the design is expanded after hours by reflections in the glazed and mirrored surroundings.
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