Interactive Olympic Tweet Wheel
Check out the colour of the London Eye to see what Twitter feels about the Olympics!
[The team has] been commissioned to develop an intuitive algorithm to track the sentiment of British tweeters about the Olympics by EDF Energy, the official electricity supplier to London 2012, in order to create the ‘world’s first social media driven light show’, called ‘Energy of the Nation’ on the London Eye (which EDF sponsor).
If the overall sentiment is negative – the London Eye will glow purple. If it’s positive it will shine yellow and if the Twitter reaction to the Games is neutral, the wheel will emit green rays.
Light of Other Days
Both born in Switzerland in 1979, Taiyo Onorato & Nico Krebs met in at the School of Art and Design in Zürich in 2005. They have worked together on several different projects and often collaborate with Bernard Willhelm, the wildly innovative fashion Antwerp trained fashion designer.
This series of direct positive photographs is entitled Light of Other Days. It is testament to the imperfect capture of light that is photography. Their work verges on the edge of photography, sculpture and installation, examining the two dimensional limitations of photography and how the placement of objects in space can lead to a fictional and humorous interplay. Each shot is meticulously crafted, staged and lit.
Their book, The Great Unreal (2009) lead to a show at MOMA PS1, and is a take on the cliche of the American road trip, both intelligent and absurdist.
Portrait of the city: Shadows
A shadow is an image that results from the absence of light. In this simple yet powerful film about mobility, a skateboarder moves around concrete of the city. His shadow is filmed upright, inverting the POV and creating a moving image against the texture of materials such as asphalt, concrete and traffic cones. The short film is made by Joe Pease and inspired by an essay on Peter Pan called Shades of a Shadow that examines the symbolism of the shadow.
Tracing Space: Anthony McCall
If you happen to be in Cologne, don’t make the mistake of missing an unforgettable experience at Anthony McCall’s exhibition at Galerie Thomas Zander. Since the 1970s, McCall’s reductivist installations mesmerize audiences. It is hard to describe the experience in words, but to give a sense of this immersive artworks, one must speak to the artworks unfolding in time.
A spectator walks from the bright outer gallery space into a pitch dark room, his eyes take time to adjust to the absolute darkness, but soon he realize there is a shaft of light streaming down evenly from above. This shaft is actually a line, a thin beam of light that is moving ever so slowly. The light line moves into different shapes, volume is created as the light reflects off of a light fog or dust that is fills the air, invisible until illuminated. The lines move around one another at a constant pace, creating volumes, coming apart, making cones of light that threaten to pull you up into a UFO. At he forefront, his work is about the idea of exchange between different forms and how they engage with the body, but it is also about efficiency, using the most basic and simple elements for maximum effect.
See this video made by Tate that explains how is work is created in time:
McCall began making work during the rise of minimalism in the 70s in New York - he says at a time when artists were “looking for ways to render down an idea to it’s basic forms.” He describes his work as somewhere between cinema, sculpture and drawing. Cinemas, because they are pieces that are constructed in time, sculptures because they are three dimensional forms that invite the spectator to move around inside of them and drawing because, in essence, his works are simply an animated line drawing that is projected from the ceiling to the floor.