- 27 March:
Archive for the ‘Poeme Numerique Masterclass’ Category
Poeme Numerique Masterclass: Day 3 with Golan Levin
American artist Golan Levin led a lecture on the third day of the workshop detailing many forms, methods, and strategies relating to data visualisation. The starting point for the lecture was collections. Making collections is an extremely common method that people use to understand, categorise, and filter just about anything. Collections can be arranged by any kind of logic, though they are often sorted by property (think of your childhood collections: my sticker collection was organised into smelly, fuzzy, shiny, puffy, and lenticular categories, if I recall correctly). Levin discussed key examples such as Jim Shaw’s Thift Store Paintings exhibition, which was an exhibition of a collection of paintings purchased at thrift stores by unknown painters.
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Poeme Numerique Masterclass: Images
Here is a slideshow of some initial images from the masterclass, with more being added on an ongoing basis.
Poeme Numerique Masterclass: Geert Mul and Phillipe Rahm in conversation
Baltan Laboratories Artistic Advisor (and winner of the Witteveen+Bos Art+Technology Award 2010) Geert Mul had a short conversation with Masterclass leader Philippe Rahm on Baltan’s Poeme Numerique programme, and Rahm’s architectural practice. What follows is an approximation of their conversation.
Geert Mul: In the context of Baltan’s Poeme Numerique programme, we asked ourselves: What kind of language is needed to bridge disciplines? I teach art students and one of the hardest parts of this is guiding them to relate themselves and their works to the contexts in which they are working. In your practice, you seem able to invert this, and create context rather than react to context. Can you comment on this?
Philippe Rahm: The Poeme Numerique project is a meeting of different media within one context. Architecture also often “meets” other disciplines. When developing a concert hall in the south of France, I went really deep into the idea that it is all about the sound, and spoke to an acoustics expert because I wanted to know what the one key thing about acoustics is. The expert explained that for good acoustics, walls must not be parallel so that sound waves do not collide. That is the basic principle. So our architectural task was just this – to build an asymmetric volume so that sound waves do not collide. I then began to consider what the quality of the exterior should be, and the place of the building in the city. I thought we should take the qualities of the interior and extend them to the city. Cities are set up so that buildings are placed in parallel with each other on parallel streets, creating noise in the city. So our building was then distorted, so that it was not in parallel with other buildings on the street. This meeting between sound and architecture really dictated the form of the building. It was a physical meeting between sound and architecture, not just a simple visualisation of sound, but principles shaping each other.
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Poeme Numerique Masterclass: Day 2 – Initial concept sketches
Today the group focused mostly on developing ideas that they began exploring in pairs yesterday on one of six themes that Philippe Rahm set as challenges: heat, vapour, sound, hormones, food, and light. The room quickly became fascinating eavesdropping material: a quick stroll around revealed conversations about cymatics, goosebumps, spun sugar, menstruation, hagelslag, and much more.
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Poeme Numerique Masterclass: Day 2 – Who’s Who
The second day of the Masterclass began with each of the participants briefly presenting their own work. The group assembled here in Eindhoven consists of people from cities all over the Netherlands. The participants’ professional backgrounds range from math and computer science, to fine art, architecture, and music. Here are some concise insights into each of the workshop participants:
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