Hydromedusa and pelagic octopus

drawing concepts and finding beautiful inspiration from good old National Geographic. #Kraken #Cocalux #uncanny

Hydromedusa in Antarctica

Pelagic Octopus

I'm loving Petting Zoo by @Minimaforms

 

Creative Applications link here 

and Minimaforms link here 

laser tests for the tenticles #Critters #PhD

#smokewhatsmoke?

jellyfish inspiration

http://www.thisiscolossal.com/tags/jellyfish/

A bucket of brains ( well Arduino, motors wires and stuff)

Prototyping of Critter number one well under way. #PhD

Brain boxes

Bread-boarding the brains. #Critters #PhD

prototyping of 'Critters' in full swing

I've been busily jamming stuff together in the FabLab,  first with #littlebits but now working out how these Critters will look and act.

 

from #TeamLab: Distilling Senses: A Journey through Art and Technology in Asian Contemporary Art

This from Collacubed Individual balls floating within an enclosed space communicate to each other via wireless connection. They change color and emit different sounds when touched by visitors or bump into each other or other objects. The balls send color information to other balls which in turn spread the information to other balls, changing all the balls to the same color. The piece is a metaphor for the internet and globalization in general. People act as intermediaries for information which so quickly travels via the internet globally, transforming the world in an instant and unifying at the same time.

Reading Dorothea von Hantelmann's essay on Carsten Holler: in Test Site (2007). the work seduces us to act upon ourselves.

The Valerio phenomenon cultivates this potential as a kind of everyday technique. The slides however introduce it into the museum. Being the place where our most differentiated ways of relating to objects and their symbolical meaning are displayed and cultivated, the slides bring in a moment that is all about ones relation to oneself.
In Hollers work the object becomes a tool, a device to produce these moments. Sliding down Holler's structures, one does not communicate with the sensitivity or the specific subjectivity of the artist- as we might do when we contemplate other artworks such as e.g. drawing- but with oneself. Or rather one communicates with a different side of oneself. The fact that we do this, is of course, his idea. But in the experience of the work, we are confronted with ourselves, and especially with our physical selves, more than with the artist. The sculptural object, in other words, becomes a tool to explore and experiment with ourselves. It not only serves the perception of one's self, but engenders transformation of one's self.  
 This operational dimension is crucial: the work seduces us to act upon ourselves. (p23)


Carsten Holler: Test Site (Unilever Series) , 2007 by Jessica Morgan. ISBN-10: 1854377124ISBN-13: 978-1854377128 


so if the works seduces us to act upon ourselves- can it also encourge this to happen collaborative, or with others? reports from Test Site suggest that there was a sense of group excitement at the top and bottom of the slides - a 'transformational energy 

and from the Tate http://www.tate.org.uk/whats-on/tate-modern/exhibition/unilever-series-carsten-holler-test-site 

"What interests Höller, however, is both the visual spectacle of watching people sliding and the ‘inner spectacle’ experienced by the sliders themselves, the state of simultaneous delight and anxiety that you enter as you descend".