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we're very fortunate in having with us tonight most not quite all unfortunately of the artists whose work features in that uh exhibition I should explain the voluminous windows which is an experimental exhibition in several respects experimenting with scale with trying to provide and holograms uh into the urban landscape literally onto the street uh in a way that's a bit reminiscent of a famous telegram from the seventies hand and jewels which did a similar thing as in the Cartier window in New York but but in doing that uh etc. skin uh led the bold initiative of inviting and nominations of new art holograms by artists from around the world and I'm just going to read out to you uh the uh 6 artists and their the titles of their works that was selected by a committee that we appointed to review all the nominations and Michael Bland Berg who I hope and believe is here from Germany and his pieces called insights that Connors who I know is here because I've seen and light rain whole Dawson from Australia her work is that title ANN at Pearl John from the United Kingdom the good medicine cabinet pose the only artist we believe not here tonight and it were Nakamura from Japan with the error and Sally Weber again from the United States with laccolith those 6 works as I say are viewable outside but I'm going to invite them and this is where we find out if indeed they are here I'm going to bipolar Sally Betsy and eco to join me on the stage many each might say just a few words about their yeah the brain you a a a fair film and these the low the you should take a microphone 1 after the other and say what you will about these these please yeah hi
ample my works cold end here a in in like I made it involves so that we could tell the difference between the person in the whole the grand it's a portrait of a very well loved to larger a straight in our own cultural icon and Lewis lose brilliant collector the as she established the
Stratus 1st contemporary art gallery called Gallery I and this work was a commission so that they could be a portrait of her together with the collection and i in the work I use the idea them the idea of 3 D are are not a holographic ideas D often people think of 3 D is something we have to put on glosses and uh that old anaglyphic system with 1 eyes written 1 eyes green and if you
see the image without the glosses it's offset so in this work and I use that idea of needing to fuse 2 views to show the top classes show her how she appears to the outside world and the bottom glosses show how she sees the world so obviously can't actually fuse those glasses but you can conceptually and so in your mind if you if you use those 2 views you come out with a whole personality of N and the larger than life very colorful woman and just that that's my explanation but I'd like to arm say that portraits going back to the Museum of Contemporary Art in this failure to B. with more of her work but on 1 really important thing is so exciting to show you because when you make out work on of course you very indebted to the people who actually invent the medium through which you express your ideas so it's fantastically exciting to actually know those people to speak with them to develop ideas with them and so on you know it just makes the future very exciting it's great to be here amongst so much from new and interesting developments in the medium and I'd like to thank Seth very much pretending to every detail at this exhibition with the most personal breeding care and and for making the works on each and every 1 of them looks like fantastic and also so all my out as colleagues it's just such an honor to be in such great company so thank you you know it good evening I'm cell Weber and again I'd like to express my thanks and
gratitude to the museum and to for putting this all together and relate to our welcome you all here as well and to a lot of friends who are it's great to see what many of us have been together working in this field for a long time and it's been a real privilege all my
work's called laccolith it's the 1 figurative work that's displayed here tonight and as Dr. Vest is very clearly talked about it uses interferometry which is this wonderful patterning over the figure that shows no in the whole graph and if you think of that patterning as very slight motion the tiny tiniest of motion micro motions between this 2nd and this 2nd that's what that a hologram is recording it's 1 of our series of works of 6 pieces from descent the fifties of the series and if you think in terms of interferometry that kind of motion is going on all the time but we can't see it that's the kind of all information it's capturing In a microsecond and it's a marvelous medium it's inspired us all over these years are and we keep pushing the boundaries still keep going on so I wanna thank you again very much are there just a brief word that's Socolow's not only 1 of the answers but also contributed to the museum's programs in a lot of the teaching this medium to others thank you and it's a privilege to be part of this wonderful exhibit with all of these wonderful artifacts long history here at MIT so it's really nice to see that this program is happening here and that John
initiative for spatial imaging into grow myelography and to grow on the program here at MIT has been a long time coming out of my work like rain is a continuation of work that I do but I like to think in traditional landscape of technology landscape and on and technical work uh work in video and then holography and some of you may remember of light forest the holographic rainforest that was here at the Museum of many years ago and i its work where not only am I interested in capturing the three-dimensional aspects of landscape and nature I also interested in going beyond just the sort of smaller frame to sort of building frames and building on a light forest was floor ceiling and walls of hologram's on and also I'm interested in capturing a sort of feeling of nature of the play of light of light in 3 dimensions of light on branches
light on water to give 1 a sense of being there and therefore stronger sense or thoughts are connections to nature and appreciation of the environment again it's a wonderful to be here with all these wonderful holographers and so many here in the audience tonight and it's wonderful so many are here at MIT it's a long time coming it's the the place where our technology really where holography really feels like it's so thank you yeah
I I a mean of menus not gonna and from new you that unity from 2 and and this is the little and what we do come in to like pieces here and in ladies or it's you know the best place to be the at about 20 years ago when I came here the event was just not sure he's most of the best technology you know it was really regional armies and also today Georgieva and summary and agreed that note that this standard moreover the new year which they will directly from the event and they have really making some 78 some you very great to meet urgent to an and also evidence good comment something about this history the thing I I actually I share LPC piece uh in Germany of technical and then they had I was my work was normally have I was asking you you know um if you see my work um luxury gene was uh very odd famous 18 and feature was about a hundred years ago in Paris because of security so far I have them you know my mother was nominated you ever surprised because don't just kind of these can be shown in windows in front of him at the museum's certainly tell me afterwards course no hope and so he she clearly see that no event these most of the ones the institution so that no program that they did they do mets little my name is linebacker from Germany and I like to think very much for the invitation to be part of the show and my thanks to all who make that possible yeah and my work is called insights and the it is part of the Commission I'm going to do for the city of Japan you know in East Germany and the client is the can't fight the famous the companies your own me no you you might have for the camera with a would you have the objectives of cult size and that the client is not doing very much you know meat were imaging like reneging and my work is referring to that it's going to be on blend fights sculptures but with the kind of work you are going to see the right after this a of this event and it's called inside the because of the Micah imaging the issue of so that's all I can say and I invite you to walk around you with the 3 images in 1 on 1 plate the and this is the end thank
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Metadaten

Formale Metadaten

Titel Artist's Comments
Serientitel Photons, Neurons and Bits: Holography for the 21st Century (MIT Museum 2009)
Teil 13
Anzahl der Teile 13
Autor MIT Museum
Lizenz CC-Namensnennung 3.0 Unported:
Sie dürfen das Werk bzw. den Inhalt zu jedem legalen Zweck nutzen, verändern und in unveränderter oder veränderter Form vervielfältigen, verbreiten und öffentlich zugänglich machen, sofern Sie den Namen des Autors/Rechteinhabers in der von ihm festgelegten Weise nennen.
DOI 10.5446/21959
Herausgeber River Valley TV
Erscheinungsjahr 2012
Sprache Englisch
Produktionsort Cambridge

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