For their new ad campaign, Vodafone wanted to create an original way of playing a piece of classical music.

The idea was simply to use a collection of 1000 mobile phones with 2000 TXT alerts that – when received in the sequence – created a symphony : Tchaikovsky’s 1812 overture. It took 53 different ringtone alerts, timed to perfection. After a lot of practice it actually worked and Symphonia is the result.

You can view the making of Symphonia here and here.

“Man as Industrial Palace” is an interactive installation based on a poster by Fritz Kahn from 1926, exploring the six cycles within the human factory. From the moment on that Henning Lederer got to know Kahn’s poster “Man as Industrial Palace” in 2006, he had the idea to animate this complex and strange way of explaining the functions of a body. He wanted to continue Fritz Kahn’s act of replacing a biological with a technological structure by transferring this depiction with the help of motion graphics and animation.

In addition to the moving images, as a framework, Henning created a cabinet for his work including a mixture of old and new technology. This new version of the “Industrial Palace“ is an installation for the audience to interact with – and by this to explore the different cycles of this human machinery.

The Workspace project is an ongoing attempt to examine the quasi-private spaces people carve out of their public work lives. Such spaces represent a tug of war between personal expression and comfort on the one hand and the unyielding demands of work on the other. The long-term accumulation of the tokens of that struggle, over years or even decades, can be formally beautiful in a very human and touching way. The project is part of a larger series by Joseph O. Holmes, in which he asks friends and strangers to open up private spaces to his camera.

Because he documents a space exactly as he finds it, never arranged for the camera, the Workspace project is necessarily a spontaneous process.

In an effort to establish new platforms for public art and performance, the multimedia duo SWEATSHOPPE has developed a new interactive technology that enables them to explore the relationship between video, mark making and architecture.

Dubbed “video painting”, this technology allows them to essentially “paint” video onto any surface. Shooting in Queens, Brooklyn, and Manhattan, the duo spent weeks documenting their work in urban settings to create “The Landing” the first in a series of episodes that showcases their work as artist, technologist and performers.

The newly opened  Museum of Everything on the corner of Regents Park Road and Sharpleshall Street London NW1, is London’s only public space for art by the untrained, unintentional and unseen creators of this, our modern world. It is a place for artists and creators living outside our modern society. In tiny crevices and under dusty beds, there lies a secret creativity by the unknowns of society.

During their first exhibition, the museum presents over two hundred drawings, paintings, sculptures and installations, selected by leading contemporary artists, curators and cultural figures.

For their bachelor thesis, Michael Flückiger und Nicolas Kunz focused on dynamic typography, and more specifically on dynamic typefaces. Since not much work has been done in this field, they devised a system in which a typeface would no longer be defined as static font styles, but would be able to change shape and appearance, reacting to a broad spectrum of inputs.

Read the full story here. Click here to test the system.

The white forms in these photographs are the sculptural manifestations of audio footage that was recorded along the border between Russia and Finland. Here the unique old-growth forests stand, The Green Belt of Fennoscandia. Recently these ancient trees are being logged for their valuable timber. There are only few remaining areas of ancient forest in Europe with the vast majority of the vanishing old-growth forests remaining are in the North of European Russia.

The soundwaves  created by Russian artist, Tviga Vasilyeva, are actual objects, each is 6 metres high, reminiscent of the height of a tree, despite looking like digital intervention. I recorded them when the forest was still there. Then, when the trees had gone, she put the ‘sounds’ back to where they used to exist, sounds that look like trees that will never be heard again.

The Inevitable was created with custom software written by artist, Kurt Ralske. The program searches through a database of movie files, comparing each frame with every other frame, looking for pairs of frames that resemble each other the most. “The Inevitable” presents the run-up to these pairs of matching frames. The program compares only shapes within the image (not color or content), leading to some pairings that resonate in unexpected ways. In the end, the inevitable twinned conclusion, regardless of genre, age, or nationality, is not simply a delightful coincidence: instead it has the claustrophobic and humbling quality of less-pleasant inevitabilities, like death and taxes.

Time Lapse Video of Kiel Johnson’s Cardboard Sculpture of a Twin Lens Reflex Camera made strictly from cardboard, hot glue, and tape.

Later the sculpture was made  into a pinhole camera and they actually shot pictures with it.