A new episode of #A.I.L - artists in laboratories, the weekly radio programme about art and science i present ResonanceFM, will be broadcast today Tuesday 27th November at 4:00 pm. There will be a repeat on Thursday 29th November 10:30 pm. You can catch it online if you don't live in London.

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Fearful Symmetry. Photography by Simon Kennedy

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Fearful Symmetry. Photography by Simon Kennedy

This week, i'm talking with Ruairi Glynn, architect, artist, curator, ex-fantastic blogger and if that were not enough he is also a lecturer in Interactive Architecture at Bartlett. His interactive kinetic installations have earned him awards and exhibitions across the world, from the Centre Pompidou in Paris to the National Art Museum in Beijing. Ruairi Glynn was one of the first artists invited to fill in the Tank space at Tate Modern where he installed Fearful Symmetry, a glowing tetrahedron that glided above visitors' heads, danced and encouraged the public to become an active part of the performance.

It's been a fascinating conversation with a pleasant guy. We talked cybernetics, interactivity, puppetry and machines with a mind of their own. I hope you like the programme!

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If you have to visit one show in London this weekend, make it The Bruce Lacey Experience. Preferably on Sunday around lunch time when the automata are brought to life.

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Installation view of The Bruce Lacey Experience at Camden Arts Centre, 2012. Photo: Angus Mill

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Installation view of The Bruce Lacey Experience at Camden Arts Centre, 2012. Photo: Angus Mill

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Bruce Lacey - ©Bruce Lacey

The exhibition page of The Bruce Lacey Experience show at Camden Arts Center filled me with embarrassment. There i was visiting a show dedicated to "one of Britain's great visionary artists." Lacey has been making art for approx 65 years, he participated to Cybernetic Serendipity (the now legendary exhibition of computer art which opened at the Institute of Contemporary Arts in London in 1968), worked with Peter Sellers, he had a show with The Alberts called 'An Evening of British Rubbish', etc. Yet, i couldn't remember having heard of him before.

The show has dolls and early toy robots, costumes of all kinds, posters, memorabilia of performances, videos of science fiction shows, props used for pagan-style rituals, etc. A giant penis is hanging on the ceiling. A room has instruments that measure atmospheric phenomena, such as the 'Homemade Sunshine Recorder', a glass ball which concentrates rays of sunshine and draws traces of it on a piece of paper. But of course i was there for the 'robots'.

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Homemade Sunshine Recorder

The star of the show is Rosa Bosom. Or R.O.S.A. Bosom, the first part of the name standing for Radio Operated Simulated Actress. Lacey needed actors for his performances but he wasn't too keen on collaborating with actors. He decided to make his own electrical actors so that they could take part to his live shows.

He not only exhibited Rosa Bosom and her mate (Mate) at Cybernetic Serendipity, he also asked Rosa to be his 'best man' when he got married and entered her in the 'Alternative Miss World' contest in 1985. Rosa won. Portraits of the lady:

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Installation view of The Bruce Lacey Experience at Camden Arts Centre, 2012. Photo Angus Mill

A big room at the Camden Arts Center is filled with these rough assemblages and machines: there's The Womaniser, Old Money Bags, School Days, etc. Each has a history of is won. I'd have documented them better for the article but the show is under a strict 'no photography' regime, and i didn't feel like writing down all the notices on the wall, nor could i track images of the individual automata and posters online.

I did manage to take a photo of the text at the entrance of the room showing his kinetic works:

They may be what we know as art, they may not be, but if they are not, then they are what art should be. No artist should live in an Ivory Tower of aesthetics. The Artist should be at grips with his life, with the essence of life, not its superficial visual manifestation. He shouldn't just be stimulating man intellectually, or emotionally, like a love potion or a panacea, for purely aesthetic motives. It should instead be awakening his conscience and his awareness of life as it is and what it is going to be, as we move forward to a frightening future, where man's very individuality and personality may be lost. It is the artist who must have his finger on the pulse to safeguard us all. For if he doesn't, no one else will.

Bruce Lacey, 1964

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Installation view of The Bruce Lacey Experience at Camden Arts Centre, 2012. Photo: Angus Mill

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Installation view of The Bruce Lacey Experience at Camden Arts Centre, 2012. Photo: Angus Mill

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Bruce Lacey Experience, The Womaniser

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Installation view of The Bruce Lacey Experience at Camden Arts Centre, 2012. Photo: Angus Mill

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Installation view of The Bruce Lacey Experience at Camden Arts Centre, 2012. Photo: Angus Mill

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Installation view of The Bruce Lacey Experience at Camden Arts Centre, 2012. Photo: Angus Mill

The Bruce Lacey Experience was co-curated by Jeremy Deller and Professor David Alan Mellor. Deller teamed up with Nick Abrahams to make a film about Lacey's work and life.


Trailer for the film The Bruce Lacey Experience

The automata- kinetic works are activated only during late opening hours every Wednesday and on Sundays between 1.30 and 2.30pm.

The show remains open until 16 September 2012 at the Camden Arts Center in London.

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AL and AL, The Creator, 2012 (Film still). Image Courtesy and copyright the artists

Last month, i went to the UK premiere of The Creator, a 45-minute movie by Al & Al commissioned by Cornerhouse for AND, the Abandon Normal Devices festival.

I entered the cinema wondering how much i'd enjoy a computer animated homage to a genius born exactly 100 years ago and i got out of the screening obsessed with everything Turing. I spent the weeks that followed reading everything i could about the 'father of the computer'.

The short(-ish) film narrates and speculates on the last days of Alan Turing. I knew Turing as the genius who had successfully worked on cracking German ciphers at Bletchley Park during the WWII, as a man who has defined the basics of computer science, and developed the eponymous Turing test, which sets a standard for a machine to be called "intelligent".

Turing's name was therefore little more than synonymous with a landmark in the history of computer. I wasn't aware of his personal life so i was shocked to see him portrayed as a broken man about to (maybe?) commit suicide. 2 years before his death, Turing was indeed found guilty of "gross indecency", because of his sexual relationship with another man. Homosexual acts being illegal in the UK at that time, Turing was given a choice between imprisonment and chemical castration. He opted for hormonal treatment. The conviction also led to the removal of his security clearance, and barred him from continuing with his cryptographic consultancy for the British signals intelligence agency.

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AL and AL, The Creator, 2012 (Film still). Image Courtesy and copyright the artists

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AL and AL, The Creator, 2012 (Film still). Image Courtesy and copyright the artists

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AL and AL, The Creator, 2012 (Film still). Image Courtesy and copyright the artists

As the directors write: Our film tells the legendary myth that thinking machines in the future will make about their creator's life; an emotional story about how one of Britain's greatest scientists ended up in a very dark place, because the country which he helped save from fascism, chemically castrated him because he was gay.

This is the background for a film that intertwines Turing's dreams, a therapy session with his psychologist and a couple of intelligent machines looking for their father.

The focus on the session with the German therapist is particularly fascinating. As the film directors explained in the Q&A that followed the screening, Turing arrived in Manchester as an entirely rational and logical man and because his therapist, Dr Franz Greenbaum, was using Jungian psychology and encouraged Turing to write a dream diary, the mathematician was suddenly confronted with the irrational and the unconscious.

The film certainly explores this irrationality, suggesting that after all, being irrational is part of human intelligence.

The Creator is a clever and moving film that not only celebrates the tragic life of a man we owe so much to but also reminds us that Turing is still waiting for an official and posthumous pardon.

Cornerhouse uploaded the video of the Q&A with the film makers. Don't miss it, their passion for Turing is contagious. Bonus! The irresistible accent of one of the artists.

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Image credit: Cornerhouse Manchester

The Creator will be screened again at the Cornerhouse, on Thu 30 Aug, at 15:50 as part of the AND festival.

Abandon Normal Devices (AND), the Festival of New Cinema, Digital Culture and Art will run from August 29 until September 2.

As you might remember, i recently took the train to Liverpool to see the exhibition Robots and Avatars, conceived by design collective body>data>space and FACT.

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Martin Bricelj Baraga, RoboVox, 2006. Photographer: Brian Slater

Robots and Avatars invites visitors to imagine what will happen in a -not so distant- future when the advance of technology will bring us in even closer contact with artificial intelligence and machines. Will we have to re-assess what we now define as 'life' and as 'body'? How do we envisage our future relationships with robotic and avatar colleagues and playmates, and what point does this evolution cross our personal boundaries of what it is to be a living, feeling human being?

As a kind of introduction to the issue, the documentary ROBOT WORLD gives the state of the art of robotics by compiling films from university labs, private footage taken at industrial fairs, military archives, corporate videos and extracts from 1930's movies.


Martin Hans Schmitt, Robot World - A Meeting with Your Alternate Double, 2010 (trailer)

But the spectrum of the exhibition's enquiry is much broader than the documentary. Some of the works exhibited demonstrate how much the artificial imitates human life. Others speculate on how radically it might depart from it. The show leads the visitor from Second Life to invisible architecture, from the familiar to the unexpected and even sometimes to foreign territories. From the physical body to the digital body and back again.

I've already blogged about some of the works exhibited in the past (namely Compass, rep.licants.org and ADA) so i'll just mention a few works you might find interesting:

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Shu Lea Cheang and Co, UKI, 2011. Photographer: Brian Slater

The most thought-provoking and exciting work for me was UKI by Shu Lea Cheang. UKI is a sequel to her 2000 cyberpunk movie I.K.U. The film is set in 2030 and explores whether the replicants of Blade Runner have sex. In 2030, the GENOM corporation is selling orgasms on portable devices and sending a shapeshifter coder out into New Tokyo to collect "orgasm data".

UKI is a live coding / live spam performance where software and body viruses are merging but also a viral game that is presented at FACT on two screens.

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Photographer: Brian Slater

About the time of the opening of the exhibition, an actor was playing Public Avatar in the streets of Liverpool. People anywhere in the world could login on the website of the project, instruct the avatar to do simple tasks and follow his whereabouts in the city. This project explores the borders between virtual and real and tests the limits of human machine control.

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Martin Bricelj and Slavko Glamočanin, Public Avatar, 2009. Image courtesy of Martin Bricelj

Base 8 is inspired by Pepper's Ghost , a 19th century illusionary technique that makes objects seem to appear or disappear or make one object seem to morph into another. In the version designed by Chris Sugrue however, the illusion is that of a floating colony of small creatures coming to life around and in between your fingers and hands.

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Chris Sugrue, Base 8, 2011. Photographer: Brian Slater

More images from the show:

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Opening of the exhibition. Photographer: Brian Slater

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Lawrence Malstaf, Compass, 2005. Photographer: Brian Slater

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Karina Smigla-Bobinski, ADA, 2010. Photographer: Brian Slater

Robots and Avatars remains open at FACT (Foundation for Art and Creative Technology), Liverpool until 27 May 2012. The exhibition will then travel to AltArt, Cluj-Napoca (Romania) and KIBLA (Slovenia) in 2012.

The Robots and Avatars exhibition in the UK is co-produced in the UK by body>data>space and FACT in collaboration with the National Theatre. European co-organisers are KIBLA (Maribor/Slovenia) and AltArt (Cluj Napoca/Romania). With the support of the Culture programme of the European Union, this project was conceived by lead producer body>data>space in association with NESTA.

The Kinetica Art Fair (part 1)

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Hans Kotter, Tunnel View, 2011 (Patrick Heide Contemporary Art). Image by Danny Birchall

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Christopher Stoneman, Incandescent Yolk

Last half of my report from the 4th Kinetica Art Fair where some 300 works demonstrated the fascination that artists have for scientific knowledge. The theme this year was "Time, Transformation and Energy", a group of terms that you could apply to almost any work focusing on kinetic, electronic, robotic, sound, light, time-based and multi-disciplinary new media art, science and technology anyway. As i wrote yesterday, Kinetica is a joy. It's surprising, exciting, and its laid-back atmosphere provide plenty of opportunities to discuss with artists, curators and other visitors who are as interested in technology-infused art as you and I might be.

Some of the pieces are candidly whimsical, others explore responsive architecture, pay homage to Jean Tinguely or to Newton's third law, take the form of small models of celestial mechanics, or of experimental music gigs on modified Fisher Price Turntables.

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Alex Allmont, Plaiting Machine

Alex Allmont 's LEGO Plaiting Machine is the epithome of what i was expecting to find at Kinetica. The machine slowly weaves together three yarns of wool through the force of gravity. To regulate its speed the system uses an ornate clock escapement from the late 19th century called a 'flying pendulum'.

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Mark Zirpel, Orrery #3, 2009. Photo American Craft Council

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A work by Mark Zirpel, focusing on celestial mechanics. Picture: Mark Zirpel

Mark Zirpel has been focussing on celestial mechanics, particularly the connections between celestial and terrestrial phenomena. He became fascinated with the antikythera mechanism, recovered from a shipwreck off the coast of Greece in 1901. After decades of being puzzled by its functions, scientists finally determined that it was the first analogue computer. The 2,000-year-old gear mechanism could predict the position of the planets at any point in time. However, some of the models that Zirpel was showing at Kinetica were directly inspired by orreries, mechanical devices that illustrate the relative positions and motions of the planets and moons in the Solar System in a heliocentric model. The first working model of the kind was engineered for the Duke of Orrery back in 1704. Zirpel used discarded materials (from washing machine parts to bicycle components) and intentionally ignored the design of the original orreries so as to create a more personal version of the mechanism. Besides, his delicately-crafted mechanical models of the solar system are powered by the sun.

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Tom Wilkinson, The Green Ray No. 2 (Homage to Inaccuracy), 2012. Picture: Tom Wilkinson

Green Ray lights spin so fast, their traces produce a spherical form, the work deals with the illusion that the world consists only of solid bodies.

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AA-D_Lab + ShariShariShari, Architectural Intelligent Canopy

The intelligent canopy, designed during a Summer workshop at the Architectural Association, demonstrates how "intelligent architecture" responds to the immediate environment. The roof consisting of tensegrity structures shrinks and expands kinetically, its artificial muscle moving in response to environmental stimulus and modes of the space. The prototype model exhibited at Kinetica changes its shape where it senses light.

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Greyworld's Tail

greyworld's 62cm long Tail comes in various patterns and can be clipped to the belt or waistband. Using the remote control you can make it move at various speeds or dance in time to the music. Apparently hordes of people are keen on getting one for themselves.

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Tim Lewis, Pony

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Acoustic laptops are wooden briefcases containing springs, stones, metal, rubber, string, needles, memorabilia as well as cheap contact mikes (piezos) to amplify their sounds and turn the case into a musical instrument.

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Piotr Jedrzejewski, Detail of city, mass, machine

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Piotr Jedrzejewski, City, mass, machine

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Piotr Jedrzejewski, Down with feathers

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Sophie Cullinan, Worn, 2010

Sophie Cullinan's Worn is just a big patchwork doll that you inflate at the press of a button. For some reason, i couldn't stop watching it.

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Sylvia Ilieva, Living Architecture, represented by University of Westminster

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Image on the home page from Danny Birchall's photo set. Photo galleries on flickr and The Telegraph.

Previously: The Kinetica Art Fair (part 1), Soundwaves at the Kinetica Museum.

The Kinetica Art Fair brings together independent galleries, art organisations and curatorial groups who focus on kinetic, electronic, robotic, sound, light, time-based and multi-disciplinary new media art, science and technology. The art fair features installations, robots and small sculptures but also live performances, artists presentations, demos and a cheerful atmosphere that makes it easy to talk to the 'exhibitors.'

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Image Timeout

The event takes place in London every year since 2009 but this was the first time i managed to be in town during the fair. Kinetica is as bazaar, as garage and as male-frequented as you might expect. There were a couple of interactive horrors "customizable to better suit the lobby of your luxury hotel", and a few aesthetically questionable contraptions. It takes all sorts, as they say. However, i did see a number of projects which made it worth the visit. Hence the necessity to write two posts. Even so, the list of works i wanted to write about was so long i've cut it drastically.

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Ronin Cho, Weight of Unseen

My favourite piece was without doubt Ronin Cho's Weight of Unseen which i had discovered at La Scatola gallery a few months ago. The kinetic sculpture is activated when a visitor pulls strongly on the chain from the hoist. The yellow number then changes but only a 0 or a 1 will appear, following the 00011010 combination, a binary code meaning end-of-file. In a simple and physical way, Weight of Unseen remind us of the place that the 'immaterial' digital world has taken into our life.


View of the installation at La Scatola in 2011

A corner of the fair was dedicated to Intuition and Ingenuity, an art exhibition that pays homage to Alan Turing.

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boredomresearch, Fragments of Lost Flights, 2012. Image boredomresearch

boredomresearch was showing his latest work. And it is as brilliant as you'd expect one of their projects to be. Fragments of Lost Flight which creates wing fragments generated by computational processes inspired by descriptions of Turing's virtual machine known as a Turing Machine. Each wing fragment generated by the 'machine' exists only for the time it is on screen and is unlikely ever to be recreated. In nature the process that leads to familiar forms such as butterfly wings are exposed to intense selective pressure with only those of value for survival remaining, in contrast, 'Fragments of Lost Flight' treats all possibilities equally.

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Paul, by Patrick Tresset, is another work i had seen in a London art gallery before. I'm glad Kinetica gave me the opportunity to catch up with all the stories that have remained in a rough draft stage.

Paul is an obsessive face-sketcher. After its camera has scanned your facial feature, its mechanical arm gets into action, drawing your portrait with a ballpoint pen. Its style is similar to Tresset's own panoply. Paul is not the first drawing robot nor the first robots able to draw portraits.

What makes it different from the other drawing robots is that Paul investigates the drawing activity and more precisely face sketching. Paul uses some of the technology developed for the AIkon-II project at Goldsmiths, a research that uses computational modelling and robotics to answer questions such as What can explain that for a non-draughtsman it proves so difficult to draw what they perceive so clearly, while an artist is able to do so sometimes just with a few lines, in a few seconds? Furthermore, how can an artist draw with an immediately recognisable style/manner? How can a few lines thrown spontaneously on paper be aesthetically pleasing? Ultimately, AIkon-II aimed at developing a system that would draw in its own style. Like a human artist.

Here's a video of Paul sketching a portrait the artist:

As what the exhibitors called 'a kind of artistic Turing Test', some of the portraits were drawn/controlled remotely by the artist.

If you're interested in seeing more of The Intuition and Ingenuity exhibition (and you should, it's that good), keep an eye on its website because it will be touring the country over the coming months.

Elsewhere in the fair, the drawing robot party has only just started...


Balint Bolygo, Mappings, 2005

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Balint Bolygo, Mappings, 2005

Balint Bolygo was showing Mappings, a rotating mechanized globe with no axis. Entirely black, its surface was slowly being covered with white scribbles. The pen was set in motion by two pendulums, which move whenever people interact with them. The mass of the earth is essentially creating the drawing, with the project playing on the idea of using a fundamental force in an imaginative way.

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Shih Yun Yeo, Robo-Charge

Shih Yun attaches bristle brushes to small robots and lets them draw motifs on the paper. The strokes are dictated by rules she made up and by using the element of chance from a dice.

Part 2 will be online tomorrow.

More images on the flickr pool.

Previously: Soundwaves at the Kinetica Museum.

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