Post on 19-Oct-2020
transcript
between Impulse and Display
Clown
Interactive sculpture, Catrine & Olaf Val,
Kassel, Germany, 1997
Computer
Monitor,
Speakers
Headphone
12 digital videos
are added and inserted by a computer
Programmed on Macromedia Director.
The monitor shows an idle fruit machine
named "Clown". A picture is
monochrome light grey, as two buttons
on the outline are flashing alternatively.
In one presses one of those buttons,
black and white squares appear on the
screen. Repetitive pressing of the
buttons causes a filling up of the screen
due to a randomly determined order
transforming the picture into a
chessboard. If the visitor, becoming by
now a co-player, stops the pressing of
the "stop" button, which is placed in
the middle or if he holds on a moment,
video sequences appear covering the
squares partially At the beginning of
each video one of the square fields
disappears. As soon as alle squares are
used up by playing the game, the
machine goes back to an idle mode.
In accordance to the rules of the game,
the visitor determines by the number
of squares the number of videos shown.
Due to the combination of the buttons
set on the left and on the right sight,
one can moreover influence the
sequence of the video series. The fruit
machine plays with the idea to reduce
interaction to absurdity. The bare screen
comes to live by a bilingual setting and
by the simple assignments of right/left,
female/male. Even if the questions of the
actors express it frankly, the fruit
machine manages to distract from the
fact that its lacking any content.
Que dois-jefaire ?
What should Ido ?
Should I dowhat I wantto do ?
Should I wantto do what Iwant to do ?
Do I do what Ishout do,
If i do what Iwant to do ?
Should I dowhat I shoulddo ?
Dois-je fairece que je veux ?
Est-ce que jeveux faire ceque je veux ?
Est-ce que jefais ce que jedois faire,
si je fais ceque je veux ?
Est-ce que jedevrais fairece que je doisfaire ?
Öffentliche Fläche Public Space
Videoinstallation, Kassel, Germany, 1997
Showcase of glass
Image video projector
Iron grid
Two video tape recordings connected to
a video mixer.
The video installation Public Space
contains essentially a showcase of
glass. A video screen is inserted in the
bottom. If the visitor of the installation
looks inside the showcase, he/she sees
a video image of 1,50 metre width.
The images show impressions of a
construction site of Friedrichsplatz,
Kassel, Germany. Above the showcase a
rope is tied to an iron grid. The visitor is
invited to move the grid. Parallel to the
movements of the iron grid a second
video becomes visible on the video
screen, projected through a grid shaped
raster wipe transition. The second video
shows passengers standing at the
construction site fence, watching the
construction of the underground parking
lot.
"Public Space" plays with the
expectations of visitors, looking at
displays which are presented in a
showcase in, e.g. a city hall. The visitor
is used to a public presentation of
architectural drawings and models of the
cities´ construction plans, but instead
the visitor´s view is directed towards
colors, forms and movements of the
events of the city center. The video
images become images of memories,
should the memory still is vivid how the
construction site looked, e.g. a year ago.
The iron grid above the showcase with
its uniform rectangularity points out the
typical fundamental shape of
construction sites. And precisely his
framework can be brought into motion.
video 1, transition, video 2
Program
Interactive sculpture,
Kassel, Germany, 1998
Monitor
Marble path
4 Miniature cameras (b/w)
4 Electric contacts
Electronic series connection
A marble path is set on a pedestal and
behind it a TV is placed. If a marble is
rolled along the path a miniature camera
records live. These sequences are shown
on the TV screen. The electric contacts,
which are connected to the switch unit
inserted into the floor, switch to the
corresponding camera. The typical model
of a marble path, equipped with
electrical power and a video socket:
The marble, as ever, is still put in by
hand. Immediately the video level mixes
with reality. In the right and left axles
and, respectively, back- and forward
seems to be a crossing of the marble
and its image.
Dull Day
Interactive sculpture,
Teamwork with Catrine Val,
Kassel, Germany, 1998
Monitor inserted into a slot machine
(100 cm x 60 cm x 180 cm)
Joystick,
A video game is integrated
and played back by a computer
Programmed on Macromedia Director.
In the shell of a video game device the
visitor can play a video game related to
the typical elements of classical video
games like "Spaceinvaders",
"Devender" , "Pacman", etc.. The
complete new conversion integrates
sensitive psycholocial moments.
Level 2
The portait of a woman grows
smaller by dismal images
moving in from the outside.
Those images can be pushed
back by soap-bubbles.
Level 1
A woman needs to get steered
over a freeway alive.
Level 3
A woman tries not to pass out
by keeping the swaying image
in balance.
Automatic Loop Unit
Videoinstallation, Kassel, Germany, 1999
Variable size
Video image projector
3 computers,
Monitor,
Computer mouse
CD player
Amplifier
Speakers
Headphone
Pedestal
Stool
350 video loops and 20 graphics are
added, integrated and played back,
connected to a video mixer.
In "Automatic Loop Unit” fragments of
videos (durance: 1/2 a second to 3
seconds) are meshing into each other,
forming an endless loop video program.
The readymade elements develop
continuously new combinations. In the
flow of image sequences the visitor can
intervene by composing a new
sequence, speed and rhythm of cuts by
overlaying the images with inserted
graphics.
The logical idea of my concept of cutting
was transformed into the computer
program of "Automatic Loop Unit”. The
reason for doing so, was to insure that
the basic concept stays a unit, still
allowing the visitor plenty of creative
opportunities.
A video fragment is played as a loop. A
unique motion becomes a rhythm. In
"Automatic Loop Unit” there are five
rhythms overlaying each other. The first
two rhythms result from the lengths of
the two video loops, which are played at
the same time, but, however, only one is
visible. The third rhythm determines the
moment when to switch back and
forward between these two loops,
becoming reciprocally visible. The fourth
rhythm is created by the exchange of the
two following video loops, exchanged
within a group. The fifth rhythm releases
an exchange of a new group of videos.
In "Automatic Loop Unit" the principle
of editing is to follow the idea of
two different combined images, forming
a new multi-layered image by the
structure of overlaying rhythms.
Bubbles
Videoinstallation, Kassel, Germany, 2000
Video projectors (150 cm X 112,5 cm)
Operating desk
Metal shell
Projection screen (50 cm x 80 cm)
3 Computern
2 Joysticks
7 Computer keys
Added and inserted are 550 Video loops
and 30 graphics, connected to a video
mixer.
The title "Bubbles" emphasizes the
transparent sphere as a universal way of
consumption. It appears in many ads
and also serves as a draft or as a
decoration for wrappings.
In this video installation the bubbles of
the consumer industry are separated
from their products and are at the
disposal of the visitor as visual toys.
With the use of the computer keys and
joysticks a group of people can create
a new video program together by using
the collection of toys. This interactive
process causes a short-circuit of the
mechanisms between consumers and
producers. The users of the installation
become creators of the "Bubbles-
Channel”, they actually create a video
program. They choose from appealing
moments of ads. Wrapping design and
ads are designed by the industry to
communicate with the consumers and to
allure them to buy their products.
The answer of the consumers by
analyzing the form of the demand
influences indirectly the design of
advertising. The "Bubbles-Chanal” shows
a mix of videos of consumers,
uninfluenced by materialized items,
production and money.
The neutrally designed operating desk
ensures that the "Bubbles" don´t
influence the audience. The visitor may
arrange due to his/her social code
the appropriate images and therefore
allures a like-minded group of people,
in the moment when the specifically
designed program appears on the
monitor, making it easier to
communicate at the object. However, all
users run into errors, like breaks.
Following the principle of "anything
goes", the encompassing fascination
comes only up by unconventional
mixtures of lifestyle images, carefully
sorted by advertisement strategist. The
installation intents to produce a new
audience, an audience willing to not just
to go and consume media already
produced for a specific audience, but to
use media as a tool for a more
individual expression. It´s about the
changed perception of the contents of
media and, moreover, the sensitization
for interactive structures of organization
of the most different medias.
Quotations: Jean Baudrillard:
"Laßt euch nicht verführen"
Merve Verlag, Berlin
"Until now, everything counted which
follows the line of production...and
what would be now, if everything would
be subject to seduction?"
"Same with all the big opposite pairs of
words like "good/bad", "true/wrong",
helping us to decipher the meaning of
the world: the seduction unites the
terms, which have been carefully
separated into four pieces by using up
of a lot of energy and uniting them
again to a maximum of intensity
and attraction."
ControlThe controller designs the speed of the
video clips.
rythm
Coordinate the rhythm of cuts to the
music!
speed
Choose to see the videos in slow
motion, quick-motion or backwards.
CutterThe cutter fits the short videos to a clip
together again.
new
With the key "new" one can leaf
through the video material.
loop
If the loop key is flashing, you may use
the joystick to move the film loop
on the monitor. The videos, which you
are touching with the film loop are
automatically joined together to a video
clip to be seen on the screen.
move
If the "move" key gets activated, a hand
appears which allows to change the
sequence of the videos.
GraphicThe graphic designer comments on the
images by inserting graphics or fonts
into the video.
mode
Switch to another function of the
joystick:
1. Choose graphics
2. Place the upper edge of the graphic
3 Place the lower edge of the graphic
4 Place the magnet
(The magnet influences the direction
of the graphic).
speed
Increases or slows down the speed of
the animation.
Doodle-Pad
Internet Page
www.olafval.de/doodlepad
Shockwave required
A special detail of „Automatic Loop
Unit“, respectively of the installation
„Bubbles“ forms the „Doodle-Pad“ on
the internet, which invites the visitor
to take part on visual designing.
The address of „Doodle-Pad“ web page
is published on the internet and on
fliers before an event takes place.
Graphics can be designed with this
web page . The „Send“ icon transfers
those graphics via e-mail, enabling to
Spielotop, Game-sphere
Sculpture, Cologne, Germany, 2001
Hamster Cage (Specific Company
HABITRAIL)
66 Light Bulbs
Electronic: Micro controller (AMTEL)
Inserted light fields into a pedestal
(136 cm X 80 cm X 38 cm)
The company Habitrail distributes
transparent plastic modules, which can
be set together to maze-like hamster
cages. For this sculpture only parts of
the old system were used, which were
availale in 1999. From these modules
anHabitrail example was set together, as
you would find in the brochure: A
Habitrail Park equipped with a mansion,
„suite, spin around, sky-restaurant,
solarium, big-wheel with hide-out, snack
bar, flame tunnel“ as well as other
diverse trails, „tee connector, U-tunnel
and curves“. The habitrail is completely
colourfull illuminated from below, the
light coming from each of 66 12 V light
bulbs. Following the principle of a
wandering light, the point of light, which
is shining becomes animated. It moves
either as a ball, bouncing back from a
wall, just like the first telegame (Pong),
or simply coincidentally. The lights shine
through 5 cm wholes, drilled through the
pedestal, to above. The wholes in the
pedestal are soften out to circles with a
radius of 4 cm.
Without doubt, this setting suits
perfectly the natural habitat of a rodent
and is absolutely appropriate to the
needs of a hamster. The habitrail park
fascinates due to its pure projection of
human imaginations, imposed upon
animal kingdom. It reminds of miniatures
of a Disney World, going along with
swimming pools, playgrounds, or
technique centers in a futuristic design.
But, in difference to the real-world
architecture, this park is a cage. The hint
in the title of this work, using the word
biosphere, directs the view towards a
sculpture, as a model of a closed-circuit
system where the educational principle
of recognition, thinking, acting, as well
as romping about, fun and phantasy,
follow the laws of playing in a self-
sufficient circulation.
The works „Verstaerker“ and „Spielotop“
take up the two most remarkable optical
attraction moments, on which most
computer games are built: symbolic
describted, labirinthic structures and
abstract, optical effects, like the blinking
screen.
The mouse cage of „Spielotop“ in
connection with video games is regarded
as a conversion of virtual architectures
from the game world, this time in 3-D.
There are here no direct refernces to
existing games. Besides, there are no
particullar game contents which are
shown, apart from the fact, that a
mouse, like a Tamagotcchi, has to be
feeded.
Wandering light: Pong
Wandering light: Random
Verstärker Amplifier
Interactive sculpture,
Cologne, Germany, 2001
Keybaord of PlayStation2
Light Bulb (200 W)
Electronics: Microcontroller (AMTEL)
Pedestal (95 cm X 57 cm X 40 cm)
In the works "Rückkoppler", "Automatic
Loop Unit", and "Bubbles", I focused
on the development of instruments,
which are able to generate light games
in the tradition of Clavilux, Farborgel and
Chormatops by using video projectors.
These concepts are now continued
without using video technology. The
interaction between light and the
designed interaction is at the fore in
"Amplifier". In this way the daily use of
electric light is the main topic of the
work.
The light bulb was a symbol of belief of
the advance of technology at the turn of
the century (1900). Also, the light bulb is
just simply a symbol for light, spirit, and
idea. In the work "Amplifier" a light bulb
is used as a feedback media. The usual
displays, like monitors or colorful
flashing displays are reduced to a bulb,
which turns on and off at one pixel,
becoming lighter and darker. This
reduction is effected with regard to the
input media. The keyboard of the
PlayStation becomes the real attraction,
because of its tangible and sculptural
qualities.
The flashing lights, known from the
world of computer games are not just
follows the purpose to allure people into
gambling halls as eye catchers, but most
of all to enhance dramatic moments in
the game. The flashing light/dark light
therefore intensifies the sensuousness of
the video game.
By playing this work it becomes clear
how much quality this effect has, at
the same time, computer games are
critically examined of their empty light
games.
swingUp Games
Installation, Cologne, Germany 2001
3 Games
Plastic folio
Shink-wrapped is:
2 Stripes of acrylic glass
33 Light bulbs
Platinium chip and ATLEM
Microcontroller
Keyboard (Keys with light diode)
Cable
Three plastic films, which can variably be
set up as transparent walls give
shape to these three computer games.
By using the keyboard, the player may
move the only point of light from right
to left. Based on the principle of a
moving light, weak points of light move
up and down in the same vibrations
on the three shrink-wrapped vertically
set light chains. The goal of the game is
to head for the vibrating lights as
skillfully as one is able to, so that the
bright points of light are pushed to the
top.
„swingUp Games“ are designed to be
easy to carry and easy to install. These
qualities allow many improvised
„exhibitions“ at the most different
places, also in public space. The
„swingUp Games“ are also designed to
catch attention and therefore to enhance
communication between most different
people.
The film as a membrane of perception, a
platform for the „antenna“ of structure,
also enhancing stimulation and
enticement of the wrappings of
consumer products, as a over-rated
reality.
Moving from church windows to celluloid
films to the overhead folio and
portfolios, in future to handy held
ebooks and folio-displays, provided by
solar folios. The light is absorbed
electrically, digitally, logically processed
and passed on as a sign of light.
In „SwingUp Games“ the foil itself, with
its hand manufactured lips and welding
seams, becomes a material object, at
which dirt-pure sticks and drops from
condensation are formed. Contents of
the foil are minimized, so that the
balance between „foil“ and „reality“
remains.
The work reminds of the first video
games in the pocket format, which came
out in the 80ies, and could stay on the
market as cheap products until today
besides Game Boy and games for cell
phones. In these games structure and
motive for playing are usually connected
directly to each other, by the appearance
of the illuminations as images. While in
„SwingUp Games“ the playstructure is
separated formally as abstract light play
from the motive for playing. Now this
motive is formed by the environment,
as background for the transparent
games.
paintOn Games
Computer game, Cologne,
Germany, 2002
Plastic folio
Shrink-wrapped is:
Platine, with ATLEM Microcontroller
30 Area-LEDs
3 Number-Leds
2 Buttons
Speakers
Battery 9 Volt
The idea how to play PaintOn Games is
based on the first computer game in
pocket size version; the „AutoRace“ of
the company Mattel. This game shows,
quite simply, that very little is needed to
playfully entertain humans. Only a tiny
keyboard, light diodes, two or three
sound, connected to a programmed
structure is needed.
In 1976, after a demonstration of the
new LED technology, Michael Katz,
marketing director of Mattel Toys, hit
upon the idea to use it to create a
calculator-size game. AutoRace was
born. Players hat to steer a „car“,
represented by a LED, avoiding collision
with on-coming „traffic“. Like with Pong,
the recipe of success was inspired
simplicity. You only need ten seconds to
learn the game, but hours to master it.
(Electronicle Plastic, Editors:
Die Gestalten, 2000, Page 8).
The adaptivity of the original game, on a
clearly structured platine, contains no
indication of the first motive of game of
car-races. Instead, the cube-shaped LEDs
are associated to children´s building
blocks. To every game handicraft
materials are set with the purpose to
suggest a further designing of paintOn
Games. Using plastic folio, self-painted
game-motives can be pushed over the
fluorescent fields in a pocket. Using
styrofoam new games can be designed,
by setting the fluorescent blocks into
another constellation. The paintOn
Games are designed as a educational
way of playing and are used in this
manner. In the context of art, the whole
project is introduced by supplementing
documentation material of those actions.
Weltkindertag, Potzdammer Platz, Berlin, 2003
Privat Pixel Private Pixel
Photo Series, Cologne, Germany, 2002
4 X Lamda Prints (100 cm X 100 cm)
Beneath Ultraviolet Protection Sheet
(High Glossy)
Building blocks are geometrical principle
elements, with what kids can construct
their environment. They belong to the
most important play tools and can be
found in most of the children´s rooms.
Also, they are offered on auctions of the
internet, e.g., „ebay“. For search of
suitable building blocks in a more and
more digital world, I collected
photographs of building blocks from the
internet. The universal forms of the
building blocks are in contrary to the
private atmosphere of the photographs.
The blocks are assembled from the start
perpetually: As a castle, a tower, a box,
in barrels, on a wood floor, on bed
sheets, sorted by size, or on a heap.
The insufficient quality of most of the
amateur´s photographs draws the
attention towards the depiction of the
building blocks with the aid of pixels.
The four prints containing 81 pictures
examine the space between those
universal subjects and the specific
media. The collection researches on the
identity of the pictures.
GameBlox
www.olafval.de/gameblox
internet page, Cologne 2002
Shockwave required
The "paintOn Games" are set up for
immediate painting. Upon sheets of
styrofoam new drafts of games are
designed. However, those drafts can´t be
played with immediately, because a
platine with corresponding software
would have to be developed firstly.
The internet page GameBlox enables to
design games easily and also to play
them immediately. Following the idea of
paintOn Games, the court is set together
with cube shaped elements, the so
called "GameBlox". Also the idea of the
game is identical: The player controlling
a circle-shaped figure avoids to get hit
by falling down rings. Those symbols
can be designed on a matrix of 6 X 6
pixels by oneself. Is the game
completely assembled, title and name
can be given. It´s then published on the
internet.
Mignon Game Kit
Kitset, Cologne, Germany, 2004
Contents:
1 circuit board
1 Dot-Matrix-LED-display
1 Microcontroller
6 push-buttons
1 loudspeaker
7 transistors
1 voltage regulator
2 diodes
1 capacitor
1 switch
18 resistors
1 SUB-D socket
1 SUB-D cable
1 battery mount
Teflon strip
PVC film
The "Mignon Game Kit" can be ordered
online at www.olafval.de/mignon.
The "Mignon Game Kit" is a kitset which
enables a minimalist "Gameboy" to be
individually designed, programmed and
constructed. Workshops and online
instructions enable advanced learners to
invent and programme their own games.
In this way the do-it-yourself console of
the "Mignon Game Kit" provides not
only the opportunity for basic
experiments with micro-electronics for
first time users but can also be used as
a platform for individual computer
games. As opposed to conventional
Gameboys the user develops a personal
relationship to his device through the
processes of self-production and
individually determined programming.
Gameboy Workshop
Workshop, Cologne 2003
PaintOn Games
GameBlox
Mignon Game Kit
Computer for presenting the software
"GameBlox" and for programming the
"Mignon Game Kits".
Simple electronic games can be
constructed at work benches and
encourage users to develop a hands-on
relationship to computer games as
opposed to being passive consumers.
While smaller children put together and
paint their games following the Lego
principle with "PaintOn Games" or
"GameBlox", children ten years and
above, young adults and adults are
assisted to solder together and program
the "Mignon Game Kit". It provides a
good opportunity to experiment with
inexpensive components such as light-
emitting diodes.
For workshop participants the "Mignon
Game Kit" costs 20�. Experience has
shown it to be a good idea for the
workshop organizer to cover
approximately half of this sum, so that
participation remains affordable for
everyone.
As one workshop instructor is only able
to supervise about four participants at
one time it is recommended to book
additional instructors for larger events.
The Game Kit can be put together in one
day. Workshops lasting several days
provide the opportunity to explore the
subject, in particular the field of
programming, in greater depth.
Motel
Computer Program, Cologne, 2003
72 videos ranging from 20 seconds to 2
minutes in length are played in the
program TWML (Two-Way-Movie-Linker).
Programmed with Macromedia Director.
Using myself as the central figure I
portray the working situation of an artist
who is caught up in a continual
feedback loop. Using a video camera
and computer the artist produces an
interactive object which deals with its
own "making of", i.e. with the process
of its own creation. I filmed myself
carrying out everyday activities such as
eating, sleeping and working (filming
and saving, editing and "linking" the
videos) in a motel room.
To "link" the video material I developed
the computer program "Two-Way-Movie-
Linker", which is used as the software
player in the video sculpture "Motel".
Each scene was filmed twice: once
wearing a motorbike suit and helmet,
gloves etc. and once "normal". The
video sequences were produced in a
non-public performance resulting in two
videos in which the characters do the
same thing. The player software is
programmed so that the videos are
intercut: an editing technique whereby
the resultant film sequence is created
from the juxtaposition of two different
actions. At the conclusion of each
sequence a menu appears: the viewer
can choose the next sequence from
several stills which appear on the
display. The montage style of editing
brings the two characters into dialogue,
they appear to inhabit the anonymous
space collectively.
Over and above this the "Two-Way-
Movie-Linker" software generates
descriptive terms such as fitness,
nutrition and hygiene. According to the
particular needs of the protagonist
determined by the software from an
analysis of the recently selected
sequences the player is offered a choice
of appropriate following sequences. As a
result of this process, a network
structure is generated which shows
interconnections between the various
still images, and which appears as a
transparent layer over the video images.
Using the principle of film montage the
player implemented in the work "Motel"
puts together an infinite number of films
from a finite pool of sequences. The
course of the story line is determined by
the interplay between a predetermined
structure (the set of rules for "linking"),
chance (independent motion of the
clips), a memory (frequently viewed
videos are pushed to the outside) and
the viewer (with his/her decisions).
Display
Wall installation, Cologne 2003
Consists of:
5 x 7 LED Dot Matrix
(10,5 cm x 7,5 cm)
circuit board with Atmel Microcontroller
wiring (enamelled winding wire)
The number of displays and therefore
the size of the wall installation is
variable.
Behind each of the Dot Matrix
components is a circuit board mounted
with a microprocessor, which receives
electricity via two enamelled winding
wires. A further wire connects each of
the individual displays. In contrast to
most test set-ups, which explore the
structures resulting from the definition of
neighbourly relationships (cellular
automata), modularity is not simulated
in the wall installation "Display". Each
display unit functions autonomously.
Impulses are exchanged between
neighbouring display units. Whereas dot
matrix displays usually produce
recognisable characters, as in elevators
for example, these display units are
individually programmed not to generate
readable, symbolic representations. Only
after observing the work for some time
does the set of rules which govern the
patterns become obvious.
The project "Display" is made up of a
"Display" hardware and a "Display"
software. These can be considered as
two separate works of art. The "Display"
hardware was developed as a platform
for Software Art. The "Display" software
on the other hand is interchangeable
and each program represents an
independent work of art.
The relationship between hardware and
software becomes confused as, contrary
to the viewers expectations, the LED
displays are not carriers of information.
This kind of display is usually found in a
functional context e.g. an elevator,
where it provides us with particular
information. The LED matrix
implemented in the work "Display"
however has no such frame of reference.
Through the absence of any
informational content the viewer's
attention is directed to both the
hardware and software of the display,
the programmed structure, light
impulses, the designed surface of the
media and the Blackbox. As the open
form of the wall installation deals with
the representation of its functionality
both the hardware and software are of
equal importance. The viewers attention
is directed from the information to the
material and technology which displays
it.
Oktagon, Dresden
Combinations Scanner
Drops
Drops
Display-Software, Cologne 2003
Like drops of condensation the program
"Drops" randomly generates individual
pixels of light. After a short time these
pixels of light move outwards and can
"touch" other pixels thereby setting
them in motion. On larger displays this
trigger effect quickly escalates into
avalanche-like animations. "Drops" is
the visualisation of familiar phenomena
which occur when for example E-Mails
are distributed according to the
"snowball" principle. These motifs from
the field of digital communication are
reduced in "Drops" to simple electronic
"raindrops", which when viewed
develop a meditative and flowing effect.
Combinations Scanner
Display Software, Cologne 2003
Each display module consists of 35
image pixels, which is enough to
represent all common characters. One
module can show 34 359 738 368
combinations. The software
"Combinations Scanner" is programmed
so that an individual module
systematically processes each of these
combinations.
Eleven Conditions
Display Software, Cologne 2003
"Eleven Conditions" consists of eleven
simple algorithms which set the pixels
into motion. For example the program
line "x = x + 1" moves a pixel to the
right. By adding "if x > 5 then x = 1" the
pixel will jump back into the first
position. Which of these small programs
is activated is dictated by a random
generator.
The display units "negotiate" between
themselves how many pixels each of
them "owns". Arrows function to
indicate the communication processes
through which an exchange of pixels
take place.
The title "Eleven Conditions" refers on
the one hand to the eleven algorithms
implemented in the work and on the
other hand to the values for the number
of pixels from zero to ten.
Eleven Conditions
x = x + 1
if x > 5 then
x = 1
y = y + 1
end if
Impulsbild Friseur Impulse Image Hairdresser
Video sculpture, Cologne 2003
Glass casing (45 cm x 38 cm x 70 cm)
Mirror
Acrylic paint
Push-button
Video projector
Electronic switch
(Atmel Microcontroller)
Four videos are played on a DVD-player
Visiting a hairdresser is an everyday
activity with the aim of varying and
forming your individual appearance.
Cutting hair is a cultural activity. In the
work "Impulse Image Hairdresser" it was
the ritualised process of washing,
cutting, blow-drying, styling etc. which
determined the structure of the video
takes which show me in the process of
having my hair cut.
The video footage was compiled in four
video sequences, three of which show
the preparation and waiting. These
sequences are played in a loop in the
video sculpture, the order varied by a
random generator.
A push-button in the middle of the video
image invites the viewer to approach the
sculpture and activate it. If the button is
activated the fourth video sequence of
my hair being cut is played. It is only
through the interaction of the audience
that they can see how my appearance is
changed.
Whereas initially the player "performs"
the work it is the viewer who determines
the continuation of the activity and
therefore the narration. The viewer
provides the "impulse" for a
performative reception. The work poses
the question: "When do I feel the
impulse to press the button?
At what point in time do I want to
interrupt the endless loop, provoke a
change?"
In the sculpture "Impulse Image
Hairdresser" the genre of the self-
portrait is investigated, in that a new
form is found for it using electronic
media. The footage is not recorded in a
photographic or film studio but rather in
a hairdressing salon. In this way a
process, which is usually a preparatory
step for a portrait - the cultivation of the
outer appearance - becomes the actual
portrait.
This activity is coupled with the
interaction of the viewer. The invitation
to interact with the work disrupts the
viewing of the video images, as the
push-button which activates the fourth
sequence is mounted in the middle of
the screen. The large flashing button is
an important part of the video sculpture
not only because of its function but also
because of its physical presence.
The self-portrait is not produced by
finding certain images (photos, videos)
rather through a connection between its
process of creation and a simple
interactive functionality. This connection
between the process of creation and the
disruptive user interface questions the
correlation between the self-portrait and
the desire for feedback.
Olaf Val
Bodinusstr. 2
50735 Cologne
Fon +49-221-7608088
Studio +49-221-7608037
Fax +49-221-7608039
Call Phone +49-176-24059082
info@olafval.de
www.olafval.de
Born. 1968 in Hanau.
Studies:1995 - 2000 Art Academy, Kassel
2000 - 2003 Academy of Media Arts,
Cologne
Scholarship:1997-2003 “Cusanuswerkes”, Bonn
2003 - 2005 “Meistermann”, Bonn
Projectes:2002
„Get High“, exhibitions and events,
Galerie Projektraum, Cologne
2003
„Gameboy-Werkstatt“, Workshop,
Hartware, Dortmund
Performances:1999 „Crisp-Club“, ARM, Kassel
2000 „B-Day“, Stammheim, Kassel
2002 „Late-Lounge“, d-base, Kassel
Awards:1997 „Kassler Kunstpreis“,
Dr. Wolfgang Zippel-Donation
2003 "Media-Art-Praise", Nordrein-
Westfalen, Düsseldorf
Exhibitions in public space:2000
„Phänomenta“, Kurfürsten Galerie,
shopping center, Kassel
2001 „Floramedialis“, Flora, Cologne
2003
“World Children's Day”, Computergame
Museum, Berlin
Single Exhibitions:1997
„Öffentliche Fläche“,
Galerie Stellwerk, Kassel
2002
„Foliencollection“,
Galerie Projektraum, Köln
2004
„Living in A Box“, Kunstverein Bochum
Group Exhibitions:1995
„Dem Herkules zu Füßen“, Museum
Fridericianum, Kassel
1996
„13. Kasseler Dokumentarfilm-und
Videofest“, Filmladen
1998
„Das Verschwinden der Kunst wird aus
gesellschaftlichen Gründen auf
unbestimmte Zeit verschoben“, Kasseler
Kunstverein
„VideoBaustelle“, Hessischer Rundfunk,
Frankfurt a. M.
„COMTECart“, Comtec, Dresden
1999
„Chronos und Kairos“,
Museum Fridericianum, Kassel
2002
„Unplugged“, Ars Electronica, Linz
2003
„Genie GS-3246“, Oktagon, Dresden
„Games“, Hartwarte-Projekte, Dortmund
„Bingo“, Art Cologne, Köln
„Games Conference“, Level Up, Untrich
2004
"DETOX" Crossover Jam Culture, Skmu
Kunstmuseum , Kristiansand
„Transmitter“, European Art Festival,
Osnabrück
"University of the Street" c/o-pop,
Cologne