Aras Karimi : Photography

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“I was only 5 years old when light first grabbed my attention. I was sitting in a room by a window with shuttered heavy curtains, leaving only a small distance in between them, where a miracle was happening. Contrasting with the dark room a ray of light was brightening a narrow space, I could see the playful movement of dust in the air that was visible to me for the first time. I was mesmerized, not just for seeing the dust but for feeling something novel, powerful, and beautiful: light.” Aras Karimi

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‘untitled’
photograph
aras karimi

‘untitled’
photograph
aras karimi

‘untitled’
photograph
aras karimi

‘untitled’
photograph
aras karimi

‘untitled’
photograph
aras karimi

‘untitled’
photograph
aras karimi

‘untitled’
photograph
aras karimi

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I look at photography as a relationship between light and film: light as a playful actor and film as a serious recorder. The job of a photographer, which is experimental by nature, is to write the best scenario for this one-time instant play. A genuine play is inevitably the result of accurate eyes, free mind, and fundamentals of photography at heart.

Light is the subject of my works. Unlike the usual process in photography that uses light as a mean to record a scene and tell its story, I am interested in light as a story teller. In fact the scene in my works is the medium to picture light, its mood on different surfaces, and its personality in different spaces.

All of my photographs are purposefully Untitled. I like to give a chance to the viewer to experience their own emotion while they are coinciding with an expression of mine. It is also unnatural to apply a rational meaning to something that is opposite from being a product of intellect as all of my works are pure reflections of my vision, and emotion at the moment the shot is taken.” [Aras Karimi : Statement]

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Aras Karimi : Website

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Memphis Techno : Universal Constructor (Motion Graphics)

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Arranged on a lattice are these buckets. The buckets can contain a neural network, which is an artificial model of a brain. The color of the bucket is representative of the layout/makeup of the neural network. The brain can see its four immediate neighbors on the lattice (up down left right). It observes how many neighbors it has at each position, and what species the contents of the neighboring buckets are.

The bucket/brain then makes a decision to move some or all of the its contents to one of four neighboring positions. If the contents move to an empty bucket, the brain will mutate slightly when copies into the new bucket. Enough of these mutations eventually creates a different enough species that when the bucket tries to pass along its own contents, there will now be a “fight”. Only similar species cooperate by just passing along the contents of the bucket. From ostensibly initial random conditions and simple rules emerges highly complex, self organized structures. [Statement : Vimeo]

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Memphis Techno : Vimeo

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Apparat – Black Water (Music Video)

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Azurebumble : Red Landscapes (Photography)

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‘red landscape’
photo collage
azurebumble
2011

‘red landscape’
photography
azurebumble
2011

‘red landscape’
photography
azurebumble
2011

‘red landscape’
photography
azurebumble
2011

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Azurebumble : Website

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Alex Lee : The Glass House (after J.G. Ballard) 3D animation

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The Glass House (after J.G. Ballard) is a single-channel projection involving the virtual reconstruction of Philip Johnsons’ famed Glass House in New Canaan, Connecticut. Known as a masterpiece in the use of glass, the 3D animation shows the Glass House in various simulations of light and shadow. Built in 1949 as his own private residence, Johnson lived at the weekend retreat for 58 years before passing away while asleep there in 2005.

Text is generated from passages of J.G. Ballard’s short story The Thousand Dreams of Stellavista. The story involves a protagonist living in a house built by famed fictitious architect Mies Vanden Starr. Starr had lived in the residence previously and passed away there while asleep (albeit under more nefarious circumstances than Johnson). The 3D animation juxtaposes these two fictitious and realistic narratives to present an essay on Modernist architecture, psychological space, loss and memory. [extract : Vimeo]

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Alex M. Lee : Vimeo

Alex M. Lee : Website

Reframing Photography (video)

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Paul Prudence : Rynth [excerpt] (audio-visual performance)

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Rynth uses parameters from real-time sound analysis to generate transformations and deformations of geometric primitives. Its dynamic surface texture is generated by incoming audio frequencies resulting in a synaesthetic surface modulation. The resulting morphing geometric construction pays homage to gyroscopic devices and anti-gravity mechanics.

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Screen versions performed at:

ISEA, Dortmund, 2010
NODE10, Frankfurt 2010
MFRU Festival, Ljubljana 2010

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Flickr Stills can be found : Here

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