Last week Alex Murray-Leslie (associate professor) and Martinus Suijkerbuijk (research fellow) were awarded funding from NTNU for their research projects. The funding is aimed at supporting artistic development and work that connects technology, research and society.
Alex Murray is awarded with two projects, one which she's leading and an other in collaboration with Kaspar Lasn and Øyvind Brandtsegg.
Martinus Suijkerbuijk is awarded for his project CROWD CONTROLLED.
Read all the proposals below.
MakingIsThinking: PERFORMING OCEANIC ARCHITECTURES OF MARICULTURE
The development of harvesting technologies & production of low trophic species in mariculture is a key research area to explore the potential of the oceans. Focusing on the Oceans’ potential to strengthen sustainable industrial development through emerging technologies will advance the understanding of the ocean’s important role in climate mitigation and its use. Our project aims to develop artistic practice with luminary guest experts working alongside students and teachers to create a series of bioplastics that will be presented in the form of student performances within sustainable architecture. Students from art, literature and music will explore and twist around the architecture students full scale intervention at Nyhavna. During the ‘ARTEC Seminar Series’ with guest Anastasia Pistoufidiou, our project will focus on material research and testing at FORMlab through 2 telematic/physical workshops with participation of staff & students from 3 departments.
Partners: Maria Azucena Gutierrez Gonzalez,- NTNU Oceans Research & Education Coordinator, Dept. of Philosophy and Religious Studies, Faculty of Humanity;, Nina Katrine Haarsaker - Assistant Professor, Department of Architecture and Technology, Faculty of Architecture and Design;, Hanna Musiol- Associate Professor, Department of Language and Literature, Faculty of Humanities
Vibrotactile material in artistic performance (Øyvind Brandtsegg)
in collaboration with:
The non-destructive evaluation of materials is often carried out by acoustic test methods, ranging from vibration testing to ultrasonic guided wave experiments. Today’s state of the art methods are technically complex, and post-processing of acoustic signals has become an integral part of any testing effort. Current project proposes to utilize acoustic feedback techniques to probe resonant features of materials and thus gain intuitive insights into their structural constitution. Hearing the characteristics of the material provides an immediate experience with a higher degree of intuitive insight, compared to a visual or numeric reading. The feedback techniques are based on transducers and contact microphones, and was initially developed for artistic purposes. This translation of artistic techniques into scientific utility is also done with the expectation that insights from the scientific side will feed back into new artistic instruments and creations.
CROWD CONTROLLED: Cross-Reality Simulations
CROWD CONTROLLED centers itself between two iconic, but opposite directed phenomena of the present pandemic: the inflation of surveillance and the disappearance of the crowd.
Through a series of performances the present developments of social distancing and surveillance will be explored how they affect our concept of the social and the aesthetics of our future public space. For instance, how will cities appear when devoid of crowds, will the smart city operate as technological panacea, or can we re-strategies the crowd as a hybrid (digital-physical) phenomenon in its movements, rhythms and eruptions?
In the performances live data-feeds of surveillance cameras, in situ, as well as historical examples of political crowds, are mixed with that of real time crowd simulations. The camera stream is analysed through AI with biometric features, object detection, movement tracking, face recognition, emotion analysis, etc. The captured parameters will manipulate a soundscape, and a digital crowd simulation in a gaming engine.
A mobile workstation equipped with surveillance cameras, thermal sensors, screens and control panel will function both as the interface for the performance, and as installation when not interacted with.
The ‘1 meter audience’ will serve as input for a projected simulation, where the metric boundary, replete with digital characters, forms together with the audience, a synthetic crowd.