there\u2019s a hydraulic system involved in the work \u2018drop\u2019<\/p>\n<\/p>\n<\/div>\n<\/div><\/div>\n
\t\t<\/p>\n
::vtol:: (continues): In the end, it turned out to be a very successful work \u2013 when I shot the video and posted the documentation, the project spread all over the internet. I understand that from both a sound and technical perspective, it could have been much more complex or successful, but everything turned out as it did \u2013 thanks to the DIY approach and quick decision-making! I was very pleased with myself, and a few years later, I learned that this project inspired experimenters at MIT Media Labs to conduct their research in this direction, creating smart tattoos for medical purposes. So sometimes even DIY artists can be useful to society. As for the project \u2018Last Breath,\u2019 it was born when I was in India in 2019 and became seriously ill with some virus.\u00a0<\/span><\/p>\n \u00a0<\/p>\n COVID was still a whole year away, so I anticipated a trend a year in advance; artists sometimes have good intuition. I was very scared of dying back then, but not because I was afraid for my life, but because I didn\u2019t want to stop creating, playing music, and engaging in creativity. So, I essentially made myself a pre-mortem instrument, in case I could no longer move but would still be breathing. It turned out epic and even a bit brutal. This is, by the way, a good example to illustrate co-participation with a technological object \u2013 it cannot exist without me, and I cannot exist without it, but I do not define everything it does; the instrument has its own working algorithm, and all it needs from me is a flow of air. This significantly changes the hierarchy between the instrument and the performer, establishing rather a horizontal connection.<\/span><\/p>\n view of j2000.0<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n DB: This year, you presented a series of projects at S\u00f3nar+D\u2019s Project Area. What did you showcase, and how does it build on, or depart from, your previous projects? Are there any shifts in your materials, methods, or conceptual interests that this new work reveals?<\/p>\n \u00a0<\/p>\n ::vtol:: : I presented three works, quite different and from different periods of my life. The first work is \u2018Drop,\u2019 a small sound sculpture-fountain. The work uses a small Geiger counter that measures radiation levels. It\u2019s a simple but very precise device capable of detecting even individual particles passing through it. There is always a slight background radiation on any point of Earth, which is absolutely normal.\u00a0<\/span><\/p>\n \u00a0<\/p>\n Each time one of the particles passes through the device, a drop falls from a small tube into a basin equipped with optical sensors that detect the ripples in the water after the drop falls. These sensors control a small synthesizer that produces sounds. The longer the device operates, the more complex its timbre becomes; that is, it is a sound composition developing over time, dependent on a natural phenomenon. It\u2019s quite a meditative device.<\/span><\/p>\n iPot is a device for performing a digital tea ceremony<\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n ::vtol:: (continues): The second work is \u2018Remember Me, Erase Me,\u2019 which, strangely enough, has no sound. Essentially, it\u2019s a selfie machine \u2013 anyone can approach it and take their picture simply by pressing a button. But as soon as they take the shot, the photo starts to distort as if it is being forgotten; they need to press another button to stop the degradation and print the photo. So, it\u2019s like memories \u2013\u00a0 the longer ago something was, the worse the image is preserved, although it remains recognizable for quite some time. The third work is a collaborative project with artist Alexandra Gavrilova called \u2018iPot.\u2019 Essentially, it\u2019s a robot for a tea ceremony. The machine heats water and then pours it into a transparent reservoir, above which there is a camera. After that, a small ball of Chinese tea falls from a tube, which looks like a blooming flower during brewing.\u00a0<\/span><\/p>\n \u00a0<\/p>\n This ball gradually unfolds, and the camera connected to a program tracks this and transforms its movement into digital abstract graphics and sound. After some time, this process stops, and the prepared tea is automatically poured into five small cups offered to the audience. Even in hot Barcelona, viewers were very happy to taste exquisite tea from such an unusual machine, especially after observing the entire process. Despite the fact that these works were created some time ago, they are still quite new, and in response to your question, I would say that the most significant change is a certain lyrical and poetic quality in my works that has become more characteristic of me in recent years. Perhaps long interaction with technology has generated in me a desire to convey increasingly human qualities using non-human agents.<\/span><\/p>\n \u2018reading my body\u2019 is \u0430 sound controller that uses tattoo as a music score | read more here<\/a><\/p>\n \u00a0<\/p>\n \u00a0<\/p>\n DB: Looking ahead, what excites you most about where digital art is going? Are there any current trends or technologies you find troubling, ethically, politically, or artistically?<\/p>\n \u00a0<\/p>\n ::vtol:: : I am closely following how contemporary digital art is changing. There are aspects that I really like \u2013 such as the fact that materials and many technologies are becoming increasingly compact and accessible. However, there are other things that I like a bit less \u2013 like how everyone has jumped on the AI bandwagon, even when it may not be particularly relevant to a specific project. The technology itself is wonderful and holds endless potential, but I often see its use merely in favor of trends.\u00a0<\/span><\/p>\n \u00a0<\/p>\n It would be foolish to deny its significance for art, but personally, I use it very little; perhaps that will change in the near future. What I undoubtedly appreciate is that AI has greatly simplified programming for people who have never learned it, and most artists are initially quite distant from programming. The way ChatGPT can skillfully handle code and assist in creating programs of various levels is astonishing; I see how quickly my students are progressing because of this. It opens up new horizons in art.<\/span><\/p>\n \t<\/p>\n \u2018hotspot poet\u2019 distributes wi-fi masked as wireless network<\/p>\n<\/p>\n<\/div>\n<\/div><\/div>\n \t\t<\/p>\n \u00a0<\/p>\n project info:<\/p>\n \u00a0<\/p>\n artist: ::vtol::<\/span><\/a> | <\/span>@vtol_<\/span><\/a><\/p>\n name: Dmitry Morozov<\/span><\/p>\n The post inside the world of ::vtol:: and his kinetic sculptures, robotics and code-driven installations<\/a> appeared first on designboom | architecture & design magazine<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":" ::vtol:: constructs kinetic sculptures, robotics and installations \u00a0 Dmitry Morozov, known as ::vtol::, develops technology-based installations and kinetic sculptures that combine robotics, sounds, coding, and interactive systems. A Moscow-born, Ljubljana-based transdisciplinary artist and researcher, his … <\/p>\n","protected":false},"author":0,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":[],"categories":[142],"tags":[],"yoast_head":"\n