between impulse and display -...

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,


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


Teamwork with Catrine Val,


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


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


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


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

[email protected]

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

between impulse and display -...

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