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1. akt /// test
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Ort: Klimawindkanal, Erzeugerschacht, zwischen Turbine und Wärmetauscher.
Setup Hardware: Projektor, Rechner auf Dreibein, y,z: zentriert auf Turbinenachse, x: 2m von Turbinenkern, Projektionsachse gleich Turbinenwelle, Projektion Richtung Wärmetauscher.
Setup Software: rhino 4, Anzeigeoptionen: Titelleiste Hauptmenü OFF, Statusleiste OFF, Eingabeaufforderung OFF, all auxiliary windows OFF, all layers: color set WHITE, window background color set BLACK.
Setup Simulation: CFab1 - Computerfabrik 1 : automatisierte Durchdetaillierung eines aus plattenförmigen Elementen bestehenden Objektes.
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Arrangement: Die Projektion ist um die X Achse um 90 grad gedreht, Hochformat, das Rechteck des Wärmetauscher Gitterwerkes ausfüllend. es werden im Zehntel- und Millisekundentakt Hilfskonstruktionen in den Raum gezeichnet und wieder gelöscht. der Automat fokussiert sein Sichtfeld (und damit das Projektionsfeld) auf die eben zu erledigende Aufgabe: Der Suche von Schnittkanten und punkten, dem legen von Hilfsebenen und Spurpunkten, der suche nach dem gemeinsamen umfang einer Punktemenge, dem eintragen von Resultaten in Tabellen usw. [][][][]
Actors: a) der Autor, Operateur und Wärter des Programms; b) ein undurchdringlicher Charakter mit einer Gitarre und einer Flasche Weißwein (offen, halbvoll) [][][][]
Dialogue: mystische Mehrdeutigkeiten, Spannungsfelder, Assoziationsketten von Gegensätzlichkeiten und Ergänzungen, auf die Situation im weitesten sinne bezogen: der versuch einer Ortung der eigenen 2, wie zufällig an der Stelle gestrandeten Existenzen.
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The idea is to reanimate abandoned sites of production, and explore contemporary conditions of work. Labor defined as a directed action with a given goal with the use of tools and machines, has for long given shape to various modes of interaction between man and machines. Machines: mechanic, electronic devices, extensions of man's agency, define in their nature a set of postures, behaviors, actions with varying level of repetition, sophistication and intensity. These actions amount to the image of labor, and in consequence determine the status of the worker. Much has been stated on the ways digital media will alter our spatial and social habits. The history of mankind from a sociological point of view can be written as a continuous transformation of ways of living with the machine. The installation described here is an attempt to explore scenarios of possible man-space-machine-production, in which at one point man is finally liberated from the burden of physical labor his duty limited to the maintenance and observation of an automated process and on the other point digital, virtual labor is reinserted into an adequate physical spatial setting.
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2. akt /// Schwingkreis
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Location: as in akt 1
Setup Software: as in akt 1
Setup Simulation: as in akt 1
Setup Hardware: Projektor, Rechner auf Dreibein, positioniert 1 m vor Wärmetauscher, in der rechten Hälfte, 1/6 der schachtbreite von der wand, linse auf Nabelhöhe, Projektion schräg auf die Turbine (Schaufelrad, Kanal, teil des Rechteck-Kreis Querschnittpasses)
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Context: 2nd round of an experimental sound installation event organized by club moozak . In the course of the event the entire windkanal is converted to a resonating body. Speaker feeding its own resonance back into the space. The metal is equipped with Piezo elements to absorb the reverberations of the metal blades. Etc. a low key almost improvised noise happening, with various contributions such as the dream machine, or a bamboo replica of CERN, approximately 50-70 visitors, Saturday night, Vienna . Where the noise installation forms the main purpose of the gathering taking place in the test tube and in the aft part of the climate tube, in the turbine section the virtual factory has been put into action. Flickers of white linear geometries sparkle from behind what seems to be an inaccessible part of the turbine itself.
The spatial sequence is the following: building entrance with aula as reception space. 70-120 m corridor stretches from the reception hall, ca. 3x3 m in section, terminating in a climatically sealing door (resembling a 60's fridge door with articulated light metal pull-handle). Enter the wind chamber laterally in the test tube. Air channeling lamellas at all corners of the torus-like double tube space. Test tube section is train car offset with 45 deg facetted upper edges. Walk until far end of test tube, change to fan tube climbing through vertical lamella panels. In front turbine with fan, tube changes section to circular, material steel panels with yellow finish (yellow submarine?) climb through rotor and turbine suspension blades arriving in climate tube: section reverts to square (~ 6 x 6m). Flat platform continues 6-8 meters and continues as a declining ramp. No natural or artificial light. After level drops down 3.50 m, floor continues straight (basin is concrete, only turbine section clad entirely in metal) ca. 3m where the radiator 9x6 of a dense iron plate-work (resembling the cooler of a 60's car) forms a porous (slight see-through) spatial terminus.
Actors: occasional visitors of experimental sound event in Vienna
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Reversing the observer-observed relation: an anti-theatre of expectations, entertainment: its function taken from a semiconductor component, the installation reverses modulates the spatial hierarchies in a theatrical space. Theatrical space in the sense that there is a clearly defined set of personas acting as audience: their sensorium switched into absorption mode: enchanted, thrilled, excited, bored, disappointed. Discussing, discovering, criticizing, laughing, ignoring, and playing. They enter crawling through the blades of the turbine, get to their feet and look around in the metal space. Turn around. Touch the turbine. Point out. Explore the limits of the space. Knock on the material. Walk up to what seems a dark cliff with no bottom. That is where the mechanical eye of the lens is placed throwing a quick fire of lines and points onto the metal. In the depths of the basin, unnoticed, the operator is seated on the concrete floor. Dexterously monitoring the progress of the virtual labor, he becomes observer of the human interactions unfolding on what from that point appears to be an elevated stage. Visitors repeatedly walk up to the start of the descent figuring the end of the line. A mental barrier is maintained, the fear of the unknown space below keeping them from crossing. Up until the moment, where the operator slowly emerges to climb to the public platform for a cigarette break. At this point the collective realizes that the slope is suitable to pass, the barrier is broken, and the visitors' area in one leap expands to incorporate the lower platform.
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Background
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The objekt 210 is a building built around a single mechanism. Its topological core or spatial climax is a klimawindkanal , an artificial environment, sealed off and constructed to enact extreme aerodynamic and climatic conditions with the purpose to expose railway carriages to these and to witness and document their behavior under those meteorological circumstances. The canal occupies roughly 1/6 of the total floor area of the building; all other spaces are subservient to the singular purpose of the testing experiment, either as hangars used for preparations on the test objects, or as maintenance, office, mechanical and electro-technical spaces. Work in the windkanal was conducted using heavily insulating gear to protect the human body: extremely thick overalls with oversized protecting over-boots. The engineers had strict procedures and checklists to obey, some serving the precision of the experiment, some their own protection, their creativity was forced into a strict collective choreography. In 2007, a collective of artists, fabricators and theoreticians active in the fields of fine-, performing- and media arts and fabrication adapted the former research compound to host laboratories, ateliers and exhibition space. Located in a former research facility around a climatic wind tunnel used for testing trains, the building now is programmed by the collective realizing in the search for renewed artistic constellations as forms of expression and means of documentation realizing projects on various scales and genres. Using the synergies of the distinct practices, aim of the collective is to foster a cross-disciplinary practice between arts and sciences and to create a site for production and discourse within the city.
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