Sand Printer | Future Regressive



Future Regressives are futuristic fossils drawn by a mechanical printer on a mixture of sand and salt. These fossils contain many details, as if they were drawn by an extremely accurate and never fatigue hand.
In contrast to the past fossils, the future regressives have a short memory. Once drawn they will be easily erased, allowing new visuals to appear and be forgotten.

Sand Fish stop motion animation | Digital images are physically drawn by the printer. The sand prints are photographed and returned to the digital space in the form of stop-motion animation:



Sand Printer was built for the Venice Biennale 2014 Israeli Pavilion in collaboration with Guy Hoffman.




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Confession Machine



The Confession Machine prints online texts that fade away as time passes, just like the confession itself. The machine prints on a surface painted with an ultra violate sensitive pigment. While passing over the surface, it turns on and off 16 UV LEDs in a carefully timed sequence, temporarily creating dots and dashes on the surface. Those are added into letters, words and sentences.

The intimate and revealing printed texts are taken from social networks, showing the lightness of confessions via online channels today. People today willingly share personal details of their lives via the digital medium. At the same time the importance people give to online confessions is small and temporary in its nature. One sees a reviling status, may get excited, like, comment, even share, and forget it. That is the life cycle of an online confession.
It is also a paradox as all this personal information now stays on a virtual limbo, forever exposed.

The Confession Machine uses the technology of repeatable writing using light (developed by the Bloomfield Science Museum Jerusalem) to show the temporary nature and lightheadedness of online confessions. A confession is printed and fades away. A new confession immediately takes our attention. Sometime a confession starts fading ever before the entire sentence was completed.

The Confession machine was commissioned by Artists' Residence Herzelya, January 2014.





Wrote about the Confession Machine:

Gizmodo
Gizmag
Notcot

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Hatch | Amsterdam Light Festival

by Liat Segal & Hagar Elazari



The Hatch is a peephole to endless inner depths. It's a kinetic light sculpture half buried in the ground. Standing afar, it looks like a transparent cube covering illuminated sticks resembling a ladder. When looking from above, one sees an endless tunnel to the bottom of the earth.
The Hatch is manipulating space, building an infinite chamber through light.

The work was commissioned by the Amsterdam Light Festival, December 2013 and by the Jerusalem Light Festival, June 2014.



The sculpture is placed between a mirror and a half transparent mirror, behind which the viewer stands, seeing endless reflections.




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Wall To Wall Carpeting

by Liat Segal & Shahar Binyamini
Dancers: Iyar Elezra, Shamel Pitts



Three hundred liters of paint are slowly flowing through the dance studio, changing the space. The change is so slow that it is hard to notice at any single moment. As time goes by, however, one may suddenly realize that the world has completely changed.
The work was presented for the first time as part of Plaza 2013 at Bat Sheva Dance Company.

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Microfilm

@ Elsewhere Gallery by Adi Dahan | Herzliya Museum of Contemporary Art



Elsewhere Gallery is a temporary gallery founded by Adi Dahan under the exhibition "Rising Star" in the Herzliya Museum of Contemporary Art. The gallery itself operates outside the museum walls and is being broadcasted back to museum through a web video call.

The work is making use of two machines built by Segal; the first (Heart for the tin man, 2012) is a painting machine, dropping acrylic paint on the surface below it at precise amounts and positions. The machine was used for painting in response to voices and music that surrounded it. This work results in a series of paintings, each one originated by a different source of information. While the paintings seem chaotic they actually have structure. As in many cases, the alleged randomness is a result of a sequence of strict choices.
By minor changes to the machine settings and replacing its painting device with a macro lens camera, the painting machine transforms into a scanner, scanning its own former outputs. This second machine results in the video work. The scanner navigates along the paintings as if they were a map and the paint drops were a topographic landscape. The macro lens reveals details that are invisible to the naked eye, some of which look as if they were taken by a lab’s microscope.

The new system works in interaction with museum visitors. Visitor’s motions are captured by video, affecting in real time the scanner’s navigation as a physical-human remote control.
The flow in this work is circular. Digital data gets a physical-mechanical manifestation, then sampled back into the digital world.

The name of the work “Microfilm” implies the analogue data storage mechanism that was in use before today’s digital data storage systems. Segal’s machine gives a strong association to the movements, magnification visuals and sounds of the old school microfilm reader.


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Heart for the Tin Man | A Show of Robotic Action Painting & Music

by Liat Segal & Assaf Talmudi



Does a machine, any machine, create alienation just by virtue of being a machine? The answer, as far as we are concerned, is negative. The performance Heart for the Tin Man is a celebration of homemade machines, which have nothing to do with usefulness or usability – in the sense we usually attach to these terms.

At the centre of the performance stands a large robot, painting enormous abstract paintings in acrylic. The robot paints on a large canvas in response to the human voices and musical instruments that surround it. The audio and visual structures are open, and only subordinated to the interaction between the robotic parts and the human playing.

Heart for the Tin Man was the opening show at Fresh Paint 5.

During the show Assaf Talmudi (accordion), along with our special guests Shlomi Shaban (piano) and Ronald Boersen (violin), played music which in turn activated the painting machine and twelve robotic drums.

The sound was translated automatically at real time to movements of the painting machine and the release of acrylic paint by four pumps.


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The Originals Factory




The Originals Factory is a fusing together and questioning digital, mechanic and plastic approaches to art, abstraction and originality. It is basically a DIY robot, built and programmed to create landscape paintings in the style of American abstract expressionism.
The computer system uses real time video input to control motor movement and pump actions to release paint drops on a large canvas. The drops are then drawn downwards courtesy of gravity, leaving thin colorful line marks.

Paintings by the Original Factory

The Originals Factory was first presented at the DLD Tel Aviv conference in November 2011.



The graphical language achieved by this mechanism is a language of lines. Instead of pixels creating the image, we get vertical graphical units, or Vixels.
Our mechanism allows us to control a few parameters for each such Vixel; its Horizontal position, length and color.



Other types of online data were used for prints, such as Google Trends and real time generated surveys.





Wrote about the project:

Make Magazine
Hackaday
Laughing Squid

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Interactive bus stop for Pepsi Max



An interactive bus stop in Tel Aviv, made for Pepsi Max Isreal with Alenbi Concept House.
Director: Vania Heymann. Producer: Lihu Roter.

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IOIO-Android based Cellular Wall Printer




What if people would expose and visualize their SMS text messages on buildings? If your Facebook status would be printed on a real, physical wall? What if you really checked in when you check in?
The wall printer takes the wall status concept back to physical dimensions.
Wall Printer
Inspired by old-school pin printers, the wall printer is a manually held device using seven markers to print digital messages on any flat surface. Seven individually controlled servo motors move the markers up and down, drawing dots and dashes.
When you manually slide the printer over a wall, the servo motions are carefully timed to produce text messages.

Connected to a cell phone, the printer can be directly fed by SMS text messages, Facebook statuses, GPS coordinates or practically by any other digital data source.
It uses a IOIO board to connect the physical electronic parts to an Android device and control them from an Android application.




Sweet Tech Studio

Sweet Tech Studio and IOIO





























This project was done with help and advice by Ytai Ben Tsvi, IOIO inventor and friend :)











Wrote about the project:

Make Magazine
Engadget
Neatorama
Next President
Talk Android
Cube Me
Microsiervos (Spanish)
Creep.ru (Russian)
Androidworld.it (Italian)
Semageek (French)

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Robotic drums party installation


Robotic drumsticks were playing on steel barrels at an abandoned textile factory party, Bar Yochai, Tel Aviv.
Beats were generated automatically, at real time, according to the music played by the DJ.

The system listens to the music played, analyses it and controls the drumstick's beats accordingly.
People choose which drumstick play at any given time by making shadows on them.
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Robotic Drums

by Jonathan Rubin, Liat Segal & Assaf Talmudi


18 Darbuka drums and 36 robotic arms are controlled via wireless communication. Drum music is composed and played at a music sequencer on an iPad.



The project was presented at the Bat-Yam international biennale of landscape urbanism, September 2010, as a part of the 'Green to Blue' ecological street project, by Matanya Sack and Uri Reicher. During the biennale, electricity generated by wind turbines and photovoltaic cells was used to operate the robotic Darbuka drums. The drums were mounted on the wind turbines columns, creating a hybrid, digital-mechanic drumming circle, a futuristic-traditional acoustic space.



Thanks to Ben Handler and Eyal Talmudi for playing with us! :)





The making of...



So, what do we have here... 18 darbuka drums, each drum is played with two sticks mounted on servo motors and is lit by a super-bright 1W LED. We chose to use drum sticks mounted on servos (rather than the traditionally used solenoids) in order to achieve a powerful sound accompanied by a visual effect of a drumming circle.

Each of the 36 servos and 18 LEDs is controlled independently in real-time. In order to play (and light) our drums, we needed to control 54 channels wirelessly. To this aim, we built nine control units, each consisting of an Arduino and a XBee radio transceiver. Each unit was designed to control two drums (4 servos and 2 LEDs):

Two digital servos with attached drum sticks and a super-bright 1W LED were installed on each of the 18 Darbuka drums

A master netbook, running Max/MSP, sends control commands wirelessly (via XBee radio transceiver) to all control units.

As a final touch, we added an iPad interface to give an easy and intuitive way to interact with the installation. OSC protocol was used for wireless communication between the master netbook and the iPad (via Wi-Fi).



Three modes for playing the drums in real-time have been designed. The Sequencer mode allows composing specific beats for each of the 36 drum sticks. At this mode users can design and play loops and when happy with a loop, save it as a preset. Users can shift between previously saved presets at Presets mode.
Users can also play the drums by 'hitting them' at a location based Intuitive jamming mode.

At both the Sequencer and the Presets modes, the user can control the BPM of the loop by either switching a dial or shaking the iPad at the desired tempo.
Additionally, the user can switch between parts of the loop (and either play the entire loop, 1/2, 1/4 or 1/8th of it).

iPad interfaces












Wrote about the project:

Make Magazine
The Next Web
Gadgetbox
Hack a Day
Haaretz (Hebrew)
PadGadget
PadMania (German)
VIPad.fr (French)

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Virtual Physical Pong

by Jonathan Rubin, Liat Segal & Hen Fitoussi


This version of the good old Pong game is played on a computer controlling motorized paddles (via Arduino) and a projected ball.
A feedback is received from the paddles in order to derive the paddles' position in the game arena.
This way, the projected virtual ball bounces once it hits the real paddle.
This demo was built in two days, during Geekcon 2010.

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