Events

The Soft-wear symposium, workshop and open lab offered a glimpse into the world of active materials, that form the foundation of novel design paradigms. Soft-wear is a place where electronics meets the traditional crafts of weaving, dyeing and knitting fibres and threads, to produce materials that can respond to touch, temperature, light and other external stimuli. They are used as tangible interfaces and displays, where the edge between materials and media rapidly dissolves.

The Soft-wear symposium, workshop and open lab offered a glimpse into the world of active materials, that form the foundation of novel design paradigms. Soft-wear is a place where electronics meets the traditional crafts of weaving, dyeing and knitting fibres and threads, to produce materials that can respond to touch, temperature, light and other external stimuli. They are used as tangible interfaces and displays, where the edge between materials and media rapidly dissolves.

The Soft-wear symposium, workshop and open lab offered a glimpse into the world of active materials, that form the foundation of novel design paradigms. Soft-wear is a place where electronics meets the traditional crafts of weaving, dyeing and knitting fibres and threads, to produce materials that can respond to touch, temperature, light and other external stimuli. They are used as tangible interfaces and displays, where the edge between materials and media rapidly dissolves.

The Soft-wear symposium, workshop and open lab offered a glimpse into the world of active materials, that form the foundation of novel design paradigms. Soft-wear is a place where electronics meets the traditional crafts of weaving, dyeing and knitting fibres and threads, to produce materials that can respond to touch, temperature, light and other external stimuli. They are used as tangible interfaces and displays, where the edge between materials and media rapidly dissolves.

The Soft-wear symposium, workshop and open lab offered a glimpse into the world of active materials, that form the foundation of novel design paradigms. Soft-wear is a place where electronics meets the traditional crafts of weaving, dyeing and knitting fibres and threads, to produce materials that can respond to touch, temperature, light and other external stimuli. They are used as tangible interfaces and displays, where the edge between materials and media rapidly dissolves.

The Soft-wear symposium, workshop and open lab offered a glimpse into the world of active materials, that form the foundation of novel design paradigms. Soft-wear is a place where electronics meets the traditional crafts of weaving, dyeing and knitting fibres and threads, to produce materials that can respond to touch, temperature, light and other external stimuli. They are used as tangible interfaces and displays, where the edge between materials and media rapidly dissolves.

The Soft-wear symposium, workshop and open lab offered a glimpse into the world of active materials, that form the foundation of novel design paradigms. Soft-wear is a place where electronics meets the traditional crafts of weaving, dyeing and knitting fibres and threads, to produce materials that can respond to touch, temperature, light and other external stimuli. They are used as tangible interfaces and displays, where the edge between materials and media rapidly dissolves.

The Soft-wear symposium, workshop and open lab offered a glimpse into the world of active materials, that form the foundation of novel design paradigms. Soft-wear is a place where electronics meets the traditional crafts of weaving, dyeing and knitting fibres and threads, to produce materials that can respond to touch, temperature, light and other external stimuli. They are used as tangible interfaces and displays, where the edge between materials and media rapidly dissolves.

Filmmaker Jan Cornelis Mol (1891-1954) was a pioneer of time-lapse photography, using it to record the tiny lives of micro-organisms. He wanted to show in film what otherwise would be visible only to the most tenacious gaze through a microscope. In this way the public was plunged into the life inside a droplet of water or sucked-up into the bloodstream of a frog. A highlight in his work are the images of crystallisation. Using common photographic chemicals his recordings under great magnification of the crystallisation processes revealed wonderful abstract patterns.

Our two guests in the last 'bite-size-lecture' for 2005 are experts in artistically grown ecologies and ecologically inspired arts. They talked to us about what happens when you depend on living (or recently living) organisms to become cooperative partners in your artistic process...

After the unique presentation of a group of six Asmat mask costumes from the collection of artist Jan Dietvorst, the idea surfaces to create a Christmas special of this show. One of the Jipae an Doroe is selected and placed in a forest of pine trees, as a true king. The whole of Foamlab is transformed into an evergreen forest from which the mask costume emerges. This show has become the start of a series of exhibitions at Foamlab commemorating the major feasts of the Roman Catholic liturgical calendar.

After the unique presentation of a group of six Asmat mask costumes from the collection of artist Jan Dietvorst, the idea surfaces to create a Christmas special of this show. One of the Jipae an Doroe is selected and placed in a forest of pine trees, as a true king. The whole of Foamlab is transformed into an evergreen forest from which the mask costume emerges. This show has become the start of a series of exhibitions at Foamlab commemorating the major feasts of the Roman Catholic liturgical calendar.

After the unique presentation of a group of six Asmat mask costumes from the collection of artist Jan Dietvorst, the idea surfaces to create a Christmas special of this show. One of the Jipae an Doroe is selected and placed in a forest of pine trees, as a true king. The whole of Foamlab is transformed into an evergreen forest from which the mask costume emerges. This show has become the start of a series of exhibitions at Foamlab commemorating the major feasts of the Roman Catholic liturgical calendar.

After the unique presentation of a group of six Asmat mask costumes from the collection of artist Jan Dietvorst, the idea surfaces to create a Christmas special of this show. One of the Jipae an Doroe is selected and placed in a forest of pine trees, as a true king. The whole of Foamlab is transformed into an evergreen forest from which the mask costume emerges. This show has become the start of a series of exhibitions at Foamlab commemorating the major feasts of the Roman Catholic liturgical calendar.

After the unique presentation of a group of six Asmat mask costumes from the collection of artist Jan Dietvorst, the idea surfaces to create a Christmas special of this show. One of the Jipae an Doroe is selected and placed in a forest of pine trees, as a true king. The whole of Foamlab is transformed into an evergreen forest from which the mask costume emerges. This show has become the start of a series of exhibitions at Foamlab commemorating the major feasts of the Roman Catholic liturgical calendar.

After the unique presentation of a group of six Asmat mask costumes from the collection of artist Jan Dietvorst, the idea surfaces to create a Christmas special of this show. One of the Jipae an Doroe is selected and placed in a forest of pine trees, as a true king. The whole of Foamlab is transformed into an evergreen forest from which the mask costume emerges. This show has become the start of a series of exhibitions at Foamlab commemorating the major feasts of the Roman Catholic liturgical calendar.

After the unique presentation of a group of six Asmat mask costumes from the collection of artist Jan Dietvorst, the idea surfaces to create a Christmas special of this show. One of the Jipae an Doroe is selected and placed in a forest of pine trees, as a true king. The whole of Foamlab is transformed into an evergreen forest from which the mask costume emerges. This show has become the start of a series of exhibitions at Foamlab commemorating the major feasts of the Roman Catholic liturgical calendar.

After the unique presentation of a group of six Asmat mask costumes from the collection of artist Jan Dietvorst, the idea surfaces to create a Christmas special of this show. One of the Jipae an Doroe is selected and placed in a forest of pine trees, as a true king. The whole of Foamlab is transformed into an evergreen forest from which the mask costume emerges. This show has become the start of a series of exhibitions at Foamlab commemorating the major feasts of the Roman Catholic liturgical calendar.

After the unique presentation of a group of six Asmat mask costumes from the collection of artist Jan Dietvorst, the idea surfaces to create a Christmas special of this show. One of the Jipae an Doroe is selected and placed in a forest of pine trees, as a true king. The whole of Foamlab is transformed into an evergreen forest from which the mask costume emerges. This show has become the start of a series of exhibitions at Foamlab commemorating the major feasts of the Roman Catholic liturgical calendar.

After the unique presentation of a group of six Asmat mask costumes from the collection of artist Jan Dietvorst, the idea surfaces to create a Christmas special of this show. One of the Jipae an Doroe is selected and placed in a forest of pine trees, as a true king. The whole of Foamlab is transformed into an evergreen forest from which the mask costume emerges. This show has become the start of a series of exhibitions at Foamlab commemorating the major feasts of the Roman Catholic liturgical calendar.

After the unique presentation of a group of six Asmat mask costumes from the collection of artist Jan Dietvorst, the idea surfaces to create a Christmas special of this show. One of the Jipae an Doroe is selected and placed in a forest of pine trees, as a true king. The whole of Foamlab is transformed into an evergreen forest from which the mask costume emerges. This show has become the start of a series of exhibitions at Foamlab commemorating the major feasts of the Roman Catholic liturgical calendar.

After the unique presentation of a group of six Asmat mask costumes from the collection of artist Jan Dietvorst, the idea surfaces to create a Christmas special of this show. One of the Jipae an Doroe is selected and placed in a forest of pine trees, as a true king. The whole of Foamlab is transformed into an evergreen forest from which the mask costume emerges. This show has become the start of a series of exhibitions at Foamlab commemorating the major feasts of the Roman Catholic liturgical calendar.

This workshop introduced 'fluxus' as a programming and performing
environment for real-time animation. We covered a range of animation techniques, from basic geometry, motion, texturing and compositing to more advanced topics including simulations of physical systems [real or imagined], interfacing with sensors and actuators, along with using audio and network data. The participants learned how to make inanimate bits become animated and potentially life-like, able to mutate and grow through continuous successions of change...

After the unique presentation of a group of six Asmat mask costumes from the collection of artist Jan Dietvorst, the idea surfaces to create a Christmas special of this show. One of the Jipae an Doroe is selected and placed in a forest of pine trees, as a true king. The whole of Foamlab is transformed into an evergreen forest from which the mask costume emerges. This show has become the start of a series of exhibitions at Foamlab commemorating the major feasts of the Roman Catholic liturgical calendar.

This workshop introduced 'fluxus' as a programming and performing
environment for real-time animation. We covered a range of animation techniques, from basic geometry, motion, texturing and compositing to more advanced topics including simulations of physical systems [real or imagined], interfacing with sensors and actuators, along with using audio and network data. The participants learned how to make inanimate bits become animated and potentially life-like, able to mutate and grow through continuous successions of change...

After the unique presentation of a group of six Asmat mask costumes from the collection of artist Jan Dietvorst, the idea surfaces to create a Christmas special of this show. One of the Jipae an Doroe is selected and placed in a forest of pine trees, as a true king. The whole of Foamlab is transformed into an evergreen forest from which the mask costume emerges. This show has become the start of a series of exhibitions at Foamlab commemorating the major feasts of the Roman Catholic liturgical calendar.

This workshop introduced 'fluxus' as a programming and performing
environment for real-time animation. We covered a range of animation techniques, from basic geometry, motion, texturing and compositing to more advanced topics including simulations of physical systems [real or imagined], interfacing with sensors and actuators, along with using audio and network data. The participants learned how to make inanimate bits become animated and potentially life-like, able to mutate and grow through continuous successions of change...

After the unique presentation of a group of six Asmat mask costumes from the collection of artist Jan Dietvorst, the idea surfaces to create a Christmas special of this show. One of the Jipae an Doroe is selected and placed in a forest of pine trees, as a true king. The whole of Foamlab is transformed into an evergreen forest from which the mask costume emerges. This show has become the start of a series of exhibitions at Foamlab commemorating the major feasts of the Roman Catholic liturgical calendar.

This workshop introduced 'fluxus' as a programming and performing
environment for real-time animation. We covered a range of animation techniques, from basic geometry, motion, texturing and compositing to more advanced topics including simulations of physical systems [real or imagined], interfacing with sensors and actuators, along with using audio and network data. The participants learned how to make inanimate bits become animated and potentially life-like, able to mutate and grow through continuous successions of change...

After the unique presentation of a group of six Asmat mask costumes from the collection of artist Jan Dietvorst, the idea surfaces to create a Christmas special of this show. One of the Jipae an Doroe is selected and placed in a forest of pine trees, as a true king. The whole of Foamlab is transformed into an evergreen forest from which the mask costume emerges. This show has become the start of a series of exhibitions at Foamlab commemorating the major feasts of the Roman Catholic liturgical calendar.

This workshop introduced 'fluxus' as a programming and performing
environment for real-time animation. We covered a range of animation techniques, from basic geometry, motion, texturing and compositing to more advanced topics including simulations of physical systems [real or imagined], interfacing with sensors and actuators, along with using audio and network data. The participants learned how to make inanimate bits become animated and potentially life-like, able to mutate and grow through continuous successions of change...

After the unique presentation of a group of six Asmat mask costumes from the collection of artist Jan Dietvorst, the idea surfaces to create a Christmas special of this show. One of the Jipae an Doroe is selected and placed in a forest of pine trees, as a true king. The whole of Foamlab is transformed into an evergreen forest from which the mask costume emerges. This show has become the start of a series of exhibitions at Foamlab commemorating the major feasts of the Roman Catholic liturgical calendar.

After the unique presentation of a group of six Asmat mask costumes from the collection of artist Jan Dietvorst, the idea surfaces to create a Christmas special of this show. One of the Jipae an Doroe is selected and placed in a forest of pine trees, as a true king. The whole of Foamlab is transformed into an evergreen forest from which the mask costume emerges. This show has become the start of a series of exhibitions at Foamlab commemorating the major feasts of the Roman Catholic liturgical calendar.

After the unique presentation of a group of six Asmat mask costumes from the collection of artist Jan Dietvorst, the idea surfaces to create a Christmas special of this show. One of the Jipae an Doroe is selected and placed in a forest of pine trees, as a true king. The whole of Foamlab is transformed into an evergreen forest from which the mask costume emerges. This show has become the start of a series of exhibitions at Foamlab commemorating the major feasts of the Roman Catholic liturgical calendar.

After the unique presentation of a group of six Asmat mask costumes from the collection of artist Jan Dietvorst, the idea surfaces to create a Christmas special of this show. One of the Jipae an Doroe is selected and placed in a forest of pine trees, as a true king. The whole of Foamlab is transformed into an evergreen forest from which the mask costume emerges. This show has become the start of a series of exhibitions at Foamlab commemorating the major feasts of the Roman Catholic liturgical calendar.

After the unique presentation of a group of six Asmat mask costumes from the collection of artist Jan Dietvorst, the idea surfaces to create a Christmas special of this show. One of the Jipae an Doroe is selected and placed in a forest of pine trees, as a true king. The whole of Foamlab is transformed into an evergreen forest from which the mask costume emerges. This show has become the start of a series of exhibitions at Foamlab commemorating the major feasts of the Roman Catholic liturgical calendar.

After the unique presentation of a group of six Asmat mask costumes from the collection of artist Jan Dietvorst, the idea surfaces to create a Christmas special of this show. One of the Jipae an Doroe is selected and placed in a forest of pine trees, as a true king. The whole of Foamlab is transformed into an evergreen forest from which the mask costume emerges. This show has become the start of a series of exhibitions at Foamlab commemorating the major feasts of the Roman Catholic liturgical calendar.