#Cuppetelli & Mendoza

[zegalba]

Cuppetelli & Mendoza: Transposition (2013)

[attractionrepulsion2020]

Thinking about documentation, I think that Cuppetelli & Mendoza have a simple and effective approach. The production doesn’t distract from the work itself. The video gives a strong impression of how it feels to use the work, and the simple text offers just enough information to get an idea of what is going on. After watching this video, I feel like I understand the work, even though I haven’t used it myself.

This video contains:

Title Pan of idle work & set up info Pan of work in use Close ups More of the work in use End

For my own documentation, I would be inclined to add more information about the meaning of the artwork, as I think that is missing in Cuppetelli & Mendoza’s work.

[julijaradosavljevic]

Annica Cuppetelli i Cristobal Mendoza

Nervous Structure, Halifax

Nervous Strucure jer interaktivna instalacija iz 2019. godine. Rad se sastoji iz zidne projekcije koja se sastoji od velikog broja elastičnih kanapa preko kojih se projektuje interaktivna animacija. Na njihovo kretanje utiču pokreti posetilaca koji su zabeleženi pomoću video kamere. 

[materialthinkingmn]

Artist Reference

Duo: Cuppetelli and Mendoza 

Installation / Object / Site 

Physical elements + Digital technologies. 

Composing dynamic and immersive spaces and structures.

[justynapop-blog]

This installation was designed by Annica Cuppetelli and Cristobal Mendoza. Both of artists decided to collaborate and go under the name of Cuppetelli and Mendoza. Their aim in to design and create artworks that are the combination of physical elements with digital technologies creating a sensual and dynamic experience for the audience. One of their work is called “Notional Field” and it is an installation that you can interact with. It consists of a wall-mounted sculpture containing hundreds of vertical and parallel lines made of elastic cord that is projected upon with a computer-generated, interactive animation of a similar number of lines. The movement of these lines that are projected is controlled by a simulation, which that makes them seem like soft ropes and this motion of ropes is influenced by a movement of the viewer and understood by a computer that captures the scene via a video camera. Although the physical gestures of the person are interpreted into virtual forces that are affecting the computer-generated ropes the physical strings of the sculpture remain still.

[theogeffard-blog]

Transposition de Cuppetelli et Mendoza

Transposition est un projet du duo d’artistes Cuppetelli and Mendoza présenté en 2013 au Denver Art Museum cherchant à explorer notre perception de l'espace virtuel et physique. Grâce à une installation audiovisuelle interactive composée de vidéoprojecteurs, de caméras vidéo, de haut-parleurs, d’un ordinateur et d’un logiciel personnalisé, le spectateur se retrouve face à 348 cordes élastiques fixées devant un écran sur lequel est projeté une animation cinétique sonore.  Le déplacement du spectateur provoque l'ondulation des formes graphiques et le traitement en temps réel de la composition sonore. Cette composition sonore a été introduite lors de la seconde présentation de ce projet. Le duo d’artistes a décidé de collaborer avec Peter Segerstrom afin d’introduire un aspect sonore au projet. 

J’ai trouvé ce projet particulièrement intéressant. La pièce est assez sombre, nos sens sont donc en éveil. Les deux artistes ont réussi, selon moi, à lier différents de nos sens tels que le toucher, l’ouïe ou la vue grâce aux différents systèmes qu’ils ont mis en place. La perception du toucher est accompagnée par le système sonore interactif de Peter Segerstrom qui réagit aux mouvements du corps, tout comme la projection.

Voici une vidéo présentant le projet, lors de son exposition au Denver Art Museum.

https://vimeo.com/65693075

[thaisnguyenhuu-blog]

Nervous Structure (Field)

Annica Cuppetelli et Cristobal Mendoza sont deux designers qui collaborent depuis 2010. Ils créent des installations qui allient éléments physiques et technologies digitales pour faire vivre aux spectateurs des expériences sensuelles, dynamiques et immersives.

Avec "Nervous structure (Field)", ils livrent une installation interactive composée d'environ 144 cordes tendues à la verticale qui forment un écran. Sur celles-ci, un vidéo projecteur diffuse des graphiques interactifs,  qui analysent et réagissent à l'environnement et aux mouvements des spectateurs. Les graphiques  s'étirent en ondes fluides et élastiques créant pour le spectateur une illusion de distorsion. 

Le site se compose de trois plans qui se croisent: le plan physique (la structure), le plan virtuel (la projection) et le plan perceptuel (le spectateur et son interaction). C'est dans ces différents points d'intersection que la pièce fonctionne.

Notre intérêt réside dans les problèmes de perception qui se posent à l'intérieur de ces intersections.

[msmarge94-blog]

Week 3 :

“Untitled (Ebb & Flow) is an interactive, 3 channel installation, made in collaboration by Annica Cuppetelli (annicacuppetelli.com) and Cristobal Mendoza (matadata.com). Fabric forms are projected with graphics and colors that are affected by the motion of viewers.’

this is an installation we can find in the streets. Again the similar notion of using motion sensors to create a light and sound.  the use of an organic material such as fabric  is interesting. fabric is a rather organic material and when there is a projection on it , one will get to see a variety of effects on the clothe as it moves easily due wind , or heat or other factors.

[elizabethnutting-blog]

TC Post #2

     This installation in::Sequence by Cuppetelli and Mendoza was featured at Dlectricity in September 2017. In::Sequence was a chandelier-esque work of art where large, sheer pieces of fabric were draped down from a white circular structure. The work was constantly in motion due to the soft blowing wind. Soothing blue and yellow lights were projected onto the fabric. There was a soundtrack playing that sounded like something you would hear in a yoga class. In::Sequence could be viewed from 360 degrees around and even from underneath--there were grey carpet squares below the fabric where people laid on their backs and looked up, admiring the piece.

     In::Sequence was an innovative, beautiful work of art that created an environment of community and contemplation. Laying on plush carpet, looking up at drifting, silky, glowing waves of fabric, while listening to calming music, I found myself in sort of a meditative state. I was interested to read, on the Dlectricity website, that the piece’s intention was to "invite viewers to assume a contemplative state.” To be able to create a graceful work of art while influencing the viewer’s mental state is not a simple task. However, Cuppetelli and Mendoza made it look easy. Around the perimeter of the piece, there was a buzz of people saying how cool and relaxing it was. Everyone was eager to take a turn to lay on the carpet. While laying down, even though there was noise coming from all around, everyone was silent and lost in thought. I loved how in::Sequence’s purpose was deeper than beauty or form, it was there to bring people closer and make them think. 

[caiweichen-blog]

examples

https://vimeo.com/43257999

In Order to Control - Interactive Installation

A text discussing about the threshold on ethics and morality was looping on the floor, people who step on the typographic area to read it, realize them selves on the wall and the interaction process starts.

Words are projected onto the floor of the gallery. As the patrons move into the space their bodies block the words on the ground, but then the words are displayed on the wall in front of them. Viewers have to work together to be able to attempt to decipher the meaning, or to simply embrace the interactive experience.

Everything that’s legal is not always fair. Everything that’s fair is not always legal.

https://www.youtube.com/watch?v=lX_vsmYaq1E

Frédéric Eyl and Gunnar Green - Aperture, Responsive Environment 

Aperture is a facade installation with interactive and narrative displaying modes. Consisting of an iris diaphragm matrix, the facade's surface with its apertures' variable opening diameters is enriched by a dynamic translucency, that creates new imagery as well as a new channel for communication between inside and outside.

https://vimeo.com/35508462

Nervous Structure (field) (2012)

Made in collaboration by Annica Cuppetelli and Cristobal Mendoza

The piece revolves around the idea of interface, which is interpreted as the point of contact between two different entities, and is displayed in the work in several ways: between the viewer and the piece (a human/computer interface); between the real and the virtual (the physical structure and its relationship with the projected structure); between the foreground and the background (as the projection interferes with the sculpture).

[noise-rm]

Cuppetelli and Mendoza – in::Sequence from Cristobal Mendoza on Vimeo.

[zenlesszonezero]

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Uncover the Conspiracy in Zenless Zone Zero's All-New Version "A Storm of Falling Stars", S-Rank Agent Hoshimi Miyabi is here! With S-Rank Agent Asaba Harumasa Limited-Time Giveaway! Pre-register to obtain additional rewards.

[telfairmuseums]

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Making waves with Cuppetelli and Mendoza's "Notional Field" (2012) in #TechSpace at the #JepsonCenter! #savannah #indoors #artmuseum #rainyday #savannahga #visitsavannah #artmuseum #art #museum #artandtechnology #artandtech #interactive #interactiveart #interact #video #telfair #telfairmuseums #art912 (at Savannah, Georgia)

[vidusha-seewoo]

A peek @ Digital Media

In the fast-moving computer-generated world of animated, moving image and digital media design explore who are the pioneers? What are the current trends? What does the future hold, eg virtual and augmented reality?

1.     The pioneers

Having watched Onedotzero, Why Not and Kyle Cooper, I was motivated to find out about the starting point of digital media, I went through the book pioneers of digital and found out about Jaron Lanier, Danny Sullivan, Kyle MacDonald, Martha Lane Fox and Stephen Fry who were major stepping characters in the innovation of moving images.However, from the research follow-up, I came across famous figures such as  Kyle Cooper, Garson Yu, Karin Fong, Daniel Kleinman, David Carson and Stefan Sagmeister. 

Further to that, I was personally inspired by  Pablo Ferro. He’s a director, an editor, a producer, an animator, a special effects pioneer—a magician at communicating feeling. Well, Pablo Ferro has been stirring, haunting, compelling, entertaining and indeed scaring movie audiences for decades. He is the original magician.His title sequences that such as Dr. Stranglove, Men In Black, Good Will Hunting, Beetlejuice among others.

His use of typography and image. His sense of colour and style.His animation and editing technique. The way he presented himself and contributed to the design community? Ferro is so much more than an artist. And to label him a ‘graphic’ designer is an insult as he uses much more than mere graphics. 

Largely a self-taught artist, Ferro’s background in illustration, comics and advertising, combined with his hippy-dippy lifestyle and truly bizarre life experiences which gave him a unique vantage point from which to move into motion picture graphics. 

Kyle Cooper, whose opening sequences on movies like Spider Man, The Mummy and of course Se7en, which is considered a landmark of title design. But it is Pablo Ferro who I believe deserves closer study. It is Pablo Ferro these masters would turn to for inspiration and reference their work against.

The “retro” style so popular again in movie credits and title typography lately? Who do you think they’re emulating?

It is Pablo Ferro who introduced narrative and nonlinear dimensions in movie title design. And it was Pablo Ferro who inspired and paved the way for many title sequence, animation, motion graphics and graphic designers of today.

Movie titles are so much more than credits—they are the audience’s introduction and first impression. Title sequences take a variety of forms, from hauntingly beautiful to sublime, from ridiculous to hilarious, even shocking and hard to watch. Opening titles have become an important part of storytelling, no longer just credits to communicate title and actors’ names. 

I think it’s wonderful that the man whose artistry was behind so many amazing movie credits finally gets the credit he deserves. Now the world will better know the power of design and the legend of the man with the red scarf, Pablo Ferro.

2.     The trends

(a) .   Acer tactile exhibition

We now live in a contemporary era where every idea is explored and recreated and stylised to please either the creator or the viewer.

An exhibition of digital artwork exploring the theme of tactility and touch, to promote the launch of new Acer products.

Mother London had approached onedotzero to curate and produce an exhibition of digital and contemporary artwork that explored the theme of tactility and touch. The resulting series of interactive installations all responded to guests’ movement and touch in a variety of guises.

The 'Tactile' event saw Acer showcase its new range of Windows 8 touch-type products alongside bespoke interactive touch installations to an audience of press, PR and industry influencers at London's Science Museum.

This video shows you to what extent technology is fused with creativity so as to promote and enhance product overview.It triggers the senses of the viewer.

The following installations were showcased:

sonUmbra by Loop.pH - an intricate lacework of electroluminescent fibre that subtly responds to movement and sound levels in the surrounding environment.

puShy by Roberto Pugliese – an example of how to transform the tactile exploration of a physical object into a performative and collective sound-making activity.

Dune by Studio Roosegarde – an interactive landscape of light, which brightens according to the sounds and motion of people.

Oasis by Everyware – in this micro-world, virtual creatures are born, live and perish, responding to peoples' touch in various ways.

Nervous Structure by Cuppetelli+Mendoza – a projection mapped elastic structure that warps and sways with the user’s movement.

Engine 26 by Daniel Hirschmann - a collaborative tool that allows the combination of pattern, structure, colour, context and process to produce versioned artworks manipulated by a user’s movement.

Cloud Pink by Everyware – a touch sensitive fabric spilling colourful inks and sprays into the clouds above.

(b) .   channel 4 — turner prize

It involves a selection of promos for channel 4’s broadcast of the turner prize award ceremony, 2011 – 2015 by why not associates and Brian Harrington.

The trend in digital media consists of editing, 2D animation and compositing executed in house. direction and photography. It is to be noted that Typography has been enhanced and delivered in such a way that it complements the background to prove its point.

3.     whats NEXT?

So what does the future hold, eg virtual and augmented reality?

The future of media is quickly changing right before our very eyes. Digital is taking over the world, and the generational shift is in full effect as millennials and Generation X grow older and smartphones, computers, and tablets become the primary outlets for media consumption.

Advertisers are looking at using augmented reality as part of a marketing drive in order to attract new customers as well as retaining existing ones. This means developing an in-depth knowledge about their intended customers; who they are, what they need and why they need it. That knowledge leads to understanding their browsing habits and the triggers for buying. Consumers are increasingly open to augmenting their world with offers and information, even if Google Glass came too soon. 

The expense of pulling off an Augmented Reality campaign pales in comparison to traditional print or broadcast advertising and establishes a longer-lasting, deeper connection with your consumers via an emotional connection, which in the end turns to more repeat business and sales. Here are the real reasons to think hard about utilising an AR campaign.

Innovation: it’s always good to be first on the market. What AR is offering isn’t just a one-off ad campaign. This is a cutting edge approach by a destination marketing group, the first of its kind, to use augmented reality to change consumer’s perception. Whenever the industry catches on, nobody else will have been first, and whoever chose an AR advertising will be looked at as innovators.

Inexpensive: Print advertising in magazines tends to be significantly more expensive than online or digital ads. 

Emotional Connection: AR takes marketing strategies to a more immediate and sensory level with customers, allowing greater interactivity in the selling and buying process.  AR can create an emotional connection between what the buyer is searching for and what the product can offer. In short, it gives the product a personal feel when consumers can picture it in their own world.

Driving Sales:  In many ways, AR brings offline experiences to online sales by enhancing the experience and driving brand visibility. Imagine hundreds of people sharing photos of your product on their social media platforms every day!