Stop motion with light as the character.
The Illuminator is an art-activist collective comprised of visual artists, educators, filmmakers, and technologists living and working in New York City.
The collective has staged hundreds of projection-interventions in public spaces, transforming the street from a space of passive consumption and transit into a site of engagement, conflict, and dialogue. Our work calls attention to the many urgent crises that confront us, in support of the ongoing struggle for a more just, peaceful and sustainable world.
You can find us on instagram at @the.illuminator, and on twitter and facebook at @illuminator99.
Current members include Emily Andersen, Todd Anderson, Zoe Bachman, Rachel Brown, Kyle Depew, Grayson Earle, Anna Ozbek, Shaun Persaud, and Chris Rogy.
Former members included Margaret Campbell, Betsy Fagin, Susan Forste, Hugo Genes, Daniel Latorre, Mark Read, Ivan Safrin, Athena Soules, and Lucky Tran.
Despite my DT experience, I can’t construct this level of intelligent product, but I love that someone else is thinking like this and made something so cool. The axis map actually is helpful to show the value of my own thesis explorations on where projections fit in on scale of mixed reality. I think City Projectour sits in the same niche as Lumen: Portable/no headset. Screen is optional.
“Lumen was created to provoke the tech industry which is currently focussing on only headsets to deliver immersive experiences and push them to think outside them and design a future where people are not constrained by technology.”
“Tear of the Cloud manifests this data by remixing contemporary and historic iconography in a non-linear, associative rereading of official narratives. Oursler’s kaleidoscopic intervention interweaves its roving cast of characters like the many tributaries that feed the Hudson River, offering layered connections and multiple meanings that illuminate our complicated past, encourage us to reflect upon the present, and inspire us to reconsider the future of our environment and culture.”
I went to this exhibit and had mixed feelings. First, I’m biased by the painfully cold wind that night. I had to speed walk through the experience because my ears were going to freeze off. Even if it was a beautiful night, I don’t think I would have really hung around much longer than I did. While there were some really cool effects, like the projections on the tree and the water, I didn’t find the content to be engaging or interesting. There was a hokeyness to it being a lot of live action stuff. It just felt like theater actors performing for a camera in a small room. While there were big speakers projecting sound, the dialogue wasn’t really something I would try to listen to. There were posters ‘explaining’ the exhibit, but they weren’t very explanatory.
Some visuals looked better than others. In general, I think some were too far away to really appreciate. They look better and more visible in photos than with the naked eye. That’s one lesson I’ve learned in my own project — sometimes the effect is better as documentation rather than as experience because you can adjust camera exposure and whatnot.
“In order to get as close a relationship from audio to visual as possible I tried to allocate a certain time of day or shape to each individual sound in the track , experimenting with animated sequences using platonic shapes, and referencing images based on the amplituhedron, later using mats and directly masking over many layers of photographs. I tried to incorporate and inject a feeling of possibility, the unknown, hidden truths, and what might be. I wanted the main focus of the video to be on time and space but I also I wanted to have an underlying human element. Choosing a motorway with two way traffic fit nicely, and didn't over populate the scene.”
- Páraic Mc Gloughlin
“The piece fell into disrepair in the mid-80s, and was for about a decade reduced to a blur, or a mess of spraypaint. But in 2009, it was resurrected again. The New York Times reported on it at the time, and even then -- before smartphones had exploded as much as they have now -- not many noticed the piece, it said.
"In a moderately crowded car on the Q line on Wednesday morning, most of Mr. Brand’s potential audience, truth be told, did not notice the rebirth of Masstransiscope," the reporter wrote. "But Mr. Brand said he loved the idea that maybe only a few riders per train, or even one, daydreaming out into the tunnel darkness, caught sight of the piece."
So next time you ride the Q train keep your head up -- you just might catch a glimpse of something everyone else is missing.”
“Drawing on our backgrounds in architecture and design of networked urban infrastructure, Assemblance uses light to construct a semblance of physicality in which people that don’t know each other gain enough trust to collaborate on building delicate, ephemeral, luminescent structures, where intimate and hyperlocal participation becomes even more important, and the question of our responsibility and culpability towards each other is thrown up in challenging ways.”