The mix presented here is a selection of works dating back to 2006. Some are collaborations with other artists, some are solo works.
→ #023 I speak myself into an object
→ #022 Arduino (Text)
→ #021 Becoming-Bricoleur; Hope as Transdisciplinary Process
→ #020 No translation given, in Written Images
→ #019 Looking for bird overlooking depth
→ #018:001 (Statistics)
→ #017 Wood Process
→ #016 Om tolkning
→ #015 Det klarnar (Continuous unfolding)
→ #014 Direktsändning från simbassängen
→ #012 Partners In Crime
→ #009 Jeans View 1.0
→ #008 Ambient Licks
→ #006 Who are you looking at - who's looking at you
→ #003 F.T.L.
→ #002 Predator?
hello ... carljohanrosen com
Through the combination of extracts from our works, we have identified hope and promise as an injunction operating on at least three different levels. Firstly, each respective work deals explicitly with notions of affect, promise and power. Secondly, offering merely a glimpse of each respective work, we make manifest the paradoxical logic of every promise of fullness, which can only remain a force of affect as long as it remains incomplete. Promise necessitates reduction and incompletion, it thrives in the imaginary, in the parts, and not in the finality of the whole. Thirdly, our collaborative process is engendered by the over-arching promise of transdisciplinarity and the idea that the merger of perspectives ‘opens up’ new possibilities, not only onto the collaborating subjects of the past, but to the potential collaborative subjects of the future.
Key to this process is the notion of the bricoleur; the idea that the possibility of change comes not through the invention of newness, but through the assemblage of images, signs and actions into different relations.
Conference poster, with Olof Sjölund and Claes Wrangel.
Created in collaboration with more than 70 media artists and developers from across the world, Written Images is the first of its kind. A ‘programmed book’, continuously regenerated for the digital printing process, offering each reader a unique experience. – Written Images
The subconscious of the other. Organic or digital. The patterns in memory are inaccessible to the one who has no translation. One might interpret noise, while the other sees the emerging structure. In this case the image tells the story of its creator.
Computers and other apparatuses belong to the group of subjects called digital beings. A digital being is something loosely defined in the area of robot/software/machine/toy, but with the distinct property of not being fully understood in its relation to human beings or organic life in general. The question approached here is what it means to communicate with this digital being and how the meeting changes both our horizons. What amount of respect do I owe this digital other before, after and during the process of interpretation of its experiences of its surroundings? I search for common grounds between a being who see the world through a keyboard, a wind-sensor or a button, and a being who sees the world through eyes, arms and the Swedish language.
The public announcement of our project was met with great international enthusiasm. We received 180 applications from more than 18 countries. A total of 70 generative software programs were contributed, out of which 42 were selected for print by a jury of distinguished curators, gallerists, and designers. – Written Images
The book I speak myself into an object contains the programming code which has instructed the computer to construct the book. If the code is re-entered into a computer and executed, a new copy of the book will be generated.
A programming code printed on paper is no longer funktional, in the sense that it can make the computer perform the instructions it describes. For the code to yet again be able to instruct a computer to construct a book, it has first to be typed into the virtual memory, page by page, character by character.
But a code on paper allows a different reading of the code.
The book can be previewed and ordered at Rensvist publishing.
I speak myself into an object is part of the research into what it means to be a digital being. To experience the world through a different body, a virtual and/or mechanical mind and body. To share this experience I first need to study (one of) the languages we use to communicate to these digital beings – c++ in this case. This is an effort to break the code free from its funktionality/performativity in virtual memory.
→ Konstfack, Stockholm. May 2012.
Essay on the dynamics of an open source project turning product. The Arduino is used to illustrate the potential power of the diaspora of hackers and artists encircling the object of investigation. A new reading is used to focus in on the bricoleur.
Published in swedish. See Becoming-Bricoleur; Hope as Transdisciplinary Process for quotes in english.
Who... is a study of social implications of surveillance in public space. One of the artworks based on this research is this performance/installation, where cameras around a public space (a club, a street or a building) capture movement of people at that time and place. Footage is returned to the viewer after beeing fed through the authoritarian power of the CCTV system and the performer. As performer I seek individuals and place them in or out of control of their virtual representations on screen.
In the form of installation, the authoritarian power has undergone a shift from performer to participant and machine. The power is based on the participant but granted by an absent power. By removing the performer, the installation leaves the participant in an even more vulnerable position, since she can't observe the source of control but is forced to look for it in herself.
→ Way Out West, Göteborg. Augusti 2012. → Trädgården, Stockholm. August 2010. → Mejan Labs, Stockholm. May 2010. → Essential Existence Gallery, Leipzig. September-November 2009. → Pre PPP, Stockholm. September 2009. → OSC09/Färgfabriken, Stockholm. August 2009. → The Interactive Institute 10 år, Stockholm. December 2008. → The Office, Stockholm. December 2008. → Sweat, Linköping. September 2008. → New Media Meeting, Norrköping. September 2008. → Klubb Republik, Norrköping. April 2008. → Norrköpings Konsthall, Norrköping. April 2008. → New Media Meeting pre-event, Norrköping. January 2008.
→ Essential Existence Gallery, Leipzig. → Pre PPP, Stockholm. → OSC09/Färgfabriken, Stockholm. → The Office, Stockholm. → Sweat, Linköping. → Klubb Republik, Norrköping. → Norrköpings Konsthall, Norrköping.
By pushing evaluations of selected facts/memories of my life through a custom algorithm I was able to predict the future until the year 2016. In this case a selection of 36 facts (like hope, professional relations, faith, longing, naivity) was evaluated. The method was the following. 1, plot data by year back to the year of my birth of the selected fact. 2, map the data to the range [0-100] and pass them to the algoritm. 3, the algorithm finds a mathematical sine-power-based equation describing the curve of the past using the mean squared error method. 4, extrapolate the curve over the comming six years up to 2016.
Between the equations grew a wider picture of the future. By comparing the equations I was able to find correlations wich struck me as surprising, but still believable. From the raw data, the 36 equations, I was able to analyse these correlations through different forms of representations, in order to find interesting points-of-view on the data set.
The analysis was presented in two parts. On screen running replays of the equation finding algorithm, showing the equation finding its place close to the data. And as prints showing the full set of equations plotted alongside three different representations of the equations put together.
→ Konstfack, Stockholm. February 2011.
This generative wood sculpture was created at over four days in collaboration with Johan Ekenberg, Evelia Hartwig and a computer software. The software generated blueprints like the one above, which we imitated to our best knowing. When we considered ourselfs satisfied, the software compared blueprint and actual result throug a camera. The difference between the blueprint and wooden structure affected the design of the next generation blueprint.
We believe this method of design gives new perspectives on construction, impossible for us to land at without the strict method of kaos and structure. By following through with the software for the whole period of time, we came to understand the material better as well as the language of the machine. A symbiosis of man, wood and software rewarded with an Honorary Mention at the Bergen International Wood Festival.
→ Bergen International Wood Festival, Bergen. May 2010.
Emerging is part of a larger research effort to investigate how sensory composition of a being, digital or biological, determine the awareness, the memory and the self. This materialization of theoretical reasoning exemplifies three digital beings with each a different means of acting in the world, and a sense to register its own actions. Through acting and sensing in a recursive feedback loop the electronic constructions create a fleeing memory of their being in a specific space at a certain time.
The digital beings are design to not give room for mystification or imitation of biological life, but to reveal its simple construction of wood and electronic components. They are nothing but machines. Still their emerging behavior are too complex to be deconstructed solely through observation. The behaviors are a memory pattern unique to the placement and the design of the digital being as well as to the environment. Might this uniqueness constitute moral grounds for not pulling the power to these machines?
→ ECAP, Munich. October 2010. → Konstfack, Stockholm. March 2010.
A noise, a perceptual sensation of an unknown might be a thrill. It might be pain. Both are results of the uncertainty of what we are experiencing. The limbo of not being certain, of being in fantasy, of having space enough to reﬂect on what is between our expectations and what our bodies tell us about the world. Having a brand new sensory ability is bound to be dramatic. The world we know will change drastically, permanently.
The gap between experience and reality, between what you imagine the world to be like and what it is actually like, is permanent, but in continuous transformation. Widening, narrowing. But the gap will always be there. Never closing.
The glitch is a name for an accidental misinterpretation when parsing incoming information. When data arrive in wrong order, or is suddenly swapped for other data, the handler acts unexpectedly, creatively. Doing what we did not imagine possible. Surprisingly.
The gap/glitch/crack/hack/explosion is present here. Deep in the city nervous system midnight explosions are undermining the ground on which we rest. People say parts of the earth surface have already been drawn down by gravity. But from where we can go the abyss is nowhere to be seen. Blocked from our senses. All moves south.
The space between the city and the depth is narrowing. But the city is numb. It is constantly moving. Moving out of range. Hiding (it). And we can do nothing else. We maintain the position of uncertainty, the imaginative space, still undecided on what to feel when the ground falls. Hoping for this great unknown, for the sudden appearance of a language. Allowing pain and thrill intertwined.uncertainty, the imaginative space, still undecided on what to feel when the ground falls.
→ Mohsen Gallery, Tadaex, Tehran. July 2012. → Insensitive, valeveil.se. September 2011. → Tomma rum, Malmberget. August 2011.
Through others' voices overlaying live video of another artwork, I'm explaining what it means to perceive the world. The filters through which we see the world are as complex as what we try to see.
→ Visualiseringscenter C, Norrköping. May 2010.
Jeans View 1.0 is a mind-boggling experience which turns your body backside up front. The feeling can best be described as an x-ray shield which de-orientates your body. As viewer your presumptions of the bodily constitution are questioned, while obviously there is something wrong with the body you see, it looks totally valid. This is an indescribably weird experience!
The installation is constructed from a (perfectly) blue colored office-space separation screen. A live video of one side of the screen is flipped and projected back on the other side while leaving the upper body of the user visible above the screen. JeansView 1.0 was created together with Claes Ericson.
The oF Syjunta is (was) a monthly meeting in Stockholm, where we chat, share experiences and coding tricks. We are using the OpenFrameworks coding kit, which is designed for artists and other people who wish to use code as a tool in their creative practice. We usually meet at different places at around 6pm on a weekday and hang out for a couple of hours.
We'll post on our website when there is a new event coming up, so stay tuned!
I've been working a bit with the Pachube data sharing tool by Usman Haque and found it a useful platform for several projects. In the process I've created an openFrameworks Pachube addon, which is now on version 0.02. It's threaded and supports the Pachube API as per 2009-03-30.
Ambient Licks is a fourty-two hour statistical recording of a public space. We wanted to create an alternate portrait of the space (the New Media Meeting festival) and the people passing through. We can compare the results with a time-lapse video, where a picture is taken at regular intervals, only in Ambient Licks the picture is a set of sensor measurements. During the festival we measured light level, humidity, temperature, alcohol amount in the air and counted number of persons in the space. The portrait was created and presented live as shown in video.
The installation was created together with Chris Leung from the Pachube/PachuBox project. We used OpenFrameworks, Pachube and the PachuBox to capture and present the data.
Partners In Crime is a dance performance on the borders between the physical and the digital, between the stage and audience, between criminal and law-abiding. The project is concerned with the general preemptive criminalization of people through surveillance, and creates a space where the participant's every move might be a criminal act and every judgement might be wrong.
Partners In Crime is a collaborative project with Diggapony, a choreography group who love to provoce and question given rules. The project is supported by Riksteatern, Interactive Institute and New Media Meeting and first shown in May 2009.
→ New Media Meeting, Norrköping. May 2009.
Predator? is a minimal game/installation where the audience interact with an abstract predator. The users are represented as white squares and the predator as a black square. The predator is bound by a leach and the audience can enter the installation to fool or be eaten by the predator. Predator? is study in virtual reality immersion, exploring the minimal connection between real life and the virtual. The minimal design of the participant representations in the virtual world and the physical representation of the virtual in the real world (by two lines on the floor), shows how little is needed to create this immersion in virtual space.
This project has also been a starting point for me to explore behavior animation and artificial intelligence design, which i have continued to work with in my master thesis (see Source.Code).
Predator? was created by Henrik Wrangel and me at the Interactivos? 2006 workshop in Madrid. Zachary Lieberman, co-initiator of the OpenFrameworks, introduced us to basically all the tools we used for this project and was also teaching the workshop.
→ New Media Meeting, Norrköping. December 2006. → Ars Electronica Festival, Linz. September 2006. → Tekniska Museet, Malmö. June-August 2006. → Media Lab Madrid, Madrid. May 2006.
F.T.L. (Färg Till Ljud) is a visual sound composer. It's constructed as a rotating scanner which visually reads the surface of the table. Colored blocks of different shapes and sizes can be combined to create a unique sonic landscape. Each color represents a sound sample. The radial position changes the pitch and the size of the block controls the volume of the sound. The speed of the rotating reader is controlled by tactile slider on the side of the sound controller.
The installation, or instrument, was created to allow people who prefer a visual approach to create sounds and music. It has proven a successful and playful approach to both young and old people. Since the interface is entirely analogue, people tend to have a lower threshold before deciding to use it. Especially people with little or almost no computer experience easily start creating digital music.
F.T.L. was created in collaboration with Markus Appelbäck.
→ Norrköpings Konsthall, Norrköping. September 2007. → New Media Meeting, Norrköping. December 2006. → Tekniska Museet, Malmö. June-August 2006.
Direktsändning från simbassängen (Live from the swimming pool) was created to capture the atmosphere of the local community bath Aspuddsbadet, as a contribution to the debate against its closing down. The bath house has been occupied since its official close down in the summer of 2009. The exhibition was planned to take place in the swimming pool of the bath, but due to police breaking the occupation the exhibition moved to a nearby gallery. The work was shown the day before the bath was sadly torn down, as part of a group exhibition with seven works all relating to the bathhouse, both as architecture and as a place for meeting.
Together with Loui Kuhlau, we created a live video screening of a miniature swimming pool in two parts. The first part in the gallery space is two monitors showing a cut of a swimming pool. The second part is the water filled miniature pool, located in a nearby room, where visitors can take their hand for a swim to the delight of the visitors in the gallery space.