Introduction: Concept and Structure
According to contemporary astrophysics, our universe is expanding outward from an original explosion 14 trillion years ago. Eventually, this expansion will reach its apogee and a contraction will begin. This cosmology of extreme distances and times is difficult for an ordinary human to comprehend, yet it is foundational for our understanding of our world today, and principles from this understanding underpin the science which provides the advanced computer technologies we use to communicate and to make art. Our durational media-apparatus performance series will attempt to recount this extremely long narrative arc, the story of our universe over four months, in four sections.
- Big Bang (the beginning)
- Expansion (today)
- Apogee (balance)
- Contraction (Big Crunch)
The technical and artistic approach in Maailmankaikkeus is an artistic remediation of the cosmic background radiation we knew from the last century of analog television sets and radio. The starting point for the process was an effect of decaying technology; the dead pixels in video projectors we used to look like a starry sky, random, but still having clusters. When starting to design the automatic actors for our performance/installation we realized that the star artifacts directed us into building images and processes of the universe using light, sound and mechanisms of various kinds. The mis-en-scène uses analog electronics designed and built by the artists. In a sense, we build a physical modeling system using electron physics (micro and nano level) to build artistic visions and models of the real physical universe (macro and giga level).
Presentation of the performative Installations
The performative installations are designed to be seen from outside through the window of Diskurs gallery. It consists of three large (probably 50 inches) monitors set up like a classical triptych of vertical panels in the middle of the main gallery space. All the electronics, equipment and machinery making the up the audiovisual content is displayed on a pedestal close to the window for everybody to investigate and learn from.
Multiple beamers with experimental lens setups are used to project on the walls behind and around the triptych, creating a background or a universe where the triptych sits in. The lenses are used to break the traditional rectangle form of the projection that comes from the film tradition.
Having the installation built as a sort of diorama, limits the light pollution on the street, in comparison to a projection straight to the window.
The sound of the installation can be heard through an audio stream over the smartphone or with a radio receiver, using a small fm micro transmitter. The link to the stream and the frequency to listen to are presented on the window.
Video Projectors with moving lenses hidden under the table and behind the triptych displays.
Equipment that generates the audiovisual content is presented near the window. 3 Displays form the visual foreground, while the projectors paint the room around as a background layer.
Relation to previous work of the artists:
Dominik Eggermann is a painter and computational coding artist and expert at unstable mathematical systems and chaos theory.
Antti Pussinen is a sound and visual artist working with the broad spectrum of mediums.
He is an expert in high voltage device hacking and analog synthesizer design and theory. He’s artworks involving these techniques have been shown for example in Kiasma contemporary art museum in Helsinki, Finland, Center for Architecture in New York, USA, in the art museums of cities of Tampere, Hyvinkää, Rovaniemi, and Kuopio, and in various galleries and events.
Wolfgang Spahn has been a well-known hardware-hacking artist building unusual machines and developing his own circuit designs for more than two decades. He performs with his devices and makes gallery installation works. He has been working with the properties of analog computation for generating “true-random” and chance operations for many years.