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Transcript for Colmena
| Time | Content |
|---|---|
| 00:11 → 00:17 |
The Electronic Life Forms project started in 2004 by a workshop with Ralf Schreiber and Strudel.org where we worked on analog robots |
| 00:17 → 00:20 |
at the Academy of Media Art in Cologne |
| 00:20 → 00:26 |
So then we started to think about electronic life forms, artificial life |
| 00:26 → 00:34 |
what is artificial life, how can you build artificial life and what's important |
| 00:34 → 00:37 |
and what are important principles for artificial life. |
| 00:38 → 00:44 |
So we started to solder little robots, which are really simple |
| 00:44 → 00:48 |
analog creatures and circuits |
| 00:48 → 00:51 |
they produce sound and movement |
| 00:51 → 00:55 |
and are totally fed by solar light |
| 00:55 → 00:58 |
so they are autarkic in a way |
| 00:59 → 01:05 |
that they start when the sun goes up and they stop when the sun goes down |
| 01:05 → 01:12 |
The Colmena project will be about 100 creatures, handknitted |
| 01:12 → 01:17 |
handknitted wire in cylindrical forms |
| 01:17 → 01:28 |
this will be the nest of the creatures and keep them protected from the weather |
| 01:28 → 01:30 |
the solar cells will be outside |
| 01:30 → 01:38 |
and catch the sunlight, and underneath there is a small motor |
| 01:38 → 01:45 |
that creates the movement of the electronic circuit |
| 01:45 → 01:49 |
and there are some piezo speakers coming outside of the creatures |
| 01:49 → 01:54 |
or the nest, which recreate the sound of the creatures. |
| 01:54 → 01:59 |
so we will hang them underneath trees |
| 01:59 → 02:03 |
in the whole park, and there will be two big swarms |
| 02:03 → 02:13 |
a big one and a smaller one, and some solo creatures in some other spots in the park as well |
| 02:13 → 02:18 |
so it's kind of an invasion of the creatures of the Miró park. |
| 02:29 → 02:33 |
When we received the invitation to participate in this award competition |
| 02:33 → 02:37 |
we started to do some research about the work of Miró |
| 02:37 → 02:40 |
and our work, and found some parallels |
| 02:40 → 02:43 |
of course, we have been familiar with his paintings |
| 02:43 → 02:46 |
and his graphical work, but less with his sculptural work |
| 02:46 → 02:49 |
So that was very inspiring for us to see |
| 02:49 → 02:52 |
and also to learn what he thought about his work |
| 02:52 → 02:55 |
that he had these pictures in his mind |
| 02:55 → 02:58 |
that maybe at night they would start living, they would explore the nature |
| 02:58 → 03:04 |
and he was very interested in the idea of merging his sculptural work and nature. |
| 03:04 → 03:06 |
So this is pretty much what we thought |
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could be a nice new edge within the ELF project |
| 03:10 → 03:14 |
so our ELFs are inspired |
| 03:14 → 03:15 |
by his paintings in a formal way |
| 03:15 → 03:19 |
We have an organic, but kind of geometric shape |
| 03:19 → 03:22 |
and at the same time these creatures are very autarkic, |
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they live by themselves, |
| 03:24 → 03:27 |
so there is no human being involved to make them alive |
| 03:27 → 03:31 |
and this is what we think was in Miró's mind |
| 03:31 → 03:34 |
when he was thinking about his sculptures and his work. |

