'Lunar Economic Zone' by Zhan Wang, Part 2 Project 2014, Architectural Association London UK.
"The 2028 Mid August Day Lunar Mineral Parade is a speculative event which takes place in the newly formed Lunar Economic Zone, an administrative agglomeration of Shenzhen and the Moon, on August 15 2028. Coordinated by Zhan Wang, the event is designed to be seen by the mechanical eyes of the world's media and is an external projection of pomp and ceremony showcasing an emerging resource rich, technology advance superpower. As the media frenzy descends on the city the world is invited to the grand parade that marks the first consignment of lunar minerals touching down on earth. The parade route takes spectators along the main axis of city from the 10000 meter tall space elevator to the mega ships of the world's largest mineral port. As the world's largest rare earth producer China currently controls 90% of the mineral market. Their recent limits places upon mineral exports has artificially driven rare earth prices to unprecedented levels. Western nations are scrambling to find their own mineral deposits to counter the Chinese monopoly. Between documentary and fiction, between propaganda and news the Lunar Economic Zone plays on our fears of a localised resource economy."
"At the core of the Soundweaving project is the traditional cross–stitching pattern used in Hungarian folk embroidery transformed into sound by a punch card comb music player. The cross–stitch pattern of holes on the tape in the musical box were punched by the creator, Zsanett Szirmay.
In this case, the punched tape acts as the score. Embroidered shirts and pillows from the Transylvanian Bukovina, and from Kalotaszeg and Hungary served as a basis for the patterns. As part of the transformation, embroidery patterns turned into laser cut textile pieces, and cross–stitched patterns into melodies. Soundweaving equally stimulates all senses, and calls for interaction. The project uses multiple media and communicates on diverse planes, combining the borderlands of folk art, design and music. It belongs to the analogue and digital realms at the same time as the handmade embroidery is translated into laser cut patterns. At the same time, the visual world is presented in audio, or rather the graphic aspect of music gets a role in developing the tunes. Bálint Tárkány–Kovács, folk musician and composer was instrumental in the audio mapping and developing the tunes."
(Rita Mária Halasi, Moholy–Nagy Művészeti Egyetem, 2014)
"The sound sculptures and installations of Zimoun are graceful, mechanized works of playful poetry, their structural simplicity opens like an industrial bloom to reveal a complex and intricate series of relationships, an ongoing interplay between the 'artificial' and the 'organic'. It's an artistic research of simple and elegant systems to generate and study complex behaviors in sound and motion. Zimoun creates sound pieces from basic components, often using multiples of the same prepared mechanical elements to examine the creation and degeneration of patterns."
(Statements about Zimoun: Tim Beck http://www.zimoun.net/about.html)
"Jean Tinguely exhibited in a show titled 'Art, Machines and Motion' at the Kaplan Gallery, London, in November 1959. In conjunction with that exhibition, Tinguely held a conference and performance at the Institute of Contemporary Art on November 16 titled 'Static, Static, Static! Be Static!' During the event, 1.5 km of paper drawn by two cyclists on his meta–matic bicycle were spread through the audience while Tinguely read his theory of movement and machines simultaneously heard on radio in Paris."
(Rosemary O'Neill, p.159)
Rosemary O'Neill (2011). Total Art and Fluxus in Nice. "Art and Visual Culture on the French Riviera, 1956–1971: The Ecole De Nice", Ashgate Publishing Limited.