C4 function


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C4 function

  1. 1. C4. Function : Do You Listen to Me? Session : Industrial Design / R418 Research & Presentation : Heejung Kwon, Ph.D. Candidate Business Management, Yonsei University Artist : David Hall, Assistant Professor Digital Media Design, IDAS, Hongik University
  2. 2. Study Background • C4. Function – a digitally live organic creature that waits for your call David Hall (2010) C4. Function, The Corner Gallery, Seoul 2010 Spring Conference 2 Korea Society of Design Science
  3. 3. Installation / Interaction Process 01 The Initial Encounter 2010 Spring Conference 3 Korea Society of Design Science
  4. 4. Installation / Interaction Process 02 The Communication Guideline 2010 Spring Conference 4 Korea Society of Design Science
  5. 5. Installation / Interaction Process 03 An audience engaged into the interaction process 2010 Spring Conference 5 Korea Society of Design Science
  6. 6. Installation / Fabrication : Wave Function Deformation • Wave function deformer controlled by remote telephone connection. • Opens the door for close, mid and long distance interaction with media facades or actuator controlled architecture. • The wave function deformer is based on a standard game engine environment. This was chosen as the modern game engine is capable of real time display and deformation of a large number of polygons per second. 2010 Spring Conference 6 Korea Society of Design Science
  7. 7. Installation / The Spatial Setting : Blur the Realities or Duplicate them. • It consists of two layers of spatial orientations. One is the virtual, and the other is the physical. The two layers fabricated the audience sentience differently subject by subject. • C4. Function, the body of artwork was installed in a glass room where was a triangular shaped show window space forbidding audiences from entering. Therefore audiences only watched and interacted with the artwork from the outside of the exhibit space. • The physical space of showroom, and the virtual space of monitor framed graphics were both untouchable so that audiences only could access the artwork visually. The setting had interwoven the ideas of each person’s sentience toward the communication experience. 2010 Spring Conference 7 Korea Society of Design Science
  8. 8. Installation / Temporal Parameters • Another factor results the subject perception differences is a temporal parameter. The artwork responses or reveals a different tone and manner to the natural lighting ambience. • It has been largely influenced by its physical- spatial setting that widely opens to the sun light. Other than the difference between the day time, and night time audience experiences, the media effect of C4. Function has resulted temporal influences as well. • Audiences were excited about calling to the digital being via mobile. The normal mobile communication is supposed to be a synchronous interaction, while C4. Function intentionally poses the asynchronous mobile communication. 2010 Spring Conference 8 Korea Society of Design Science
  9. 9. Methods • The media research has followed to the art installation. We observed 3 different groups of audiences: Active audiences who actively made a phone call as the communication guideline instructed, a passing crowd who noticeably attended to the artwork, and local residences who felt friendly attachments toward the artwork. • We video-captured the interaction scenes and noted the conversation or activities of three subject groups. 2010 Spring Conference 9 Korea Society of Design Science
  10. 10. Town Watch : Audience Stories • “It’s fun! I’m calling to an artwork." (Female, Australia) – People easily involved with the interaction by the curiosity toward the artwork. Also art- enthusiasts were highly willing to participate the unusual setting and interaction. • “Teacher, it moves again!!” (School Kids, Korea) – School kids commuting near the area perceived the artwork as an organic creature they may concern the wake-ups and sleeping. Visitors and residents actively involved in the They watched and concerned it as their interaction process with the artwork. neighbor newly moved in. 2010 Spring Conference 10 Korea Society of Design Science
  11. 11. Contextual Notation • The location of the installation contributed the audience engagement, and immersion. Especially the locality of the atmosphere highlighted the futuristic setting for the artistic intervention. • The major population of the area was ideally mixed with art-seekers, and local community residents. We could observe both the enthusiastic participants of freshness, and life context deepness. • We found quite promising emotional sustainability of the experience architecture and environment. The future study will address the topic and interests in comparatively empirical methods. 2010 Spring Conference 11 Korea Society of Design Science