New Media New Technolog 2015 workshop 2 - Space
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New Media New Technology Workshop 2, theme 'Space', Spring Semester 2015, Media Technology MSc Leiden University. See https://sites.google.com/site/newmedianewtechnology2015/
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New Media New Technolog 2015 workshop 2 - Space
- 3. NMNT 2015 From: Points of view: Power of the plane. Nils Gehlenborg & Bang Wong. Nature Methods 9, 935 (2012)
- 4. NMNT 2015
- 5. NMNT 2015
- 6. NMNT 2015
- 7. NMNT 2015 BETWEEN THE VIRTUAL AND THE REAL
- 8. NMNT 2015 THE ULTIMATE DISPLAY To rebuild reality? No. To gain familiarity with concepts not realizable in the physical world. It is a looking glass into a mathematical wonderland. Ivan Sutherland, 1965
- 9. NMNT 2015
- 10. NMNT 2015 ‘The ultimate display would, of course, be a room within which the computer can control the existence of matter. A chair displayed in such a room would be good enough to sit in. Handcuffs displayed in such a room would be confining, and a bullet displayed in such a room would be fatal. With appropriate programming such a display could literally be the
- 11. NMNT 2015 Aspen Movie Map Architecture Machine Group (1979) Aspen Movie Map Architecture Machine Group (1979)
- 12. NMNT 2015 The Hand from Above Chris O’Shea The Hand from Above Chris O’Shea
- 13. NMNT 2015 Theo Watson. Laser Tag, 2007.
- 14. NMNT 2015 Milgram's Reality-Virtuality Continuum Steve Mann. Mediated Reality with implementations for everyday life. presenceconnect.com, the on line companion to the MIT Press journal PRESENCE: Teleoperators and Virtual Environments, Date Posted: 2002 August 6
- 16. NMNT 2015 Donna Piët, Sam Verkoelen & Jules Verdijk (2014) Revisiting a study by Galton from 1881 about number form. We allow visitors to discover their own number form and those of others. Donna Piët, Sam Verkoelen & Jules Verdijk (2014) Revisiting a study by Galton from 1881 about number form. We allow visitors to discover their own number form and those of others.
- 17. NMNT 2015 Cyclops Chris Heydra (2012) Is it possible to create a 3D image with a single camera as opposed to the usual set of stereoscopic cameras? Cyclops Chris Heydra (2012) Is it possible to create a 3D image with a single camera as opposed to the usual set of stereoscopic cameras?
- 18. NMNT 2015 Desyncapitator Jan Jaap van Assen & Erik Jansen (2011) Our brain has the capability to process loads of visual data. This data is partly generated by our eyes which let us perceive the world around us. Maybe we can observe more visual aspects of the world if we weren’t limited to only our eyes. Behold The Desyncapitator, a visual extension machine which will try to blow your mind by feeding a digital remixed version of the surroundings on your retina. See http://www.janjaapvanassen.com/?p=65 Desyncapitator Jan Jaap van Assen & Erik Jansen (2011) Our brain has the capability to process loads of visual data. This data is partly generated by our eyes which let us perceive the world around us. Maybe we can observe more visual aspects of the world if we weren’t limited to only our eyes. Behold The Desyncapitator, a visual extension machine which will try to blow your mind by feeding a digital remixed version of the surroundings on your retina. See http://www.janjaapvanassen.com/?p=65
- 19. NMNT 2015 SpaceLapse Daan Krijnen, Carolien Teunisse and Sabrina Verhage (2014) SpaceLapse Daan Krijnen, Carolien Teunisse and Sabrina Verhage (2014)
- 20. NMNT 2015 Virtual Shadows Marcello Gómez Maureira, Carolien Teunisse, Sabrina Verhage Virtual Shadows Marcello Gómez Maureira, Carolien Teunisse, Sabrina Verhage
- 21. NMNT 2015 I Know Why The Caged Bird Sings Annika, Wouter & Alice (2013) I Know Why The Caged Bird Sings Annika, Wouter & Alice (2013)
- 23. NMNT 2015 Edward T. Hall (1966) Proxemics Edward T. Hall (1966) Proxemics
- 24. NMNT 2015 ARCHITECTURE = SPACE + INTERACTION
- 25. NMNT 2015 Filene’s Eco-pods Howeler + Yoon Architecture and Squared Design Lab Filene’s Eco-pods Howeler + Yoon Architecture and Squared Design Lab
- 26. NMNT 2015 Son-O-House Lars Spuybroek & Edwin van der Heide Son-O-House Lars Spuybroek & Edwin van der Heide
- 27. NMNT 2015 FURL: Soft Pneumatic Pavillion Francois Mangion, Interactive Architecture Lab, University College London FURL: Soft Pneumatic Pavillion Francois Mangion, Interactive Architecture Lab, University College London
- 28. NMNT 2015 Usman Haque / Umbrellium
- 29. NMNT 2015 SEEK @The Jewish Museum NYC (1970)
- 30. NMNT 2015 ICONIC INTERACTIVE SPACE EXAMPLE: MYRON KRUEGER’S RESPONSIVE ENVIRONMENTS
- 31. NMNT 2015 Responsive Environments - Myron Krueger (1969-1975) • Artist as Composer of Responsive Environments – intelligent real time computer mediated spaces • Response is the medium: focus on experience through interaction • Immersiveness, audience participation, real time interaction, randomness, computer mediated spaces, ... Input State Update Output
- 32. NMNT 2015 Glow Flow (1969)
- 34. NMNT 2015 Psychic Space (1971)
- 35. NMNT 2015 MAZE
- 37. NMNT 2015 Response is the medium Beauty of aural and visual response is secondary Composing responsive environments at a meta level Artificial Realities Learning and adaptation Personal Amplifiers Cooperation and frustration – meaningful interaction Play Creative Science applications such as psychology
- 38. NMNT 2015 Modern Responsive Environment Example: Funky Forest Funky Forest, Theo Watson: A Modern Responsive Environment
Editor's Notes
- http://en.wikipedia.org/wiki/Gottfried_Wilhelm_Leibniz
- http://www.nature.com/nmeth/journal/v9/n10/fig_tab/nmeth.2186_F1.html
- http://www.askamathematician.com/2012/12/q-what-are-fractional-dimensions-can-space-have-a-fractional-dimension/
- Ivan Sutherland, 1965-1970 ‘Damocles Sword’
- http://www.youtube.com/watch?v=Hf6LkqgXPMU
- http://www.theowatson.com/site_docs/work.php?id=40
- Add the degree of mediation (distortion) as another dimension to the virtual-real dimension
- n 1881, Francis Galton published his book 'The Visions of Sane Persons'. One of the topics he discussed in this book was Number Form Synesthesia. People who have number form synesthesia have a mental spatial map of numbers. When they think of a number, it has a specific location in the space around them. These mental number lines can range from a simple line from left to right, to a chaotic, seemingly random, crisscross map. About 15% of the population experiences such a vivid number line. In Galton's paper 'Visualized Numerals' he studied many syntesthetes with strong number lines. He drew out these lines in his paper, and the image on the left is an example of a sketch in his paper. What we hoped to do was create a modern interpretation of his study, using new media and technologies to improve on the visualizations of these lines. We hoped that people who had synesthesia would be excited to see their number line in 3D. For the people who didn't know about it, or don't experience it themselves, we hoped to teach them something new, and let them think about it for the first time, and try to see if they have a number line of their own, and if so, what it looks like!
- https://vimeo.com/92986567 Marcello Gómez Maureira
- http://en.wikipedia.org/wiki/Personal_space The notion of personal space was introduced in 1966 by anthropologist Edward T. Hall, who created the concept of proxemics. In his book, The Hidden Dimension, he describes the subjective dimensions that surround each person and the physical distances they try to keep from other people, according to subtle cultural rules. A person's personal space (and the corresponding physical comfort zone) is highly variable and difficult to measure. Estimates for an average Westerner, for example, place it at about 60 centimeters (24 in) on either side, 70 centimeters (28 in) in front and 40 centimeters (16 in) behind.[1] Personal space is highly variable, and can be due to cultural differences and personal experiences. For example, those living in a densely populated places tend to have a lower expectation of personal space. Residents of India or Japan tend to have a smaller personal space than those in the Mongolian steppe, both in regard to home and individual spaces. Difficulties can be created by failures of intercultural communication due to different expectations of personal space.[1] For a more detailed example, see Body contact and personal space in the United States. In European culture, personal space has changed historically since Roman times, along with the boundaries of public and private space. This topic has been explored in A History of Private Life (2001), under the general editorship of Philippe Ariès and Georges Duby.[4] Personal space is also affected by a person's position in society, with more affluent individuals expecting a larger personal space.[citation needed]
- Example of architecture interacting with the environment (but not with the people) http://www.dezeen.com/2009/10/02/eco-pods-by-howeler-yoon-architectureand-squared-design-lab/ Seems somewhat inspired by http://en.wikipedia.org/wiki/Nakagin_Capsule_Tower http://player.vimeo.com/video/<vidnum>?autoplay=1
- Example of architecture interacting with the environment as well as the people http://www.archined.nl/nieuws/son-o-house/ http://www.nox-art-architecture.com/ From http://www.evdh.net/sonohouse/ Son-O-house is "a house where sounds live", not being a 'real' house, but a structure that refers to living and the bodily movements that accompany habit and habitation. Son-O-House is an architectural environment and an interactive sound installation in one. The work is continuously generating new sound patterns activated by sensors picking up actual movements of visitors. The structure derives from a carefully choreographed set of movements of bodies, limbs and hands (on three scales) that are inscribed on paper bands as cuts (an uncut area corresponds with bodily movement, a first cut through the middle corresponds with limbs, finer cuts correspond with hands and feet). These pre-informed paper bands are then stapled together and the curves directly follow from that. What we then have is an arabesque of complex intertwining lines (white paper model); we only have to sweep these lines sideways to make it into a three-dimensional porous structure (purple paper model). The analog computing model is then digitized and remodeled on the basis of combing and curling rules which results in the very complex model of interlacing vaults which sometimes lean on each other or sometimes cut into each other. Twenty three sensors are positioned at strategic spots to indirectly influence the music. The sound generation system is based on spatial interferences and dynamic standing wave patterns resulting from the combination of speakers. As a visitor (slowly becoming an inhabitant because this structure will stay in its place forever) one does not influence the sound directly, which is so often the case with interactive art. One influences the landscape itself that generates the sounds. The score is an evolutionary memoryscape that develops with the traced behavior of the actual bodies in the space. GeneralThe Son-O-House's has a generative and reactive sound environment. The aim of this environment is to create a permanent interaction between the sound, the architecture and the visitors. The sound intents to influence and interfere with the perception and the movements of the visitors. The presence, activity and the approximate location of the visitors is being detected by sensors placed in the building. This information is continuously analyzed and quantified. The output of the analysis is used to control the nature of the sound and therefore challenges the visitors to re-interpret their relationship with the environment. The result is a complex feedback system in which the visitor becomes a participant. The Sound EnvironmentThe Son-O-House is equipped with 20 speakers. They can be be used with two different approaches. First of all they can all be used individually. The sounds will be clearly perceived from the direction of the corresponding speaker. With the second approach the 20 speakers are divided in five overlapping 'sound fields'. Each field consists of 4 individual speakers. The sounds produced by the speakers are designed in such a way that they interfere with each other in the space. Therefore the sounds are not perceived from the location of the individual speakers but surround the visitors in the space. The interferences of the sounds produced by the speakers in one field can either be static or dynamic resulting in movement in the space. All of the sound is synthesized in real-time. CompositionThe sound environment of the Son-O-House is not a musical composition in the traditional sense. The goal is to have a continuous developing environment that challenges the visitors to come back, perceive the new musical state and then relate and interact themselves with it again. For the opening of the building the sound environment doesn't contain any prepared sounds. The system consists of rules and conditions that produce parameters of the sounds. The system is therefore generating it's own sounds in real-time. The sound fields transform within themselves depending on the activity of the visitors inside of the field. On a higher level of composition the sounds fields can be swapped with each other in space and time. The effect of a current sound can be measured by using the sensor input and analyze the relation of one location to another location. The results are stored in a growing data base. Previously generated sounds can be re-used in the future in new combinations. SensorsTwenty three sensors are spread over the building. They are meant to detect the movements of the visitors from one location to another location. The sensors are not doing a very precise position sensing but are meant to generate statistical information about the visitors. The result in a measurement that creates distribution maps of the activity of the visitors over the building. This information is used to influence the sound. The more activity on one location the faster the sounds transform in that region. On the other hand the system will try to attract the visitors to visit the opposite locations or 'push' them away from the current location. The visitors leave their traces in the building because of there interaction with the architecture and the sound. The nature of the sound is based on interference. The sound environment as a whole attempts to interfere with the architecture.
- http://www.interactivearchitecture.org/lab-projects/furl-soft-pneumatic-pavilion The domain of soft robotics is forming as a new frontier of kinetic designing. Not only creating many new possibilities for robotics but also in architecture. Challenging conventional design thinking about adaptive architecture the experiments outlined in this research suggest approaches to building soft responsive architecture. “Furl” combines Electroencephalography (EEG) with advances in soft silicone casting of “air muscles”. The introduction of soft robotics replaces the mechanical principles in interactive architecture through a biological paradigm. EEG allows sensing of human brain functioning so that our environments begin moving and responding to our very thoughts. The designed components have a wide palette of deformation patterns of inflation. Through combination of soft and hard architectural elements, “Furl” creates a new platform for a kinetic responsive architecture which can let space interact with users needs and adapt itself to environmental conditions. Principle Researchers: Francois Mangion & Bijing ZhangSupervisors: Ruairi Glynn and Dr Christopher Leung with William Bondin Interactive Architecture LabThe Interactive Architecture Lab is a multi-disciplinary research group and Masters Programme at the Bartlett School of Architecture, University College London. Interested in the Behaviour and Interaction of Things, Environments and their Inhabitants, their focus includes Kinetic Design and Robotics, Multi-Sensory Interfaces, the Internet of Things and the design of public interactive installations.
- http://www.haque.co.uk/
- Installation by MIT Architecture Machine group at on exhibition held at Jewish Museum (1970) Computer stacks blocks, builds mental model of the world... But gerbils can topple stacks What is this piece about?
- Glowflow – fluorescerent tubes etc. darkened room in which glowing lines of light defined an illusory space (Figure 25.1). The display was accomplished by pumping phosphorescent particles through transparent tubes attached to the gallery walls. These tubes passed through opaque columns concealing lights which excited the phosphors. A pressure sensitive pad in front of each of the six columns enabled the computer to respond to footsteps by lighting different tubes or changing the sounds generated by a Moog synthesizer or the origin of these sounds. However, the artists’ attitude toward the capacity for response was ambivalent. They felt that it was important that the environment respond, but not that the audience be aware of it. Delays were introduced between the detection of a participant and the computer’s response so that the contemplative mood of the environment would not be destroyed by frantic attempts to elicit more responses. Metaplay METAPLAY’S focus reflected my reactions to GLOWFLOW. Interaction between the participants and the environment was emphasized; the computer was used to facilitate a unique real-time relationship between the artist and the participant. An 8′ by 10′rear-projection video screen dominated the gallery. The live video image of the viewer and a computer graphic image drawn by an artist, who was in another building 1 mile away, were superimposed on this screen. Both the viewer and the artist could respond to the resulting image. Live graffiti. Psychic space PSYCHIC SPACE was both an instrument for musical expression and a richly composed, interactive, visual experience. Participants could become involved in a softshoe duet with the environment, or they could attempt to match witswith the computer by walking an unpredictable maze 16-24 grid of sensing tiles. After a longer period of time an additional feature came into play. If the computer discovered that a person’s behavior was characterized by a short series of steps punctuated by relatively long pauses, it would use the pause to establish a new kind of relationship. The sequence of steps was responded to with a series of notes as before; however, during the pause the computer would repeat these notes again. If the person remained still during the pause, the computer assumed that the relationship was understood. The next sequence of steps was echoed at a noticeably higher pitch. Subsequent sequences were repeated several times with variations each time. This interaction was experimental and extremely difficult to introduce clearly with feedback alone, i.e., without explicit instructions Maze The maze program focused on the interaction between one individual and the environment. The participant was lured into attempting to navigate a projected maze. The intrigue derived from the maze’s responses, a carefully composed sequence of relations designed to constitute a unique and coherent experience. Videoplace VIDEOPLACE is a conceptual environment with no physical existence. It unites people in separate locations in a common visual experience, allowing them to interact in unexpected ways through the video medium. The term VIDEOPLACE is based on the premise that the act of communication creates a place that consists of all the information that the participants share at that moment. http://jtnimoy.net/itp/newmediahistory/videoplace/
- Glowflow – fluorescerent tubes etc. darkened room in which glowing lines of light defined an illusory space (Figure 25.1). The display was accomplished by pumping phosphorescent particles through transparent tubes attached to the gallery walls. These tubes passed through opaque columns concealing lights which excited the phosphors. A pressure sensitive pad in front of each of the six columns enabled the computer to respond to footsteps by lighting different tubes or changing the sounds generated by a Moog synthesizer or the origin of these sounds. However, the artists’ attitude toward the capacity for response was ambivalent. They felt that it was important that the environment respond, but not that the audience be aware of it. Delays were introduced between the detection of a participant and the computer’s response so that the contemplative mood of the environment would not be destroyed by frantic attempts to elicit more responses. Metaplay METAPLAY’S focus reflected my reactions to GLOWFLOW. Interaction between the participants and the environment was emphasized; the computer was used to facilitate a unique real-time relationship between the artist and the participant. An 8′ by 10′rear-projection video screen dominated the gallery. The live video image of the viewer and a computer graphic image drawn by an artist, who was in another building 1 mile away, were superimposed on this screen. Both the viewer and the artist could respond to the resulting image. Live graffiti. Psychic space PSYCHIC SPACE was both an instrument for musical expression and a richly composed, interactive, visual experience. Participants could become involved in a softshoe duet with the environment, or they could attempt to match witswith the computer by walking an unpredictable maze 16-24 grid of sensing tiles. After a longer period of time an additional feature came into play. If the computer discovered that a person’s behavior was characterized by a short series of steps punctuated by relatively long pauses, it would use the pause to establish a new kind of relationship. The sequence of steps was responded to with a series of notes as before; however, during the pause the computer would repeat these notes again. If the person remained still during the pause, the computer assumed that the relationship was understood. The next sequence of steps was echoed at a noticeably higher pitch. Subsequent sequences were repeated several times with variations each time. This interaction was experimental and extremely difficult to introduce clearly with feedback alone, i.e., without explicit instructions Maze The maze program focused on the interaction between one individual and the environment. The participant was lured into attempting to navigate a projected maze. The intrigue derived from the maze’s responses, a carefully composed sequence of relations designed to constitute a unique and coherent experience. Videoplace VIDEOPLACE is a conceptual environment with no physical existence. It unites people in separate locations in a common visual experience, allowing them to interact in unexpected ways through the video medium. The term VIDEOPLACE is based on the premise that the act of communication creates a place that consists of all the information that the participants share at that moment. http://jtnimoy.net/itp/newmediahistory/videoplace/
- Glowflow – fluorescerent tubes etc. darkened room in which glowing lines of light defined an illusory space (Figure 25.1). The display was accomplished by pumping phosphorescent particles through transparent tubes attached to the gallery walls. These tubes passed through opaque columns concealing lights which excited the phosphors. A pressure sensitive pad in front of each of the six columns enabled the computer to respond to footsteps by lighting different tubes or changing the sounds generated by a Moog synthesizer or the origin of these sounds. However, the artists’ attitude toward the capacity for response was ambivalent. They felt that it was important that the environment respond, but not that the audience be aware of it. Delays were introduced between the detection of a participant and the computer’s response so that the contemplative mood of the environment would not be destroyed by frantic attempts to elicit more responses. Metaplay METAPLAY’S focus reflected my reactions to GLOWFLOW. Interaction between the participants and the environment was emphasized; the computer was used to facilitate a unique real-time relationship between the artist and the participant. An 8′ by 10′rear-projection video screen dominated the gallery. The live video image of the viewer and a computer graphic image drawn by an artist, who was in another building 1 mile away, were superimposed on this screen. Both the viewer and the artist could respond to the resulting image. Live graffiti. Psychic space PSYCHIC SPACE was both an instrument for musical expression and a richly composed, interactive, visual experience. Participants could become involved in a softshoe duet with the environment, or they could attempt to match witswith the computer by walking an unpredictable maze 16-24 grid of sensing tiles. After a longer period of time an additional feature came into play. If the computer discovered that a person’s behavior was characterized by a short series of steps punctuated by relatively long pauses, it would use the pause to establish a new kind of relationship. The sequence of steps was responded to with a series of notes as before; however, during the pause the computer would repeat these notes again. If the person remained still during the pause, the computer assumed that the relationship was understood. The next sequence of steps was echoed at a noticeably higher pitch. Subsequent sequences were repeated several times with variations each time. This interaction was experimental and extremely difficult to introduce clearly with feedback alone, i.e., without explicit instructions Maze The maze program focused on the interaction between one individual and the environment. The participant was lured into attempting to navigate a projected maze. The intrigue derived from the maze’s responses, a carefully composed sequence of relations designed to constitute a unique and coherent experience. Videoplace VIDEOPLACE is a conceptual environment with no physical existence. It unites people in separate locations in a common visual experience, allowing them to interact in unexpected ways through the video medium. The term VIDEOPLACE is based on the premise that the act of communication creates a place that consists of all the information that the participants share at that moment. http://jtnimoy.net/itp/newmediahistory/videoplace/
- Glowflow – fluorescerent tubes etc. darkened room in which glowing lines of light defined an illusory space (Figure 25.1). The display was accomplished by pumping phosphorescent particles through transparent tubes attached to the gallery walls. These tubes passed through opaque columns concealing lights which excited the phosphors. A pressure sensitive pad in front of each of the six columns enabled the computer to respond to footsteps by lighting different tubes or changing the sounds generated by a Moog synthesizer or the origin of these sounds. However, the artists’ attitude toward the capacity for response was ambivalent. They felt that it was important that the environment respond, but not that the audience be aware of it. Delays were introduced between the detection of a participant and the computer’s response so that the contemplative mood of the environment would not be destroyed by frantic attempts to elicit more responses. Metaplay METAPLAY’S focus reflected my reactions to GLOWFLOW. Interaction between the participants and the environment was emphasized; the computer was used to facilitate a unique real-time relationship between the artist and the participant. An 8′ by 10′rear-projection video screen dominated the gallery. The live video image of the viewer and a computer graphic image drawn by an artist, who was in another building 1 mile away, were superimposed on this screen. Both the viewer and the artist could respond to the resulting image. Live graffiti. Psychic space PSYCHIC SPACE was both an instrument for musical expression and a richly composed, interactive, visual experience. Participants could become involved in a softshoe duet with the environment, or they could attempt to match witswith the computer by walking an unpredictable maze 16-24 grid of sensing tiles. After a longer period of time an additional feature came into play. If the computer discovered that a person’s behavior was characterized by a short series of steps punctuated by relatively long pauses, it would use the pause to establish a new kind of relationship. The sequence of steps was responded to with a series of notes as before; however, during the pause the computer would repeat these notes again. If the person remained still during the pause, the computer assumed that the relationship was understood. The next sequence of steps was echoed at a noticeably higher pitch. Subsequent sequences were repeated several times with variations each time. This interaction was experimental and extremely difficult to introduce clearly with feedback alone, i.e., without explicit instructions Maze The maze program focused on the interaction between one individual and the environment. The participant was lured into attempting to navigate a projected maze. The intrigue derived from the maze’s responses, a carefully composed sequence of relations designed to constitute a unique and coherent experience. Videoplace VIDEOPLACE is a conceptual environment with no physical existence. It unites people in separate locations in a common visual experience, allowing them to interact in unexpected ways through the video medium. The term VIDEOPLACE is based on the premise that the act of communication creates a place that consists of all the information that the participants share at that moment. http://jtnimoy.net/itp/newmediahistory/videoplace/
- Glowflow – fluorescerent tubes etc. darkened room in which glowing lines of light defined an illusory space (Figure 25.1). The display was accomplished by pumping phosphorescent particles through transparent tubes attached to the gallery walls. These tubes passed through opaque columns concealing lights which excited the phosphors. A pressure sensitive pad in front of each of the six columns enabled the computer to respond to footsteps by lighting different tubes or changing the sounds generated by a Moog synthesizer or the origin of these sounds. However, the artists’ attitude toward the capacity for response was ambivalent. They felt that it was important that the environment respond, but not that the audience be aware of it. Delays were introduced between the detection of a participant and the computer’s response so that the contemplative mood of the environment would not be destroyed by frantic attempts to elicit more responses. Metaplay METAPLAY’S focus reflected my reactions to GLOWFLOW. Interaction between the participants and the environment was emphasized; the computer was used to facilitate a unique real-time relationship between the artist and the participant. An 8′ by 10′rear-projection video screen dominated the gallery. The live video image of the viewer and a computer graphic image drawn by an artist, who was in another building 1 mile away, were superimposed on this screen. Both the viewer and the artist could respond to the resulting image. Live graffiti. Psychic space PSYCHIC SPACE was both an instrument for musical expression and a richly composed, interactive, visual experience. Participants could become involved in a softshoe duet with the environment, or they could attempt to match witswith the computer by walking an unpredictable maze 16-24 grid of sensing tiles. After a longer period of time an additional feature came into play. If the computer discovered that a person’s behavior was characterized by a short series of steps punctuated by relatively long pauses, it would use the pause to establish a new kind of relationship. The sequence of steps was responded to with a series of notes as before; however, during the pause the computer would repeat these notes again. If the person remained still during the pause, the computer assumed that the relationship was understood. The next sequence of steps was echoed at a noticeably higher pitch. Subsequent sequences were repeated several times with variations each time. This interaction was experimental and extremely difficult to introduce clearly with feedback alone, i.e., without explicit instructions Maze The maze program focused on the interaction between one individual and the environment. The participant was lured into attempting to navigate a projected maze. The intrigue derived from the maze’s responses, a carefully composed sequence of relations designed to constitute a unique and coherent experience. Videoplace VIDEOPLACE is a conceptual environment with no physical existence. It unites people in separate locations in a common visual experience, allowing them to interact in unexpected ways through the video medium. The term VIDEOPLACE is based on the premise that the act of communication creates a place that consists of all the information that the participants share at that moment. http://jtnimoy.net/itp/newmediahistory/videoplace/
- Glowflow – fluorescerent tubes etc. darkened room in which glowing lines of light defined an illusory space (Figure 25.1). The display was accomplished by pumping phosphorescent particles through transparent tubes attached to the gallery walls. These tubes passed through opaque columns concealing lights which excited the phosphors. A pressure sensitive pad in front of each of the six columns enabled the computer to respond to footsteps by lighting different tubes or changing the sounds generated by a Moog synthesizer or the origin of these sounds. However, the artists’ attitude toward the capacity for response was ambivalent. They felt that it was important that the environment respond, but not that the audience be aware of it. Delays were introduced between the detection of a participant and the computer’s response so that the contemplative mood of the environment would not be destroyed by frantic attempts to elicit more responses. Metaplay METAPLAY’S focus reflected my reactions to GLOWFLOW. Interaction between the participants and the environment was emphasized; the computer was used to facilitate a unique real-time relationship between the artist and the participant. An 8′ by 10′rear-projection video screen dominated the gallery. The live video image of the viewer and a computer graphic image drawn by an artist, who was in another building 1 mile away, were superimposed on this screen. Both the viewer and the artist could respond to the resulting image. Live graffiti. Psychic space PSYCHIC SPACE was both an instrument for musical expression and a richly composed, interactive, visual experience. Participants could become involved in a softshoe duet with the environment, or they could attempt to match witswith the computer by walking an unpredictable maze 16-24 grid of sensing tiles. After a longer period of time an additional feature came into play. If the computer discovered that a person’s behavior was characterized by a short series of steps punctuated by relatively long pauses, it would use the pause to establish a new kind of relationship. The sequence of steps was responded to with a series of notes as before; however, during the pause the computer would repeat these notes again. If the person remained still during the pause, the computer assumed that the relationship was understood. The next sequence of steps was echoed at a noticeably higher pitch. Subsequent sequences were repeated several times with variations each time. This interaction was experimental and extremely difficult to introduce clearly with feedback alone, i.e., without explicit instructions Maze The maze program focused on the interaction between one individual and the environment. The participant was lured into attempting to navigate a projected maze. The intrigue derived from the maze’s responses, a carefully composed sequence of relations designed to constitute a unique and coherent experience. Videoplace VIDEOPLACE is a conceptual environment with no physical existence. It unites people in separate locations in a common visual experience, allowing them to interact in unexpected ways through the video medium. The term VIDEOPLACE is based on the premise that the act of communication creates a place that consists of all the information that the participants share at that moment. http://jtnimoy.net/itp/newmediahistory/videoplace/