Un/Real Spaces: Art in the "virtual" realm
University of Oregon 12.03.2015Our experience, mediated by technology.
- What does it mean?
- Is it a novel phenomenon?
- Where do artists fit in?
Our experience, mediated by technology.
One of the primary innovations of contemporary technology studies has been the recognition that technology does not stand apart as an external force that impacts society and culture. Rather, technologies are embodiments of social and cultural structures that in turn, get taken up in new ways by existing social groups and cultural categories.
From `networked publics` introduction by Mizuko Ito [Cultural Antrhopologist]Recognizing Networks
Networks are drastically changing our spaces, ways of life and impacting our culture and social norms. Again, it is important to remember that this is not necessarily a `novel` 21st century phenomenon. Think about mail, telegrams and telephones as precursors.
Internet Of Things
Networks augment objects with connectivity and computation power, effectively augmenting our physical spaces. This Machine to Human or Machine to Machine communiation mesh network is referred to as `Internet of Things`
IOT Applications
From making homes `smarter` using connected security cameras to our pocket computers, to adaptively adjusting our living environment's temperature, IOT has already established its own market.
IOT Applications
From making homes `smarter` using connected security cameras to our pocket computers, to adaptively adjusting our living environment's temperature, IOT has already established its own market.
Creative IOT Applications
Artist's curiosity lead them to experiment with their contemporary technology as medium. Spacebrew is an example of programmatically augmenting space.
Creative IOT Applications
Artist's curiosity lead them to experiment with their contemporary technology as medium. Spacebrew is an example of programmatically augmenting space.
Spacebrew IOT
Connected Spaces, oscillating between realities
The proliferation of web sites as virtual representations of physical locations has reached a saturation point. Despite the massive surge of bricks and mortar spaces (such as schools, businesses, organizations) maintaining online presences, there is still little connection between the people simultaneously inhabiting these spaces. Alerting Infrastructure! addresses this by connecting a physical space such as a building to its online counterpart or web site that represents this structure / organization by scanning access logs of web site for new unique visitor “hits” and translating each new site hit into physical output in the form of activating a large, pneumatic jackhammer.
Alerting Infrastructure! by Jonah Brucker-CohenConnected Objects, Augmenting our experience through modifying objects
A smart sneaker with personality that can broadcast its story to the web.
Mediating reality: video and place-ness
Documentation produced 1988, Museum of Natural History, Vernon; The participant's image is digitized to create silhouettes which is analyzed by specialized processors. The processors analyze the image's posture, rate of movement, and its relationship to other graphic objects in the system. They then react to the movement of the participant and create a series of responses-be they visual or auditory reactions. Two or more environments could also be linked. A series of simulations is programmed based on any action and Videoplace offered over 50 compositions and interactions (including Critter, Individual Medley, Fractal, Finger Painting, Digital Drawing, Body Surfacing, Replay, among others). To illustrate, when the participant's silhouette pushed a graphic object-the computer choose to move the object or the silhouette. Or, as in Finger Painting where each finger created flowing paint without the distraction of the silhouette. Myron Krueger is one of the original pioneers of virtual reality and interactive art. Beginning in 1969, Krueger developed the prototypes for what would eventually be called Virtual Reality.
Myron Krueger - VideoPlaceMediating reality: augmentation
What can re add/remove from the `real`?
Text rain by Camille UtterbackMediating reality: translation
What if you could sing `shapes`?
Mesa di Voce by Golan Levin and Zachary LiebermanMediating reality: modification
What would you look like in an other `reality`?
Face substitution by Atruro CastroMediating reality: movement
How can we augment choreography?
FIDELITY is an interactive-video-dance performance.Mediating reality: immersion
Funky Forest is a wild and crazy ecosystem where children manage the resources to influence the environment around them.
Funky Forrest by Theo WatsonMediating reality: masking
Face projection
Bright Eyes by Zach Lieberman, Francisco Zamorano et al.Mediating reality: augmenting body
The "Augmented Hand Series" (by Golan Levin, Chris Sugrue, and Kyle McDonald, 2014) is a real-time, interactive software system that presents playful, dreamlike, and uncanny transformations of its visitors' hands. The installation consists of a kiosk into which the user inserts their hand, and a touchscreen display which reveals their reimagined hand—defamiliarized through a variety of dynamic, structural alterations. In the presentation shown here, at the 2014 Cinekid Festival in Amsterdam, the kiosk is accompanied by a large rear-projection.
by Golan Levin, Chris Sugrue, and Kyle McDonald, 2014Mediating reality: augmenting body
The "Augmented Hand Series" (by Golan Levin, Chris Sugrue, and Kyle McDonald, 2014) is a real-time, interactive software system that presents playful, dreamlike, and uncanny transformations of its visitors' hands. The installation consists of a kiosk into which the user inserts their hand, and a touchscreen display which reveals their reimagined hand—defamiliarized through a variety of dynamic, structural alterations. In the presentation shown here, at the 2014 Cinekid Festival in Amsterdam, the kiosk is accompanied by a large rear-projection.
by Golan Levin, Chris Sugrue, and Kyle McDonald, 2014Mediating reality: displacement
Teh/YC is an interactive video installation that explores the psychological impact of being displaced from one’s homeland and adapting to a new one. The idea is derived from a series of recurring dreams I experienced after moving from my home city of Tehran to New York City to pursue my MFA. The common denominator of these dreams is the displacement of elements and entities from the context of Tehran and New York City. When brought together, these create an experience that borrows various sensory elements from either location to paint a synthetic picture.
By Mani Nilchiani 2012Tools
Artists and Collectives
Thank you
Mani Nilchiani - Dec. 2015
maninilchiani.com