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Courtesy of Golan Levin and Zachary Lieberman Messa di Voce ( Italian for “voice placement” ) is an audio-visual system in which the oral speech, shouts and songs of two vocalists dramatically increase in real time by custom interactive visualization software. In this installation, abstract communication gives synesthetic relationships, the language of strips, and the writing of a system and production scores are discussed… Within the framework of a sophisticated and fun virtual world. It stimulates the eye and ears, and attracts you to engage with it. It’s responsive, and in a modern day and age people will still feel the need to patch up the idea of non-responsiveness. Another great example of recognition and response is the ideal concept of the future virtually conceptualized by the movie ‘Her’. Levin and Lieberman’s Software transforms every vocal nuance graphs. It’s corresponding complexity, subtly differentiated and highly expressive. Through these displays not only the voices of users are displayed, but it also serves as a ‘device’ to pre-record sound and play during performance. While the voice charts as a tool that observers/performers can use to interpret physical manipulations of these graphics, the screens reformulate the sounds of voices of users, to mimic them, so a cycle of interaction occurs and fully integrates public in connection to a healthy environment. It’s a matter of virtual objects and real- time processing. The installation was made in a different time (2003) than XBOX’s kinect (2010), which uses a similar idea of voice and movement recognition. ‘Messa di Voce’ lies at the crossroads of two extremes, human and technological, and adds the unpredictable spontaneity of the human voice with advanced visual computing technologies and discourse analysis. No words, but deep verbal sounds, the ‘Messa di Voce’ project is designed to reflect on the meaning and implications of speech, sounds provoke acts of language and absorb a language environment. It’s a form of visual art which can certainly be implemented for various technical solutions such as interactive supermarket displays or ad space when you walk along or make a sound. There’s even a possibility something might exist generated from your interests by shouting them out. http://lsdcrosslab.tumblr.com/ pinterest link: http://www.pinterest.com/mswontwerp/experiment-bliss/

Chris O’Shea is a multidisciplinary artist who works a lot with openFrameworks projects. His work always had a kinetic approach and he plays a lot with human interaction. Human interaction interferes with the intellect of things and it lets objects recognize you.

Hand From Above is the latest project from Chris O’Shea, a joint co-commission between FACT: Foundation for Art & Creative Technology and Liverpool City Council for BBC Big Screen Liverpool and the Live Sites Network. It premiered during the inaugural Abandon Normal Devices Festival.

Inspired by Land of the Giants and Goliath, the project aims to remind us of mythical stories by mischievously unleashing a giant hand from the BBC Big Screen. Passers are playfully transformed being tickled, stretched, flicked or removed entirely in real-time by a giant deity.

Fitted with a CCTV camera, The BBC Big Screen is linked into a computer that runs the custom built software then outputs to the screen. The software picks a person based on their proportions & how alone they are from other people, then tracks the blob over time using optical flow. If the giant hand removes, flicks or shrinks a person, firstly it rubs out the person from the live video using the background reference pixels. Then the tracked person is redrawn over the top in relation to what the hand is doing, i.e. being picked up, or flying out to the left of the screen (not shown in this video). When the hand shrinks a person it redraws them into the video at half scale. When there is too big a crowd it resorts to tickling people, with a random selection.

Many people thought it was a real hand, or at least controlled by an operator. Many didn’t care how it worked. People liked seeing themselves on a big screen and then were completely surprised when this big hand came in and did something to someone. Apparently one lady said “I haven’t had a man’s hand all over me like that in years!” Chris

Hand from Above was built using openFrameworks & openCV.

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Flyknit uses Kinect cameras to capture the motion of nearby observers and then digitally translates the image into swirling, undulating swarms of colours and shapes. Imagine standing near a giant cube that senses your motion and interprets it back to you by displaying colourful, swirling video on each of its four sides, following your motions in a colourful cascade.

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09/2013 MER KA BA Exhibition, The Jewish Museum (New York City)

A Ready-to-wear collection by the design collective threeASFOUR.

“It reveals the varied visual aspects of Nature and its inherent sacred geometries through a topographic approach. Within the collection, surface shapes, elevations and textures relate to each other as well as to the terrain of the human body.””The archetypal language of sacred geometry, which is inherent in nature’s design, is a key in understanding the universe from the microcosm (which is within), to the macrocosm (which includes everything that surrounds us)’. The New York based trio of fashion designers Gabriel Asfour, Adi Gil, and Angela Donhauser, have created a collection of 3D printed, laser cut silk and origami folded dresses that reflect their origins from Lebanon, Israel and Tajikistan, respectively. When put together, are symbolic of the energy fields that the body transitions through as it ascends to a higher plane.’

MATERIAL USED:

Lasercut, 3D printer, fabric, origami folding, mirrored structure and projections.

TECHNOLOGY USED:

A collection of 3D printed, laser cut silk and origami folded dresses that reflect the origins of their homelands. The trio explored new mediums in mirrored structures and projections. The structures reflects on itself and forms a multi-dimensional pointed star, aka a hexagram. The installation represents material and spiritual worlds, symbolic for the energy of the human body.

EFFECT/EXPERIENCE:

The geometric patterns make us feel connected to the dimensions of all things created. The installation invites visitors into a moody and textural space, this space represents the geometrics in the sacred synagogues and mosques. The clothes are both wearable art and a platform for their free-spirited philosophy.

They combine something rather new, innovative, and techy with old spiritual believes and ancient cultures.

 

United Visual Artists (UVA) en Cape Farewell.

PROJECT: High Artic

MATERIAAL

Witte geometrische sculpturen

Licht projectors

Geluidsinstallatie

UV torch (voor interactie met animaties)

ShowTex Giant Mirror van 44m breed en bijna 4m hoog

EFFECT

High Arctic is een immense installatie die de volledige galerij van 820m² inneemt en over de omvang, de schoonheid en de breekbaarheid van het noordpoolgebied gaat.

High Arctic creëert een abstract Arctisch landschap en combineert daarbij geluid, licht, sculpturen en een ShowTex Giant Mirror van 44m breed en bijna 4m hoog. De spiegel doet dienst als horizondoek in de galerij en geeft dankzij het licht dat voortdurend van intensiteit en kleur veranderd het gevoel van oneindigheid.

TECHNIEK 

High Arctic is een atypische tentoonstelling zonder statische foto’s of panelen met tekst. Door de visuals en animaties die met je mee bewegen is het een grote experience. Bezoekers worden door de UV torch achtervolgd waardoor de omgeving op ze reageert met licht animaties. Het is de eerste keer dat UVA en NMM zulk een grootschalig kunstwerk presenteren. De tentoonstelling liep tot 13 juli 2012.

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