Going onwards with the approach of motion detection, kinetic sculptures and combining it with robotics, I chose for Geoffrey Drake-Brockman’s headspace. Headspace is an interactive robotic artwork with 256 independently moving rods in a matrix some 1.5m by 1.5m. The control system is loaded with 3D scans of 700 school students. Headspace is a variable relief sculpture. Collaboration proposal (With Erik Stehmann) is a proposal to make furniture pieces or living spaces made of wood that react to the human form by first detecting it.
Geoffrey Drake-Brockman’s work involve a lot with human interaction aswell. He also made origami flowers that open up when you pass by.
, motion tracking
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.
pinterest link: http://www.pinterest.com/mswontwerp/experiment-bliss/
, Virtual Space
, motion tracking
, synthetic biology
Fashion designer and professor, recipient of the Phyllis-Lambert Design Montréal Grant, Ying Gao lives and works between Geneva and Montreal. She questions our assumptions about clothing by combining urban design, architecture and multimedia. She explores the construction of the garment, taking her inspiration from the transformations of the social and urban environment. Recognized worldwide, her designs are frequently shown in museums and galleries. Design is the medium, situated in the technological rather than in the textile realm. Sensory technologies allow garments to become more playful and interactive. Ying Gao explores both the status of the individual, whose physical contours are transformed by external interferences, and the garment’s function as a fragile protective space. Her work testifies to the profound mutation of the world in which we live and carries with it a radical critical dimension that transcends technological experimentation.
Based in Hongkong
Royal College of Art, London | Industrial Design
Project: Synthetic Biology | mar 2012 – jun 2013
This project explores new culinary experiences potentially through developments in synthetic biology. Living food finds its lineage in haute cuisine and molecular gastronomy. A set of future dining experiences were designed where food behaves like a living creature entertaining us through an empathetic connection.
Main objective of this project was to explore how food could evolve in the future from developments in emerging technologies. With this project I proposed a future where food shifts towards being a channel of aesthetic experiences: What if food were consumed alive, as a fictional character? What if food was able to play with our cutlery and create hyper-sensations in our mouth? Synthetic biotech has already started to create artificial life in organic forms, breathing life into artificial digestible forms no longer resides as a mere fantasy 1)2). Could this be an opportunity for us to venture into the fictional realms, through physical yet real interactions with nutritional consumables which offers a new dimension in our culinary experiences?
I believe the role of aesthetics is not simply to make things beautiful, but to awaken novel senses. I am interested in creating interactions that evoke new emotional and psychological reactions. To achieve this I probe the boundary between the living and the artificial, and through exploration of future sensory experiences. Through this process, I aim to design new media that awakens and enriches future lives.
De ‘Amoebe’-oppervlak aanpassing trainer is een conceptueel prototype dat streeft naar de toekomst van nieuwe materialen afkomstig van protocellen sonde. De studie van protocellen is een nieuwe en opkomende wetenschap die het potentieel heeft om drastisch revolutie de manier waarop we materialen heeft. Wezen, protocellen vervagen de kloof tussen de niet-levende en de levende. Engineering van het ontstaan van leven uit levenloze vloeibare chemicaliën kunstmatig vervaardigd in het laboratorium kan de bouwstenen leveren aan een nieuwe man-made karakter te creëren.
SIMILAR EFFECT, as created in the artwork of zimoun.
In his work carsten nicolai, born 1965 in karl-marx-stadt, seeks to overcome a separation of art forms and genres for an integrated artistic approach. influenced by scientific reference systems, nicolai often engages mathematic patterns such as grids and codes, as well as error, random and self-organising structures.
Photographs, film, clouds and sounds.
He used science, film, photographs and sound to create this image.
The movements, structure/texture, and their potentially infinite variety of forms. shot from the plane on various trips, the photos especially focus on so-called stratus clouds, a category of clouds that usually appears rather flat, hazy and featureless. their visual quality as seen from above may imply micro and macro structures at the same time thus potentially deceives the viewer’s perception.