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Virtual Space

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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The transparent simplicity and experiential nature of his work has built Olafur Eliasson’s reputation as one of the world’s most accessible creators of contemporary art.

Eliasson’s works emphasize tricks of light, refraction and scale, and tend to involve each viewer in his or her own unique experience, as in Beauty, which, by passing light through a wall of fine mist, produces a different rainbow when viewed from different points in the gallery.
And his works engage passers-by in urban environments — Eye See You,
a project for Louis Vuitton (and meant to publicize 121 Ethiopia,
an African nonprofit Eliasson co-founded with his wife), grabs viewers in the street with a beam of light shot from the window by an eye-shaped lamp.

http://vimeo.com/2447622

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The works of Jurgen Albrecht are abstract compositions, whose colours range from impenetrable black to bright white. They are neither picture nor object but three-dimensional fields which only exist in the light. Their initial point is the architectural space they are located in. Precisely tared light projections, crossfades and cloudings create spatial contexts which are – just as stage rooms – an illusion. Inside and outside are fading into each other. Open and closed spaces are shifting in conflict. Daylight and artificial light are changing their function in the description of spatial contexts as well as shades and shades of light. Optical illusions of interlaced interiors are emerging from the aesthetic challenge of habits of perception. It is a visual labyrinth in which the dual nature of light is reflected as material and immaterial phenomenon.

Space in light as an open, endless space in the visual interplay with
tangible and restricted space is also the theme of the work in Luedenscheid
“Universalis”. It contains seven cubes. Their material and formal structure is modelled by projected light. The white cubes are just as well convoluted as light incidence and reflexion. The basic relation of light, space and
perception is becoming an object of aesthetic contemplation and the interplay creates a spatial picture puzzle. Meanwhile the idea of the “White Cube” as
abstracted space is changing into a space that contains everything.

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“I make spaces that apprehend light for our perception, and in some ways gather it, or seem to hold it…my work is more about your seeing than it is about my seeing, although it is a product of my seeing.”
— James Turrell

For over half a century, the American artist James Turrell has worked
directly with light and space to create artworks that engage viewers with the limits and wonder of human perception. Turrell, an avid pilot who has logged over twelve thousand hours flying, considers the sky as his studio, material and canvas. New Yorker critic Calvin Tompkins writes, “His work is not about light, or a record of light; it is light — the physical presence of light made manifest in sensory form.”

Informed by his training in perceptual psychology and a childhood
fascination with light, Turrell began experimenting with light as a medium in southern California in the mid-1960’s.

Turrell often cites the Parable of Plato’s Cave to introduce the notion
that we are living in a reality of our own creation, subject to our human sensory limitations as well as contextual and cultural norms. This is
evident in Turrell’s over eighty Skyspaces, chambers with an aperture in the ceiling open to the sky. The simple act of witnessing the sky from within a Turrell Skyspace, notably at dawn and dusk, reveals how we internally create the colors we see and thus, our perceived reality.

Turrell’s medium is pure light. He says, “My work has no object, no image and no focus. With no object, no image and no focus, what are you looking at? You are looking at you looking. What is important to me is to create an experience of worldless thought.”

BELFLIX

BEFLIX

 

Materials:

ASCII codes

Technology:

Kenneth Knowlton is a computer graphics pioneer, artist, mosaicist and portraitist, who worked at Bell Labs. In 1963, Knowlton developed the BEFLIX (Bell Flicks) programming language for bitmap computer-produced movies, created using an IBM 7094 computer and a Stromberg-Carlson 4020 microfilm recorder. Each frame contained eight shades of grey and a resolution of 252 x 184. In 1966, Knowlton and Leon Harmon were experimenting with photomosaic, creating large prints from collections small symbols or images.

Effect:

In Studies in Perception I they created an image of a reclining nude (the dancer Deborah Hay), by scanning a photograph with a camera and converting the analog voltages to binary numbers which were assigned typographic symbols based on halftone densities. It was printed in The New York Times on 11 October 1967, and exhibited at one of the earliest computer art exhibitions, The Machine as Seen at the End of the Mechanical Age, held Museum of Modern Art in New York City in 1968.

 

 

(Hetzelfde Effect)

Artist:
Inition is een interactief productiebedrijf met een fijn afgestemde mix van technologische en creatieve mogelijkheden. Het hoofdkantoor is gevestigd in Shoreditch, Oost-Londen. Dit project is voor Selfridges ‘Monolith Installation’ is een samenwerking tussen Inition en modeontwerper Gareth Pugh.

Materiaal:
Er werd een op maat gemaakte twee meter hoge cabine gebouwd binnen de mannenmode afdeling van Selfridges met daarin de installatie. De Gareth Pugh hoofddeksel heeft een geïntegreerd virtual reality –display en biedt een 360 graden stereoscopische omgeving. Handgrepen zijn geplaatst rond de zijkanten van de compacte ruimte voor wanneer de gebruiker zijn balans verliest tijdens de ervaring. Industriële muziek van Londen kunstenaar Matthew Stone begeleidt de visuals.

Techniek:
De ruimte is volledig geluiddicht. Gebruikers dragen een karakteristieke geometrische Gareth Pugh VR headset. Oculus Rift-technologie maakt het mogelijk om de 3D-beelden tot leven te brengen.

Effect:
De drager wordt meegenomen op een reis door golvende muren en cijfers met silhouetten die ook zijn vergelijkbaar met Pugh kostuums.

“Het is een abstract verhaal gebaseerd op Gareth ‘s leven , zijn werk en zijn ervaringen , ” Alex Lambert, senior creative bij INITION
“Als je binnen bent word je vervoerd naar een andere wereld”, aldus Lambert. “Het is een volledige 360​​-graden virtuele wereld die je rond kunt kijken.”

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