attached
What’s previously are exposed here, correspond to those projects witch for their gender, concept, technology and resolution become linked with "idades" as authored medium. Were there priority becomes that of the event and experience of the spectator.
Imbedded with in this installations resides a recreational sense of discovery brought by the user and by his/her interaction with the what’s been proposed interactively.
"Time&Time Again" by Lynn Hershman and Fabian Wagmister in UCLA Hypermedia Studio 1999.
Time&Time Again interrogates the condition of the technologized body and the telematic senses. The piece explores the complex relationships between our increasingly inter-linked bodies and machines, and the resulting techno-cultural identity.
The installation places museum visitors and internet viewers in a complex web of engineered interdependencies with each other and with the facilitating apparatus. As participants find themselves in this intriguing and powerful machination a paradox regarding its true consequences emerges: does the escalating synergy between human activity and technology facilitate (...)
http://www.hypermedia.ucla.edu/projects/time.php
Commentary:
- One of the first references of Idades for the use of the body, of gesture and of the use of siluette as a communication tool. In "Time and time again" they play with the metaphor of the individual within industrial society.
- Idades sets out to be a participative activety, without being a representation. It is not a metaphor of a discourse. Nor is the installation itself the immediate discouse of the gestural communication of the individual, in the process of discovering what the experience is.
"Ballroom" by DanielGómez, Mauricio Medrano, Jose Carlos Iglesias and Michel Helbig. UPF Technology departament.
Concepto
Ballroom es un proyecto que se desarrolla a partir del concepto "sonidos en movimiento".
Objetivos.
Crear una instalación que permita al usuario la interacción entre su entorno y un entorno virtual a través del sonido representado por pelotas.
Planteamiento.
Ballroom es un proyecto de realidad virtual desarrollado dentro del MAD/02 de la Universidad Pompeu Fabra.
Al ingresar al cuarto, el usuario se encuentra con el mensaje "Throw me the ball". A su alcance están 3 pelotas blancas. El usuario inicia al lanzar cada pelota a la pantalla la cual es devuelta por medio del rebote. El trayecto de estos objetos es captado por 2 cámaras, una lateral y una cenital. Las cámaras envían datos al sistema el cual traduce las coordenadas en la dirección de una pelota virtual.
La imagen generada pretende crear un efecto de "espejo" dando la sensación de que el cuarto continúa al otro lado de la pantalla; simulando así la entrada y el rebota de cada pelota en el cuarto virtual.
El sistema permite tres pelotas funcionando a la vez, que rebotan durante un tiempo determinado y luego desaparecen. Es así como se obtienen sonidos e imágenes que varían mediante los parámetros capturados dependiendo de donde sea lanzada cada pelota. El sonido tiene salida en un sistema cuadrafónico, percibiendo así, la especialidad acústica.
http://www.tecn.upf.es/master/mad02/~m2305/ballweb/proyect.html
Commentay:
- In this project they contemplate some different themes from those of Idades. However it is a similar type of instalation. Again the interactive elements are a ball, user gestures, the interface and the way the elements are arranged.
- Another peculiarity about this project is the focus on sensory experience of the user, in their participation and their discovery of their interactivity in the generated space.
- We see the possiblity of an interpersonal communication and the implementation of the installation in a public space as limited.
"The Kite" by: University of Portsmouth, Hogeschool voor de Kunsten Utrecht, Universitat Pompeu Fabra, Psiquiatría institute of King College, Show Connections Limited y Autismo Europa 2001/2004
Idea general.
The Kite parte de la idea de trazo. Se pretende construir una interacción que motive al usuario a realizar movimientos que generen trazos y que le permita ser consciente de estos movimientos.
Elementos y compición.
Los elementos visuales a partir de los cuales se construye el guión son los siguientes:
1. Un sistema de partículas en forma geométrica de rombo que se extienden por toda la proyección como fondo. Las propiedades que se modifican son su posición, rotación y su color.
2. Una figura central (The Kite) con una forma geométrica también romboide pero no uniforme, de mayor tamaño que el resto y un color diferenciado. Las propiedades que se modifican son su posición y rotación.
Sobre un fondo de color blanco se distribuyen las partículas con cierta aleatoriedad. The Kite ocupa una posición central en la proyección mientras no se inicia la interacción.
Interacción de trazo.
El guión de interacción se centra en el movimiento o la gestualización de los bazos porque se trata de dejar trazos con ellos.
Se pretende conseguir que el PAS tenga conciencia y control sobre esta capacidad de trazar, así como de los movimientos que realice con su cuerpo. Si algún usuario tuviera problemas motrices esto no imposibilitaría la interacción porque ésta por defecto detecta el hombro derecho del usuario y por lo tanto, el trazo reproduciría el desplazamiento o movimiento del cuerpo, esto es, si salta, se sienta o se agacha (…)
http://www.tecn.upf.es/~bmanich/
https://www.iua.upf.es/mediate/intranet/espanol/esp/aut_rec/index2.php?fi=2&PHPSESSID=a77dc1380722acf7cd2cd36cd4c68b21
Commentary:
- The project "The Kite" shares many of the preoccupations of Idades conscious of the experience of the user and their relation to the medium. We see the interaction with the medium coming from the curiosity of the user and the discovery of the immediate relationship of the siluette movement and the virtual elements that they interact with.
- In this case, the problems presented are: the high cost of such a project and the technological complexity necessary for its development. Likewise, the logistics of the space of the infrastructure is too complex for use in a public space, because it requires absolute control of the environment. Although "The Kite" uses an analysis system for the siluette of the individuals much more sophisticated than Idades, which sacrifices this in ordert o allow the installation in other places.
"Bubbles" (Interactive Installation mit Echtzeit Video-Tracking System ). by: Muench | Furukawa Realisiert am ZKM Karlsruhe, 2000
The multi-user installation 'bubbles' enables participants to interact with the realtime simulation of floating bubbles. By entering the light beam of the data projector, the participant casts a shadow onto the projection screen. the screen area is captured by a video input system and each bubble is able to independently recognize both the shadows' touch and its direction.
Defined as autonomous objects, the bubbles' behavior and their response to any user-interaction follows a set of simulated physical laws. Both the overall state of the complex system and the shadows' interaction with the bubbles create nonlinear musical structures, that are generated in realtime utilizing a midi interface and midi synthesizer (…)
http://hosting.zkm.de/wmuench/bubbles
Commentary:
- Bubbles is a project that explores the gesture and tactile sensory perception and the body as a medium The installation contains most of the elements that Idades is interested in. The users share what we call the social and neutral space and the same language for communication.
- Despite this, the space came to be extremly controled therefore it would need a shaft of strong light to obtain the siluette, The intercommunication is minimal, therefore "Bubbles" focuses on thetactile sensitivity of the individual, without demonstrating a clear intension of the interaction element. In other words the bubbles do not allow an exchange between the users, so it is an individual experience.
"RemoteHome" by: Tobi Schneidler, Magnus Jonsson and Adam Somlai Fischer. Smart Studio Interactive Institute 2002
The first remotely shared appartment The RemoteHome will be one place of living in two distant cities: London and Berlin.
Communication and media technologies are creating new scenarios of sharing situations of friendship and intimacy over distance. The rise of the mobile phone or instant messaging is indicating these new cultures.
But what will happen if real time mediated communication is becoming part of our everyday environments, the spaces we inhabit, the furniture we use and items we cherish.
The exhibition at Cornish College of the Arts, Seattle, is a sketch prototype for the real project to come. The set up is showing two abstracted spaces, London on the left and Berlin on the right side. The furniture becomes part of the media electronic network space. It is designed to tease the respective remote space in a simple to understand way. Just by inhabiting the two environments, the augmented qualities will become apparent. (...)
http://remotehome.org/
Commentary:
- "RemoteHome" is the same as Idades, it covers the same basic needs, uniting remote spaces by recreating the environments, to convert them into spaces of intimate and shared experiences. Although Idades uses urban spaces.
- Again, we find an exclusive predisposition and little adaptability to other types of spaces. The users feedback during the experience is very reative, at the same time it is not very obvious to the user that there are other users in different locations. The multi-locality is not obvious.
"Brainball" by: Magnus Jonson. Interactive Institute 1999.
Brainball: Winning by Relaxing.
Brainball is a game where you compete in relaxation. The players' brainwaves control a ball on a table, and the more relaxed scores a goal over the opponent.
Brainball is a game that goes against the conventional competitive concept, and also reinvents the relationship between man and machine. Instead of activity and adrenalin, it is passivity and calmness that mark the truly successful Brainball player. Brainball is unique amongst machines since it is not controlled by the player's rational and strategic thoughts and decisions. On the contrary, the participants are dependent on the body's own intuitive reactions to the game machine.
http://smart.tii.se/smart/projects/brainball/index_en.html
Commentary:
- The incorporation of the technology to activate a recreational relation, and make us question our capacity for interpersonal recreation and that is something that Idades tries to achieve. In this case the interface is established by brain waves, brought to the extreme of interaction. Like iIdades, it is the installation cannot be activated without the participation of more than one user.
This installation has the benifit of being able to be installed in any location.
- Like Idades, it looks for the communication and the generation of intercommunication spaces for whoever shares communal places, but Brainball involves a competative element which Idades is not concerned with.
"Body movies" by: Rafael Lozano-Hemmer. Rótterdam 2001
arquitectura relacional 6
V2, Capital Europea de la Cultura
Rotterdam 2001
Sapphire 02, Lisboa
Ars Electronica 2002, Linz
Bienal de Liverpool 2002
Duisburg Akzente 2003
Transforma el espacio público con entre 400 y 1800 metros cuadrados de proyecciones interactivas. Miles de retratos fotográficos, tomados en las calles de las ciudades que presentan el proyecto, se muestran utilizando proyectores controlados robóticamente. Sin embargo, los retratos aparecen únicamente dentro de las sombras proyectadas por las personas que pasan por la instalación y cuyos perfiles llegan a medir entre 2 y 25 metros de altura, dependiendo de lo cerca o lejos que se encuentran de poderosas fuentes de luz colocadas en el suelo. Un sistema de seguimiento por análisis de video lanza nuevos retratos cuando ya se han activado todos los actuales. Con el apoyo de 6 desarrolladores.
http://www.fundacion.telefonica.com/at/rlh/proyecto.html
Commentary:
- We see that transience has a close relationship to the use of public space and to an alternative space incorporating new experiences for the people within.
- The dimensions of the intervension limits its presentation. It doesn't give any type of recreational or communicational interactivity. We find, again, a metaphor of multiple identity and altering of the individual.
"50 Points of Light" by: Stephen Wilson. San Francisco State University 1998
The installation uses 2 networked Macintosh computers connected to the Internet. Every 10 minutes 24 hours a day computer #1 cycles through its 14 ities. It downloads webcam images of panoramas, street scenes, and inside views for each city. It constantly updates the display computer.
acromedias Director was used for both display and Internet access.
There are thousands of web cameras avaiable. Cities were chosen on criteria of world distribution, reliability, and diversity of views availability within a city. Web cameras are in constanat flux. During the event many cameras went offline. A list of webcamera addresses is available below.
http://userwww.sfsu.edu/%7Eswilson/
Commentary:
- The interesting thing about this work is the conectability of remote spaces all over the planet. At a technical level, the project uses the network World Wide Wire to distribute the information. In Idades case that would happen through a secure network for a quality real-time video transmission between the different locations. The project has a neutral space itself to be visualized which is their own internet space, available to everyone.
- It doesn't exist in real-time. It makes you distrust the veracity of the images. The interaction and the intercommunication are absolutely non-existent. Althouth, it's discourse based on the space only has a representative level.
"Cyberception" by Roy Ascott
We are changing radically. Body and mind, we are becoming actively involved in our own transformation. It's not just a matter of prosthetics. And it's much more than implanted organs, artificial limbs or cosmetic surgery, however necessary and beneficial such technology of the body may be. It's a matter of consciousness. We are acquiring new faculties and a new understanding of human presence. We know that to be in cyberspace (which is to inhabit both the real and virtual worlds at one and the same time) and to communicate in the cybernet (which is to be both here and potentially everywhere else at the same time) brings forth ways of thinking and perceiving which extend what we have believed to be our natural, genetic capabilities. We are computer-mediated and computer-enhanced. These new ways of conceptualising and perceiving reality involve more than simply some sort of quantitative change in how we see, think and act in the world. They constitute a qualitative change in our being, a whole new faculty, the post-biological faculty of cyberception…
http://www.cyberday.de/news/ausgabe_100017.htm
http://people.i-dat.org/detail/?ra
http://rhizome.org/thread.rhiz?thread=735&text=356#356
http://www.rhizome.org/ds/pages/ascott.html
http://eda.ucla.edu/archive/
http://www.caiia-star.net
Commentary:
-We cite part of the "Cyberception" by Roy Ascott because it is a good reference for those interested in the relationship between man and mashine and his thoughts on cybernetic and tecnological concerns.