Social Interactive Art through Real-Time Media Sharing

CONTENTS PLUS ◽  
2015 ◽  
Vol 13 (6) ◽  
pp. 69-85
Author(s):  
Sangwook Kim ◽  
◽  
Jungeun Lee ◽  
Jaeha Lyu ◽  
Seungeun Jang ◽  
...  
Keyword(s):  
Real Time ◽  
Interactive Art

scholarly journals danceroom Spectroscopy: At the Frontiers of Physics, Performance, Interactive Art and Technology

Leonardo ◽  
2016 ◽  
Vol 49 (2) ◽  
pp. 138-147 ◽  
Author(s):  
Thomas Mitchell ◽  
Joseph Hyde ◽  
Philip Tew ◽  
David R. Glowacki
Keyword(s):  
Real Time ◽  
Interactive System ◽  
Energy Landscapes ◽  
Interactive Art ◽  
Art Installation ◽  
Art And Technology ◽  
Human Energy ◽  
Performance System ◽  
Physics Performance ◽  
And Performance

danceroom Spectroscopy is an interactive audiovisual art installation and performance system driven by rigorous algorithms commonly used to simulate and analyze nanoscale atomic dynamics. danceroom Spectroscopy interprets humans as “energy landscapes,” resulting in an interactive system in which human energy fields are embedded within a simulation of thousands of atoms. Users are able to sculpt the atomic dynamics using their movements and experience their interactions visually and sonically in real time. danceroom Spectroscopy has so far been deployed as both an interactive sci-art installation and as the platform for a dance performance called Hidden Fields.

Real-time Flame Effect Rendering for Interactive Art using GLSL

2017 ◽  
Vol 8 (1) ◽  
pp. 1-10
Author(s):  
Bon-woo Gu ◽  
Sang-mi Im ◽  
Hyung-gi Kim
Keyword(s):  
Real Time ◽  
Interactive Art

Glowing Pathfinder Bugs: A Natural Haptic 3D Interface for Interacting Intuitively with Virtual Environments

Leonardo ◽  
2010 ◽  
Vol 43 (4) ◽  
pp. 350-358 ◽  
Author(s):  
Anthony Rowe ◽  
Liam Birtles
Keyword(s):  
Virtual Environments ◽  
Real Time ◽  
Physical Environment ◽  
Interactive Art ◽  
Direct Communication ◽  
Digital Arts ◽  
Natural Modes ◽  
Real People ◽  
Virtual Creatures

Glowing Pathfinder Bugs is an interactive art project primarily aimed at children and created by the digital arts group Squidsoup. It uses projection to visualize virtual bugs on a real sandpit. The bugs are aware of their surroundings and respond to its form in their vicinity. By altering the topography of the sand, participants affect the bugs' environment in real time, facilitating direct communication between them and computer-generated creatures. This highly malleable and tactile physical environment lets us define and carve out the landscape in which the creatures exist in real time. Thus, virtual creatures and real people coexist and communicate through a shared tactile environment. Participants can use natural modes of play, kinesthetic intelligence, and their sense of tactility to collaboratively interact with creatures inhabiting a hybrid parallel world. This paper describes the project and analyzes how children in particular respond to the experience; it looks at the types of physical formations that tend to be built and notes how children instinctively anthropomorphize the bugs, treating projected imagery as living creatures — though with a ludic twist.

4TH SKIN THE PERFORMING BODY AS INTERFACE FOR INTERMEDIA ONENESS IN STAGE-BASED INTERACTION

2018 ◽  
Vol 28 (7) ◽  
pp. 2399-2404
Author(s):  
Mihaela Kavdanska
Keyword(s):  
Real Time ◽  
Interaction Design ◽  
Sound Art ◽  
Contemporary Dance ◽  
Interactive Art ◽  
Horizontal Structure ◽  
Art And Design ◽  
Web Camera ◽  
Technological Platform ◽  
Moving Bodies

'4th Skin' is a term I coined in 2013, describing metaphorically the visual representation of a layer of multimedia skin covering a dancer’s moving body, changing its appearance in real-time, on stage. It is also the title of one of my Interactive Art projects and the name of a technological platform for video mapping on moving bodies, produced for the technical implementation of the project.The first skin is generally accepted to be our body's skin. Our clothing is very often defined, in direct and transportable meaning, as our second skin. The third skin is the ‘architecture, technology and environment’ that surround us, as Scott Drake defines in his book from 2007 [1]. What I call 4th skin in the context of Media Art, is a digital, real-time video skin, showing different actions, relations and experiences, captured with a wireless web camera attached to the performers body, transforming and placing the character in different dramaturgical contexts.While creating and implementing the multiple formats of this project, my main artistic goal was to achieve what I call 'Intermedia Oneness' between different media and performers on stage. Intermedia Oneness could be defined as a state of immersive artistic experience, governed by a horizontal structure of relations, where no media, nor human or digital performer takes the lead. They are all connected in real-time with the help of technological platforms (hardware and software). The performing body becomes an interface, which I call the 'Intermedia Body', generating or manipulating audio-visual content through its actions or presence in certain areas on stage. I initiated, co-created and co-produced the multidisciplinary artistic project 4th skin in the context of Media Arts and Interactive Dance, at the Interface Cultures Department (University of Art and Design, Linz). A group of creatives from the fields of Contemporary Dance, Sound Art and Interaction Design were involved.The different formats of this project were presented in diverse artistic and educational contexts in Europe (Austria, Romania, Spain, England, Germany, Portugal) and USA (Cleveland, Ohio), between 2013 and 2015.We created two interactive dance performances. A performative installation with public participation was implemented in a gallery. Numerous interactive improvisation sessions and workshops with dancers and media artists took place.Conceptually and artistically, the project was developed together with Dolma Jover - a Spanish choreographer, dancer and dance instructor. I invited Cristian Iordache, a Romanian interaction designer, long term collaborator of KOTKI visuals Studio in Bucharest, to realise the interactive platform for video mapping on moving bodies following my interaction concept. KOTKI visuals was the main project funder and supporter. The creative and performative contribution of Sorin Paun aka Randomform, a Romanian sound artist, Viltė Švarplytė (Estonia), Juan Camilo Herrera (Columbia), dance performers and Henning Schulze, a German interaction designer, were crucial for the realisation of the different project versions.

Perspectives on Algorithmic Performance through the Lens of Interactive Art

2019 ◽  
Vol 63 (4) ◽  
pp. 88-98 ◽  
Author(s):  
David Rokeby
Keyword(s):  
Real Time ◽  
Interactive Art ◽  
Human Culture ◽  
Interactive Installations ◽  
Insight Into ◽  
The Way

Decades of creating and exhibiting interactive installations have illuminated the way algorithms work to modulate, augment, and constrain performances through real-time feedback. They can be deployed as performers themselves to provide unique insight into their inner workings and their implications for human culture, and to provide an alienating frame within which to wonder about what it means to be human.

4TH SKIN THE PERFORMING BODY AS INTERFACE FOR INTERMEDIA ONENESS IN STAGE-BASED INTERACTION

2018 ◽  
Vol 28 (7) ◽  
pp. 2399-2404
Author(s):  
Mihaela Kavdanska
Keyword(s):  
Real Time ◽  
Interaction Design ◽  
Sound Art ◽  
Contemporary Dance ◽  
Interactive Art ◽  
Horizontal Structure ◽  
Art And Design ◽  
Web Camera ◽  
Technological Platform ◽  
Moving Bodies

'4th Skin' is a term I coined in 2013, describing metaphorically the visual representation of a layer of multimedia skin covering a dancer’s moving body, changing its appearance in real-time, on stage. It is also the title of one of my Interactive Art projects and the name of a technological platform for video mapping on moving bodies, produced for the technical implementation of the project.The first skin is generally accepted to be our body's skin. Our clothing is very often defined, in direct and transportable meaning, as our second skin. The third skin is the ‘architecture, technology and environment’ that surround us, as Scott Drake defines in his book from 2007 [1]. What I call 4th skin in the context of Media Art, is a digital, real-time video skin, showing different actions, relations and experiences, captured with a wireless web camera attached to the performers body, transforming and placing the character in different dramaturgical contexts.While creating and implementing the multiple formats of this project, my main artistic goal was to achieve what I call 'Intermedia Oneness' between different media and performers on stage. Intermedia Oneness could be defined as a state of immersive artistic experience, governed by a horizontal structure of relations, where no media, nor human or digital performer takes the lead. They are all connected in real-time with the help of technological platforms (hardware and software). The performing body becomes an interface, which I call the 'Intermedia Body', generating or manipulating audio-visual content through its actions or presence in certain areas on stage. I initiated, co-created and co-produced the multidisciplinary artistic project 4th skin in the context of Media Arts and Interactive Dance, at the Interface Cultures Department (University of Art and Design, Linz). A group of creatives from the fields of Contemporary Dance, Sound Art and Interaction Design were involved.The different formats of this project were presented in diverse artistic and educational contexts in Europe (Austria, Romania, Spain, England, Germany, Portugal) and USA (Cleveland, Ohio), between 2013 and 2015.We created two interactive dance performances. A performative installation with public participation was implemented in a gallery. Numerous interactive improvisation sessions and workshops with dancers and media artists took place.Conceptually and artistically, the project was developed together with Dolma Jover - a Spanish choreographer, dancer and dance instructor. I invited Cristian Iordache, a Romanian interaction designer, long term collaborator of KOTKI visuals Studio in Bucharest, to realise the interactive platform for video mapping on moving bodies following my interaction concept. KOTKI visuals was the main project funder and supporter. The creative and performative contribution of Sorin Paun aka Randomform, a Romanian sound artist, Viltė Švarplytė (Estonia), Juan Camilo Herrera (Columbia), dance performers and Henning Schulze, a German interaction designer, were crucial for the realisation of the different project versions.

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