Artworks Data Table

Stephen Wilson is a San Francisco author, artist, and professor who explores the cultural implications of new technologies. His interactive installations have been shown internationally in galleries and SIGGRAPH, CHI, NCGA, Ars Electronica, and V2 art shows. His computer mediated art works probe issues such as World Wide Web & telecommunications; artificial intelligence and robotics; hypermedia and the structure of information; synthetic voice; and environmental and body sensing. His works explore the roles of artist as researcher/inventor and commentator on emerging technologies. He won the Prize of Distinction in Ars Electronica’s international competitions for interactive art. He is Head of the Conceptual/Information Ars program at San Francisco State University.

He has published extensively including articles such as “The Aesthetics and Practice of Designing Interactive Events,” “Interactive Art and Cultural Change,” and “Noise on the Line: Emerging Issues in Telecommunications Art.” He has published three books, Using Computers to Create Art (Prentice Hall, 1986), Multimedia Design with HyperCard (Prentice Hall, 1991), and World Wide Design Guide (Hayden, 1995), which promotes an experimental, culturally aware approach to Web design. He is currently working on a book called Information Arts for MIT Press on the relationship of art to science and technology.

Stephen Wilson is a San Francisco author, artist, and professor who explores the cultural implications of new technologies. His interactive installations have been shown internationally in galleries and SIGGRAPH, CHI, NCGA, Ars Electronica, and V2 art shows. His computer mediated art works probe issues such as World Wide Web & telecommunications; artificial intelligence and robotics; hypermedia and the structure of information; synthetic voice; and environmental and body sensing. His works explore the roles of artist as researcher/inventor and commentator on emerging technologies. He won the Prize of Distinction in Ars Electronica’s international competitions for interactive art. He is Head of the Conceptual/Information Ars program at San Francisco State University.

He has published extensively including articles such as “The Aesthetics and Practice of Designing Interactive Events,” “Interactive Art and Cultural Change,” and “Noise on the Line: Emerging Issues in Telecommunications Art.” He has published three books, Using Computers to Create Art (Prentice Hall, 1986), Multimedia Design with HyperCard (Prentice Hall, 1991), and World Wide Design Guide (Hayden, 1995), which promotes an experimental, culturally aware approach to Web design. He is currently working on a book called Information Arts for MIT Press on the relationship of art to science and technology.

With this project, I am less concerned with the inherent bias of television and the many talk shows it delivers than I am with the personal needs of individuals to use the medium to make human connections with their national and global communities. Willingly presented in an intimate light, often at the expense of appear­ing weak, offensive, or pathetic, we volunteer to simplify and categorize ourselves in an effort to earn a definable, indexable place within the American social landscape. Television is the mediator of choice. As a mediator, it offers the safety of time and distance between the subject and the rest of the world, facilitating or perhaps demanding the release of personal privacy.

Conversely, living in public, in unmediated real time and space, we maintain distance and preserve privacy. Personal connection with community is absent. There are no clearly defined labels. Identity and location within our world are open to shifts, conjectures, and ambiguity.

What was once private (secrets, vulnerabilities, and anger) are now cataloged and pronounced from the highest mountain, while our public selves have reverted to stealth mode.

The head models were created using a parameterized, three-dimensional head generating system …. Once the head models are rendered, a variety of line enhancing, image filtering and depth buffer techniques were applied to the image.

There are those who turn on their televisions to see if it is raining just outside the window. Vicariously, many viewers readily accept what they see on television as personal experience. Billions watch television screens religiously for many hours daily. The cathode ray tube has become a glass-faced altar.

This is no game, but rather a careful observation of a deadly serious adventure. “Kosovo” is a futuristic exploration that incorporates both user-defined motion and system-defined animation.

Camera phone images and video are used for social interaction. Constant mobile connectivity has become more than just encyclopedic “computer-like” knowledge, but rather is a tool
for greater understanding of the perspectives of others. P2P, often known as peer-to-peer, has become people-to-people, or “power-to-people,” instead of people-to-computer. Through the Global Eyes of camera phones, a new Globaleyesation results: all-seeing eyes, not in the traditional panoptic sense, but rather the inverse panoptic (SOUSveillance rather
than SURveillance). SOUSveillance supports selective self-representation, where people choose what they upload. With SOUSveillance, so long as you are alone, you are not being watched or observed. You are only being observed in social situations. SOUSveillance alters the power dynamic of traditionally disenfranchised communities, particularly in the developing world and indigenous communities, to establish a new relationship between the “ruled” and the “rulers.” There is a tension between SOUSveillers and SURveillers, creating a need for a fair balance: Equiveillance. This work examines the evolution of a social norm for image capture and tranmission. Attendees take part in SOUSveillance and negotiate, between phones, when and where image capture is desirable and what images should be shared. The work evolves throughout the duration of the conference, exploring how the community reaches a state of equilibrium: Equiveillance. NGOs often work in hostile environments that undermine existing civilian authorities’ efforts to promote humanitarian agendas. The arms race has become the information race and images the new ammunition. We propose a perpetual
stalemate in the form of Equiveillance. The accessibility of inexpensive off-the-shelf technology capable of transmitting live video and images brings about the democratic order of the new media militia. Constant connectivity with mobile imaging has applications for citizen journalism in environmentalism, micro-capitalism, and social-justice, empowering many communities by bringing their messages to the world stage.

The underlying theme of my body of work is Americana. Currently, I’m using the subject matter of great old highways such as Route 66 and the Dixie Highway as a point of departure. So much of American life continues to revolve around our mobility, highways, and their effect on our lives. These themes are essential to my work. The central images in these works are a continuation from earlier work. They are a combination of graphite and digital elements, starting with photographs or sketches from the selected landscape or site. I then couple these images with maps and souvenirs or mementos from the local area. While many of the items have a kitsch quality to them, they are not meant to have a condescending tone, but are really celebrations of our uniquely American zeal for collecting and bringing back souvenirs from our travels and vacations. The items directly relate to the images and maps, adding additional components or layers of meaning to the work. The souvenir elements augment the images, giving a more complete sense of place. In addition, they provide an editorial or narrative component to the work and are also another means for viewers to engage the work. The pieces are displayed in shadowbox frames that are large enough to hold both the two- and three-dimensional elements in a confined and unified space.

My work is about the persistence of memory. It is about our human need to capture and preserve a space in time, a fleeting moment. After any event, all that remains is the memory.

The underlying theme of my body of work is Americana. Currently, I’m using the subject matter of great old highways such as Route 66 and the Dixie Highway as a point of departure. So much of American life continues to revolve around our mobility, highways, and their effect on our lives. These themes are essential to my work. The central images in these works are a continuation from earlier work. They are a combination of graphite and digital elements, starting with photographs or sketches from the selected landscape or site. I then couple these images with maps and souvenirs or mementos from the local area. While many of the items have a kitsch quality to them, they are not meant to have a condescending tone, but are really celebrations of our uniquely American zeal for collecting and bringing back souvenirs from our travels and vacations. The items directly relate to the images and maps, adding additional components or layers of meaning to the work. The souvenir elements augment the images, giving a more complete sense of place. In addition, they provide an editorial or narrative component to the work and are also another means for viewers to engage the work. The pieces are displayed in shadowbox frames that are large enough to hold both the two- and three-dimensional elements in a confined and unified space.

My work is about the persistence of memory. It is about our human need to capture and preserve a space in time, a fleeting moment. After any event, all that remains is the memory.

All art is about pursuing a personal vision, however epic or individual the scope of that vision may be. How the artwork is done should really be secondary to the success of the work. That being said, every artist asks him or herself what unique qualities the media (digital or otherwise) can do for me that facilitates the vision or content without allowing technique or technology to become the major focus. Keeping this balance of content and technique in mind, I try to develop images that create an interest in my subject beyond the interest in the technology involved, while still retaining the artistry derived from working digitally.

All art is about pursuing a personal vision, however epic or individual the scope of that vision may be. How the artwork is done should really be secondary to the success of the work. That being said, every artist asks him or herself what unique qualities the media (digital or otherwise) can do for me that facilitates the vision or content without allowing technique or technology to become the major focus. Keeping this balance of content and technique in mind, I try to develop images that create an interest in my subject beyond the interest in the technology involved, while still retaining the artistry derived from working digitally.

All art is about pursuing a personal vision, however epic or individual the scope of that vision may be. How the artwork is done should really be secondary to the success of the work. That being said, every artist asks him or herself what unique qualities the media (digital or otherwise) can do for me that facilitates the vision or content without allowing technique or technology to become the major focus. Keeping this balance of content and technique in mind, I try to develop images that create an interest in my subject beyond the interest in the technology involved, while still retaining the artistry derived from working digitally.

A Zoetrope is constructed by attaching 60 phases of an object in metamorphosis to a rotating wheel. The “animation” is “frozen” in space via synchronized stroboscopic lighting. The metamorphosis is a torus turning “inside-out” at three points on its surface.

Costa’s genus 1 three-ended minimal surface is topologically equivalent to a simple torus.

Thanks to collaborators at the PRISM Center, Arizona State University

Between Worlds is a series of abstracts based on liminal space, both in the aesthetics of the pieces and the interdisciplinary approach taken in their creation. Working between the worlds of digital and physical media to create pieces both vivid and distant, between reality and virtual.

A memory of a real place, a shadow of the past, these liminal spaces of the mind are reflected in marks on the canvas – being neither wholly 2D shapes nor 3D forms, the viewer transitions from one to the other as they explore the works, mimicking the transient nature of life and their own experience.

The process involved in this work was itself between worlds – that of digital code and physical oil paint. Produced with C++ open source software openFrameworks, using data from scanned in paint, complex point clouds were generated to run simulations containing more than 1,000,000 particles. These were then used to paint, using both the artist’s hand and the generative simulations to create the final images.

Summary

Surrogate Being is an interactive virtual environment exploring possibilities of affective relationships between humans and machines for their sustainable coevolution of human and technology. This work negotiates the discrepancy between memories and digital data of a nostalgic place through the process of recreating the artist’s hometown in Korea.

Abstract

Surrogate Being is an interactive virtual environment, where I negotiate the discrepancy between memories and digital data of a nostalgic place, my hometown in Korea. Interweaving the heterogeneity of algorithmic digital images and affective memories, this project overcomes the binary opposition of humans and nonhuman and the anthropocentric perspective to investigate technology as a coevolving cognitive being and vital actor in the cognitive network. This project explores our experience and understanding of the world living in the Cognisphere – the globally interconnected cognitive system of humans and machines – and acknowledges nonlinguistic forces and experiential knowledge. Such affective dynamics among planetary cognitive beings are largely unnoticed and overshadowed by seemingly explicit and errorless digital information, and this project opens up interplays between tangible representations on the interface and underlying affects.

Surrogate Being bridges the gap between my mind and digital technology and invites participants to navigate the mediated landscape with their curiosity. As memories remain indistinct and disintegrated until we recollect, the landscape is destructed and distorted when no participant is engaged. If a participant is approached the fragmented image and stands in front of it, it turns into a navigable landscape. As s/he moves her/his head to look at the other side of the landscape, the virtual camera in the scene changes its direction responding to the participants’ movement – analyzing the image using computer vision. This interaction suggests a potential depth in this digital landscape we can look into, thus the monitor becomes a portal into a mediated digital-memory space. Furthermore, human and technological cognition become indistinguishable in this mediated space, collaboratively generated by affective memories and algorithmic decisions.

Unpredictable Creature #1, is an artificial life, algorithmically created on the basis of the artist’s genetic sequence. Its mutation, caused by real-time data related to the noble biotechnology, CRISPR, highlights the complex network of relations beyond scientific knowledge and questions human’s power on technology, which is a part of natureculture.

The author spent a year filming trees and took about 500 videos of trees standing in the middle of the city Chicago, then cropped and recreated the videos. Finally, those become one video (1080 X 1920 px) of all different trees in different spaces. The role of trees is redefined from trivial objects to meditative mediations in the city. This video may arouse people’s attention for trees.

The idea of work is based upon the idea of performance on the context of new media, dance, music, and images, however it doesn’t really belong to any style, in fact. The controllers of gestures and other continuations, such as Wifi and programming are originally developed. Utilizing this, the work explores the extension of the potentialities in the relationship of man and machine. This performance specially exploits the interaction between the body of the performers and the video images and the body of the performers, and the image and architectural/lightning-like image on stage, which can transform in real-time, thanks to his BodySuit.

This is based upon the concepts of Dualism. None of them are not intended to show superior or inferior, however the both interacts each other, and at last to bring the new different contexts. For example, with its two dancers (which seem to be the opposite characters), it expresses the interaction between the video representation and the real bodies which is presented on scene.

In European philosophy, this refers to “mind-body” or “mind-matter dualism”, e.g. Cartesian Dualism, and the Asian philosophy talks “physical dualism”, e.g. the Chinese Yin and Yang. For example, the stage of performance is regarded as space – architecture / time – body. The dancers consist of female – male / man – machine, and like these, the work expresses its ideas that seem to conflict each other, but as a matter of fact, these co-exist. The images consist of only white – black, and augmented body – virtual space, the music are sound – noise /expression – abstract, the choreography is meant for rationality – perception / body – machine. One can extent these abstract “dualistic” ideas into the conjunction of geographic and cultural mixtures between Asia and Europe, as well.

This performance links the real world to the online reality of Second Life at the physical level. The bodily movements of a person in the real world control an avatar in Second Life, while an avatar’s movements guide a human being’s movements.
Second Life is 3D online digital world where flesh-and-blood humans create a unique identities (avatars) to inhabit the digital com-munity. Contact between these realities is usually affected through a monitor, keyboard, and mouse. In this work, the whole body takes part, through technology that makes communication between the two realities two-way and physical. A movement-registering mechanism built into a body suit allows a person’s movements to directly control the behavior of an avatar in Second Life. Conversely, a powered suit contains motors that control the human body like a marionette. It is a robot you can wear, controlled by an avatar.
With this technology, geography, location, and space no longer hinder physical interaction between bodies. A Second Life avatar becomes a vehicle for physically connecting the individual to society. This could make it possible for people all over the world to share each other’s bodies over the internet. In this project, we do not know exactly who is controlling the powered suit or where they are in the world. Our bodies become a combination of “real” and computer-generated information.
This performance is presented on the stage in the concert hall at Pacifico Yokohama. A worldwide audience can see or participate in the performance by downloading a customized version of the Second Life Viewer program (suguru.goto.free.fr/), logging in to Second Life (www.secondlife.com), and teleporting to the Second Life venue (suguru.goto.free.fr/).

Summary

Distance Music : Preferred Population Density for The Acoustic Hygiene is an interactive ambient music installation. While people watching educational video about public health and hygiene, the music engine will interact with the population density of the installation room, evolving into a warning alarm for social distancing.

Abstract

Distance Music : Preferred Population Density for The Acoustic Hygiene is an interactive ambient music installation, which interacts with the number of listeners in the installation. The installation consists of three parts, which is the music engine, sensor, and a video loop. While people watch some archives of vintage government educational videos about social hygiene inside the room, the sensor will measure density of the room and send it to the pre-recorded music engine, which will interact with the data from density sensor, evolving into more intense music as the population density rises. As a result, people will hear unpleasant noise the more they are close to each other. This installation is inspired from ‘social distancing’, a global experience during this ongoing pandemic era, as some of the music engine process represents and simulates ‘distancing alarm’ for social distancing, therefore acts as an experiment of public alarm for social distancing. We believe that the people’s memory with this unprecedented worldwide incident will resonate efficiently with the installation, and a great deal of inspiration as well.

A snail takes us into a different universe to the beat of music that interacts with the surronding elements.

Examining the ironies of being a strong, educated woman today, sandwiched between one’s own needs and others’ expectations, this piece is a reflection on modern mating habits and sexual balances of power. In Coming Attractions, moving drawings weave themselves into a time-based collage, “video wallpaper,” which when delayered expose a surprisingly menacing underbelly to our “everyday.” Coming Attractions, as the title suggests, is just a hint at the promise of things to come.

In Conversation aims to examine the boundaries and social customs of two distinctly different kinds of public space, the street and the Internet, each with its own established rules of engagement.

On the street, passersby encounter an animated mouth projected onto the pavement and hear voices triggered by Internet users trying to strike up a conversation. Should anyone choose to reply, a concealed microphone and surveillance camera document and transmit the responses. Through the Web site, Internet users can view the surveillance camera image and sounds. They can type “live” messages, which are converted into speech and broadcast on the street.

In the gallery, In Conversation is a large-scale “live” installation. The surveillance camera image is relayed to a large projection screen. The conversation between the street user and the net user, together with amplified sounds from the street and an original soundtrack by Tim Clarke, creates a live film noir, unfolding in real time.

In Conversation introduces two kinds of public space to each other, along with the etiquette that governs them and the people who frequent them. This project is an experimental exploration into how different environments and means of interaction affect not only our willingness to communicate, but the way and manner in which we do so.

My mother died suddenly of a heart attack in October of 1993. I worked through my grief by exploring our relationship using my design talents coupled with the tools of interactive multimedia. Like many mothers and daughters, our relationship was volatile in nature and ran the gamut from love to hate. The completed CD-ROM was designed to run in a public environment. My main objective was to challenge the “template formality” of so many CD-ROM titles and successfully employ the medium to artistically and creatively tell a story that evoked emotional response.

An image of a closed locket (given to me by my mother) is used to as the introductory image to reinforce the concept that the viewer is entering a personal space. This introductory screen leads to a typographic main menu which provides choices between seven sets of polarities that bound our mother/daughter relationship.

This interactive journey incorporates thirty-five years of my diary and journal entries, my mother and my correspondences, collected quotes, family photos and my uncle’s collection of Super-8 home movies and videos. The “look and feel” of the interface is based on the actual calligraphy from my diaries and journals.

Graphics include mother/daughter photos, my mother’s death certificate, a 1964 written reply from Ann Landers, the hospital’s personal effects baggy, a letter from a stranger who sat next to me and comforted me on the airplane ride to my mother’s funeral, my mother’s grave marker.

The Quicktime movies are silent and flicker in an uneven frame, just like the Super-8 movies that they are derived from. They are composed of snippets from an early 1950’s thanksgiving dinner, a beach holiday, my mother and her two sisters hamming it up in the kitchen, my mother holding me when I was newborn, me chasing after my mother up the stairs of a summer cottage.

Sounds include a baby’s incessant crying, a whisper of “please get well,” a ringing telephone, a heart monitor, my father reciting the Jewish Kaddish prayer for the dead.

System level button navigation is minimal and screen navigation is freeform and non-linear. Sometimes an action, such as a movie or sound, is triggered by simply moving the mouse over a live area, other times the user must click or drag to engage an action.

These cows were observed in a pasture in Lacock, England near the former home and studio of Henry Fox Talbot, where he took his first photograph – where the art of photography was born. The artist saw them through a window in Talbot’s home, climbed a fence to get closer, and photographed them.

The paintings are about compositing images that inspire collaged portraits about cows in a landscape. The goal was to work with a single image of a cow and in some way change the cow enough so that it was somewhat unreal or surreal.

Many of the techniques used to create these images are directly related to the artist’s work at Industrial Light & Magic, where she is a 2D painter and rotoscope artist. The techniques include: making articulate mattes, various types of masks, extractions, clean plates, marks that assimilate marks on canvas, and ways to blend colors and edges similar to painting in oils or drawing with pastels. It is this “marriage” of technique and process that makes these digital cow paintings unique.

These cows were observed in a pasture in Lacock, England near the former home and studio of Henry Fox Talbot, where he took his first photograph – where the art of photography was born. The artist saw them through a window in Talbot’s home, climbed a fence to get closer, and photographed them.

The paintings are about compositing images that inspire collaged portraits about cows in a landscape. The goal was to work with a single image of a cow and in some way change the cow enough so that it was somewhat unreal or surreal.

Many of the techniques used to create these images are directly related to the artist’s work at Industrial Light & Magic, where she is a 2D painter and rotoscope artist. The techniques include: making articulate mattes, various types of masks, extractions, clean plates, marks that assimilate marks on canvas, and ways to blend colors and edges similar to painting in oils or drawing with pastels. It is this “marriage” of technique and process that makes these digital cow paintings unique.

These cows were observed in a pasture in Lacock, England near the former home and studio of Henry Fox Talbot, where he took his first photograph – where the art of photography was born. The artist saw them through a window in Talbot’s home, climbed a fence to get closer, and photographed them.

The paintings are about compositing images that inspire collaged portraits about cows in a landscape. The goal was to work with a single image of a cow and in some way change the cow enough so that it was somewhat unreal or surreal.

Many of the techniques used to create these images are directly related to the artist’s work at Industrial Light & Magic, where she is a 2D painter and rotoscope artist. The techniques include: making articulate mattes, various types of masks, extractions, clean plates, marks that assimilate marks on canvas, and ways to blend colors and edges similar to painting in oils or drawing with pastels. It is this “marriage” of technique and process that makes these digital cow paintings unique.

It’s a nice place to visit but I wouldn’t want to spent the night.

Sunrise and sunset, like breathing, are constant truths, necessary for survival and immensely uplifting to the soul. To combine these two events with the ocean has been my sanctuary. It is the universe’s finest place of worship; everyone is welcome.

My images are visual representations of states of being I have experienced while in the presence of such beauty – joy, inspiration, serenity, bliss. Each image has embedded within a secret to unlock: How can I enhance what is already perfect? In the process, it is revealed.

To be able to take three dimensions and flatten them, merging all layers in an instant, is a humbling exercise. In a moment, all is one again. 2D is a reminder of my temporary stay in this 3D form.

To record and create is a gift. I am historian and artist. To share that, an even greater privilege.

The primary content of Three Way Conversation consists of a discussion among three individuals. The fractured conversation was constructed from separate monologues serving to link the portraits, whilst at the same time isolating them in their own space. The work questions the structures of perception, the intrinsic elements in the construction of representation. The aim is to present multiple views simultaneously: a “conventional” one where events unfold linearly, and a “sculptural” one, of the apparatus as a whole, in which each image undergoes structural manipulation. The conventional and the sculptural co-exist within the same screen space. This manipulation or editing has taken place in a three-dimensional virtual space, creating discontinuities, shifts in relationships, and a perplexity about what is being perceived. The perpetual variation in viewpoints introduces a plurality of actions into the work and at the same time unifies them as a sculptural whole. Sharp, exact images are lost and found again like an endless stream of remembering and forgetting.

Following a temporal flux, we wander from one space to another through cybernetic windows. Like the projection of an
expanded universe, the forms are regenerated and disintegrated. The whole global world is translated to an algorithm. In a metaphoric way, we introduce the concept of reversibility in the viral sequencial process. Two new worlds, a macroscopic one and an invisible one, take life before our eyes. The values of technology and plasticity are questioned by a different sensitivity. Science becomes a poetic concept: notions of dream and unknown heighten in a phantasmagoric way and produce a poetic and scientific decontextualisation. From the algebraic text on the base, a peculiar dynamic in which the words are changed into images is generated: viruses and pixels melt in a hypothetical city. The spectator travels from the past to the present time and from the present to a virtual space. Therefore, those stories reflect a poetic scientific cosmology. Since the 1980s, I have integrated scientific content, poetry, and technology. The plasticity of the image is my main concern. I also investigate and create sounds to produce “total environmental” works.

Nine artists from Britain and nine artists from India, all with widely varied backgrounds and experience, collaborated on this digital research project based at the Cardiff School of Art and Design, University of Wales Institute, Cardiff. The project was initiated by PROOF (V-6), the printmaking research group, during the spring of 2004. The first phase of the project was a series of organization and planning meetings with our Indian partners, Sushma Bahl (formerly Head of Arts and Culture for the British Council, India) and Sunaina Anand (Curator of Art Alive Gallery, New Delhi). Some of the participating artists were working in digital media. Others had little or no experience with computer-based art, but they were interested in exploring the artistic potential of digital media. For the Indian artists, the process of exchange and development of the work is as important as the resulting exhibition of their original collages and high-quality digital prints, which they have specially created for this project. The project’s networking, sharing of artistic concerns, and exchange of ideas and images are important opportunities, which the participating artists value greatly.

This portable sphere playfully references the famous Tamagotchi toy from the 1990s that provoked the artists to ask questions such as: Does simple interaction engender emotional attachment? Can feelings of affection blossom from the ritual of assisting the persistence of a pattern? Does biological life make a difference? A Tardigotchi owner cares for a real and a virtual creature simultaneously. By pushing a button, the virtual pet is fed, this in turn will feed the tardigrade. An owner may also attend to the Tardigotchi online through a social web presence. Sending an email to the virtual character triggers a heating lamp, relaying a momentary signal of warmth to the tardigrade, while prompting the pixilated tardigrade to recline and soak up animated sunrays. Tardigotchi applies a salve to our yearnings for care and nurture through a unique design that symbiotically merges biological and artificial life within a single interface/enclosure. It also serves as a reminder of the special inclination humans have to commune with other animals, perhaps equally with artificial ones. Humans, along with the inhabitants of Tardigotchi, and every other living being, are neighbors subsisting on an incredibly precarious life-sphere known as Earth.

Off the Map is an animation completely realized using texture and procedural mapping. The only model used is a set of 3 squares. All of what you see happens on the surfaces of these squares. Off the Map is a 4-dimensional painting.

Horribile Pictu is a project dealing with Hungarian politics. Since the parlamentary elections of 2010 Hungary has an autocratic government which spends considerable money on the construction of their image, kind of a rosy picture about Hungary’s glorious days enjoyed by its citizens under its government’s rule. The image of Hungarian reality is also expressed through photographes accompanied by English captions published day by they on a website dedicated to reach international audiences. The website’s name is “Hungary Matters” and each picture is called “Photo of the Day”.

The video submitted, called “Horribile Pictu 1” is the first of a series which are born out of my desire to correct some of these pictures. “Horribile Pictu 1” not only wears the traces of the picture captioned: “Representatives of Austria, Hungary and Slovakia mark anniversary of Iron Curtain fall in Sopron”, but it actually shows how those traces are made.

By expressing the image in the mind on the display in real-time, inspiration comes to stay on the picture.

My body of work presents the concept of transcendence and spirituality in Eastern philosophy. It encompasses Eastern principles and spiritual meaning, showing parallels between the spiritual and the physical plane. My Buddhist experiences significantly influence my work because they have a strong emotional, spiritual, and intellectual effect on my life. Viewers may not receive my message directly, but it will challenge them to discover their own paths to the spiritual world in this moment in time. In this work, I used a pattern generator to experiment with the traditional lotus motif on semiconductor material. This image represents a transcendent path from the past to the present and from the material world to the spiritual world. I attempt to express new concepts of design that are transcendental dialogues beyond the appearance of the physical world. My belief is that art and science are ultimately one. One does not exist without the other; improvements in one reflect improvements in the other. The union of artistic idea and scientific exploration will bring new opportunities and knowledge, not only for art itself, but – through the integration of the two fields – a new insight

Summary

Kam tries to twist our familiarity with ubiquitous cameras surrounded us by its look of human eyeball and its behavior of following you and imitating your blinks. It exposes itself by reacting to us, otherwise barely recognizable. It makes us conscious to it and realize our own bodily existence.

Abstract

Eyes are everywhere. Cheap and accessible technology products with high-resolution imaging capacity are in every corner of our surroundings to surveil us. They watch us, record us, and even recognize us. These artificial gazes became so ubiquitous and so familiar to us that we are not even aware of them in everyday lives. Meanwhile, human senses interact with each other and transfer from one to another. We hear vibrations, feel textures by seeing, smell tastes, taste tactility, and so on. We feel the movement only by seeing stopped escalator. Our vision translates the visual information to activate the motor sensation embedded to somewhere in the body. Kam tries to twist the one’s familiarity by the phenomenon of the other. The eyeball-shaped camera follows you and imitates your blinks. The unfamiliar and unexpected behavior of this robotic camera gives lively feel to it and, at the same time, becomes eerie and unreal. It also makes you realize your sensation of blink when you find yourself trying to make it blink. Even its mechanical sounds seem to make you feel your blink physically. Kam utilizes the face recognition algorithms to see one layer deeper onto our facial expression. It exposes itself by reacting to the expression, when we would not even aware of it otherwise. It makes us pay conscious attention to it and realize our own bodily existence. Kam intended this trivial daily happening to become a meaningful experience.

Technology is ubiquitous. Future is everywhere. I believe that all the trivial things surround us make nows’ so as to gather to form the future. As once insisted, the future is already at hand. What we can do is to discover, and to stay sensitive. Another question is how we can get well along with the technology. Technology must help us humans to explore and discover. And, it must enrich our experiences along the way.

I am especially interested in the sensory aspect of experience. I wonder if the technology can enrich our senses where the ubiquity could be obstructive or even harmful emotionally and cognitively otherwise. And, I wonder if the technology can help us discover ourselves by realizing our own senses, so as to enhance the humanity.

What Numb tries to experiment is how a human perceives the self by exchanging sensations with technology. The exchange of blinks works as medium of the relationship between the human and Numb, letting us to be aware of our own physical sensation. This realization may bring up some inquiries. How do we build relationships with artifacts? How do we communicate with them through senses? How does each other share senses?

TV Being-005, one of the Digital Being series, is developing its consciousness with observing outside through an internal camera. Normally it is deep in meditation displaying a line like “Nam June Paik’s ‘Zen For TV'”, but when people come close enough, it turns on its screen, showing what it sees.

Humans have developed technology hoping to live safe and healthy lives. Consequentially, we are surrounded by what we have made—a new environment for a new creature, “Digital Being.”

Digital Being is an invisible and formless creature born from discarded and forgotten technologies. It reveals itself through atypical movements or an interaction according to the machinery that it dominates.

Summary

“Hello, World!”, a version of a character in my hypothesis, Digital Being, has arrived into screens through the network. I don’t know why, but, after arriving, it started to create a flag image by collecting small pixels. Please come closer and see what it is doing by touching the screen.

Abstract

I have been looking for an invisible and formless creature born out of abandoned technology for 10 years in New York City. I call it Digital Being. This creature has atypical movements or other interactions depending on the machine it dominates. It can also transport itself through the network that we made.

Digital Being: “Hello, World!”, a primitive version of the digital being family, has arrived into LCD touch screens through the network. It seems that it is thinking of the notion of a country by depicting the shape of a flag, like people have made a country coevolutionary. Please come closer and see what it is doing by touching the screen.

We have created many digital devices and systems based on digital technology, and now I.O.T. Technology has begun to connect each other.. And to control this IOT technology, we are developing AI technology once again. Most people have already become users, not creators, and even those who developed the technology don’t know why their AI led to the conclusion. The world where I am living is becoming more and more like an artificial living thing. We might already live the era of technological singularity. Sharing my artwork, I want to bring this question to discuss with audiences.

With this work, I am interested in applying a hands-on, organic approach to otherwise precise art forms. In exploring the influence of digital culture’s cut-and-paste phenomena, I employ multilayering, sampling, and repetition of images. These appropriation and remixing techniques are found in modern electronic music production as well as older artistic forms such as quilt making. In doing this, I hope to perpetuate these traditional cultural concepts while adapting them to a new technological terrain.

As the Internet becomes more and more popular and advanced, people want to keep online and share his/her status with friends at any time and any place. Because of this trend, all kinds of websites that provide social networking services, such as Twitter, become very popular rapidly. However, as more and more social networking users demanding higher immediateness and interaction, using mobile device to send message or to tweet their status is still insufficient. Consequently, we start to integrate everyday commodities (such as coffee mug) with electronic sensors. These reformed commodities or furniture in the living space can communicate with computer through wireless channel, so that the system could know the current status of the user. With this configuration, the system would tweet what we are doing to Twitter website. For example, when we turn off the light at the living room and get ready to go to bed late at night, the system would send message such as “I am going to bed, good night” automatically because the light is obviously dimmed; or when the user holds his/her mug, the system would send message such as “so thirsty, let’s have a cup of mocha”. During the exhibition, participants can share own private status with worldwide friends by just a simply behavior of using these reformed commodities or furniture. On the other hand, participants also can follow “Life Twitter” (account name is “”_test_dk””, http://twitter.com/_test_dk), and monitor everything in the exhibition space anytime anywhere. In summary, we propose a system that reshapes everyday commodities with sensors. When users use these reformed commodities, the system would tweet what they are doing.

My work is an installation made with MR technology. “MR” means “Mixed Reality.” This technology can mix physical space and computer graphics on HMD. I created a new medium for face to face communication. Co-developed with technical collaboration with Mixed Reality Systems Laboratory.

Communication from human to human includes nuance, gesture as well as spoken language. Over time, numerous inventions of mass communication were developed which step by step took away the necessity of face to face contact. Today, communication technology via telephone, radio, TV, cellular phone, and the Internet is continuing to expand the human experience and the ability communicate globally, lessening in-person contact.

A troubling aspect of these new technologies is that they eliminate in-person communication. In the “virtual” world, there is less and less need for physical presence when interacting with one another. Surrounded by various media, we are losing some of our humanistic communication skills. There are some feelings and information that can only be expressed by physically interacting with another human face to face.

“Contact Water,” is the name of my work, and hopefully will become a tool to enable people to communicate face to face.

When using this new medium, players at first sight will discover the importance of face to face communication, which is usually lacking in current media.

They will also realize that in-person nonverbal communication through facial expressions and gestures are precious to us, and essential to communication.

The words “animation” and “animism” both derive from the Latin word “anima,” which means life principle or soul. This work is a visual expression of the triangular realm formed by these three words. Animism here represents Asia’s ancient religion, and the title, Kashikokimono, stands for “the innumerable gods and deities of Japan.” With this work, I have tried to create images that express this profusion of gods representing all of creation. With the goal of creating a new type of organic visual expression, I used a combination of hand-drawn animation and software-based generative animation.

Explore a fantasy world experience at some time, somewhere in our memory. Phantasm is an interactive installation in which participants are illuminated in a small, dreamlike space. As you grasp a glowing sphere, the area lights up in pale blue light, and white butterflies appear from nowhere as a soft piano melody flows. Butterflies fly slowly and gloriously, gathering toward the sphere, and chase you as you move the sphere. The sphere is the key to the real world and fantasy. Participants can experience the nostalgia of playing with butterflies by moving around or holding the sphere in the air. Beautiful white butterflies draw wing strokes in the air as if they are symbols of a fantasy world; they delicately lead you into their world. If you cover the sphere with your hands to shut out the light, the butterflies gradually disappear, leaving silence and lingering light, bringing you back to reality. You will find yourself perplexed, as if you have experienced a fleeting dream.

The sound installation aims to bring artificial life into the real world. Environmental patterns, including human behaviors and wifi signals, are captured by a distributed autonomous sensor network (as an application of artificial life) to form a soundscape.

The soundscape is a mixture of two different sound files. One with a chaotic but quiet ambient sound and the other with more noisy peaky sound. They are set to correspond to the ‘resting’ and ‘resonating’ states, respectively. When larger number of people come to the venue, the more number of sensor devices enter a resonating state. Or even without the people in the venue, the network spontaneously enters the resonating state when the environmental light becomes stronger. Visitors can sense the difference of the state by listening to the sound if they stay more than 10 minutes in the venue.

Ten Thousand Cents is a digital artwork that creates a representation of a US $100 bill. Using a custom drawing tool, thousands of individuals working in isolation from one another painted tiny parts of the bill with no knowledge of the overall task. Workers were paid one cent each via Amazon’s Mechanical Turk distributed labor tool. The total labor cost to create the bill, the artwork created, and the reproductions available for purchase are all $100. The work is presented as a video piece with all 10,000 parts being drawn simultaneously. The project explores the circumstances we live in, a new and uncharted combination of digital labor markets, “crowdsourcing,” “virtual economies,” and digital reproduction.

Over the past century, it has become ordinary to experience motion pictures on large screens
in movie theaters or as video projections. These modern projection instruments developed from what was called the “magic lantern,” invented in Europe during the second half of the 17th century. While the magic lantern was invented in the West, it influenced the emergence of a new type of entertainment in 18th-century Japan known as Utsushi-e, an original hybrid of the ancient Asian shadow play and the Western magic-lantern show. It can be considered a close ancestor of movies, preceding them by a mere century. In Utsushi-e, instead of merely projecting a series of pre-fabricated images on a screen, artists created “motion pictures” via a mixture of live art, light manipulation, narration, and painted images. Artists built on audience response, and an interaction developed between the two. Takashi’s Seasons is a sequential live shadow-puppet show/video performance in which various scenes interpreting the four seasons are performed by a modern Utsushi-e artist. Children are seen walking back to school with their school bags in the spring (the academic year begins in April in Japan). The proud performance of cicadas can be heard on a hot summer evening. Dragonflies smoothly glide in the cool air of a fall afternoon. On New Year’s Eve, the chimes of temple bells are heard in the freezing winter night. This work does not intend to offer a common point of reflection for all to understand and cherish. Rather, the piece intends to evoke personal memories that are strongly tied to the four seasons, interpreted through a Japanese cultural perspective. Through the presented vignettes, this piece vividly brings back those personal memories, presenting them as a unified experience.

Homes presents the interior spaces where people from the fishing village of Tai O live. The installation includes the everyday objects with which they surround themselves. Two LCD monitors show virtual interiors of two village houses. Visitors to the installation can wander these virtual interior spaces by using trackballs attached to each screen. A large photo showing the street where the houses are located is on a facing wall.

Manzanar, an oasis in the high desert of Eastern California, was the first of over ten internment camps erected during World War II to incarcerate Japanese American families solely on the basis of their ancestry. Though this specific instance was ruled unconstitutional in 1988, mass internment of an entire group “in cases of military necessity” is still legal. Ethnic groups whose countries of origin are considered “rogue states” by the American government can legally be interned without trial if tensions between the countries escalate into violence.

In 1979 during the Iranian hostage crisis, there were physical attacks on Iranian Americans and calls to intern them “like we interned the Japanese.” For an Iranian American, it would be irony indeed to be imprisoned at Manzanar for the “sin” of Iranian ancestry: The site itself is hauntingly reminiscent of the landscapes of Iran. The grid of roads drawn in the desert by the military echoes the geometric order of an Iranian paradise garden – a further irony, for the Japanese Americans did indeed create gardens, their own “virtual reality,” within the barbed wire fences of Manzanar.

“Beyond Manzanar”, an interactive virtual reality installation, uses the medium’s unique spatial characteristics to “physically” locate you inside the Manzanar Internment Camp. As you explore the camp, visually bounded by three mountain ranges and physically constrained by the barracks and barbed wire fence, your kinesthetic sense is engaged to underscore the emotional impact of confinement. Your eyes see the passes that lead out of the valley, but you stand at the fence and can go no further. Confined within the camp, you have nowhere to go but inwards, into the refuge of memory and fantasy.

The Travels of Mariko Horo reverses the “Marco Polo Syndrome,” the symbol of Western Man exploring, categorizing, and analyzing the exotic East. The exoticizing gaze thinks itself a magnifying glass but is in actuality a half-silvered mirror. The traveler means to describe new lands, new peoples, new cultures, but in reality sees images of his own culture superimposed over a vague and exotic background.

Mariko Horo was also inspired by Japanese artists who, while Japan was closed to the outside world, constructed the West in their fantasy as an exotic and unknowable universe. They had only a few maps, books, and prints but enhanced them with their own fertile imaginations. For Japanese artists trying to imagine the West, and Western artists trying to imagine Japan, the power of imagination could often take them only as far as a vague, pseudo-Chinese fantasy – for both Far East and Far West the epitome of “foreign” and “exotic.” This geographic confusion finds echoes in Mariko’s Last Judgment scenes, inspired equally by Byzantine Christian frescos and Tibetan tankas. Mariko’s vision also reflects the “hidden Christians” in Japan who, while Christianity was forbidden on pain of death, secretly venerated images of the Buddhist Goddess of Mercy, Kannon, as the Christian Madonna.

Why did my Japanese-American grandfather convert from Buddhism to Christianity, becoming a minister and intending to return to Asia as a missionary? How did he reconcile his new faith with the darker side of Christianity, the conflict between the American promise of “one nation under God, with liberty and justice for all,” and the reality of the Japanese-American internment during World War II, or KKK preachers who burnt crosses and human beings with equal fervor? How does Christianity appear today to those caught in the crossfire of our current “crusades”?

Through the interdisciplinary medium of computer-aided video/kinetic sculptures, I create interactive, performative installations. Both visual and audio elements are simultaneously experienced in the physical domain (kinesthesia), challenging perceptions of reality through illusion. By altering perceptions and creating multi-sensory experiences, the lines between 2D, time-based imagery and 3D, tactile experiences are blurred.

These sculptural installations are assigned a CASE STUDY number (title). Each CASE STUDY encompasses three, multi-dimensional formats: the original installation; a video documentation capturing an interactive, performative aspect in which viewers become unbeknownst performers; and a mixed-media compositional design of text, image, and a nine-inch video monitor. This format depicts the work in its entirety, from concept to construction to the documentary response.

Influenced by the cognitive processes of dyslexia and its relationship to art-making, each CASE STUDY focuses on the characteristics that surround a haptic learner. In a technologically driven culture, the reality is virtually perceived.

Through the interdisciplinary medium of computer-aided video/kinetic sculptures, I create interactive, performative installations. Both visual and audio elements are simultaneously experienced in the physical domain (kinesthesia), challenging perceptions of reality through illusion. By altering perceptions and creating multi-sensory experiences, the lines between 2D, time-based imagery and 3D, tactile experiences are blurred.

These sculptural installations are assigned a CASE STUDY number (title). Each CASE STUDY encompasses three, multi-dimensional formats: the original installation; a video documentation capturing an interactive, performative aspect in which viewers become unbeknownst performers; and a mixed-media compositional design of text, image, and a nine-inch video monitor. This format depicts the work in its entirety, from concept to construction to the documentary response.

Influenced by the cognitive processes of dyslexia and its relationship to art-making, each CASE STUDY focuses on the characteristics that surround a haptic learner. In a technologically driven culture, the reality is virtually perceived.

Through the interdisciplinary medium of computer-aided video/kinetic sculptures, I create interactive, performative installations. Both visual and audio elements are simultaneously experienced in the physical domain (kinesthesia), challenging perceptions of reality through illusion. By altering perceptions and creating multi-sensory experiences, the lines between 2D, time-based imagery and 3D, tactile experiences are blurred.

These sculptural installations are assigned a CASE STUDY number (title). Each CASE STUDY encompasses three, multi-dimensional formats: the original installation; a video documentation capturing an interactive, performative aspect in which viewers become unbeknownst performers; and a mixed-media compositional design of text, image, and a nine-inch video monitor. This format depicts the work in its entirety, from concept to construction to the documentary response.

Influenced by the cognitive processes of dyslexia and its relationship to art-making, each CASE STUDY focuses on the characteristics that surround a haptic learner. In a technologically driven culture, the reality is virtually perceived.

Through the interdisciplinary medium of computer-aided video/kinetic sculptures, I create interactive performative installations. Both visual and audio elements are simultaneously experienced in the physical domain (kinesthesia), challenging perceptions of reality through illusion.

These sculptural installations are assigned a Case Study number. Each Case Study facilitates and instigates a “social happening; inducing elements of play and humor as humanistic models for interactivity with enticing traits of risk and danger. Participants and viewers become guileless subjects from an observational perspective, a view whereby human behavior, social interaction, body language, and physiognomic characteristics can be analyzed in real time.

My work is based on the language and methods used by the haptic learner. It transforms this language and understanding into a three-dimensional tactile/kinetic platform. Each Case Study provides an experiential embodiment of both body and mind, which I call “hapticism”. Hapticism is akin to the somatic, in which we learn principally through the physical body itself. With the aid of technology, these interactive works of art utilize kinetic methods to produce a reality virtually perceived by the haptic learner. Hapticism may be a model for integrating art, culture, and technology – for stimulating our senses while engaging our intellect.

“CASE STUDY 5510” is a contemporary version of a dual-activated guillotine, offering participants a heightened virtual experience (psychophysiology). A supplement to this piece is “CASE STUDY 5510-B” – live video imagery of the subject’s facial expression. Participants and viewers become subjects from an observational perspective, providing a simulated clinical “case study.”

Psychophysiology is the study of the correlation between the human psychological and physiological domains, exploring the intricate interface of mind, brain, and body. This field of study is concerned with how mental events, such as feelings and thoughts, affect bodily processes. As an artist and researcher, I design pilot projects (CASE STUDIES – performance-like interactive, video-kinetic electronic installations) as experimental models to explore the field of psychophysiology in the context of electronic media. These studies investigate virtual and real experiences while examining the art of perception. The exhibition venue provides a platform for clinical observations of social and cultural interaction. Bridging the fields of art and science, these pilot studies exemplify scientific theories. In the era of techno-driven culture, art as a discipline of research broadens the interpretation of visual literacy to include multiple areas of study.

Our lives are experienced between physical layers, as fabrics, with many obstacles between layers of thoughts. Sometimes a woman wears many layers as obstacles, physical layers as fabrics, as well as layers of thoughts, and sometimes-emotional layers. To reveal herself a woman should remove all the layers, not the ones she wears, but the layers that conceal all her thoughts and desires. We all want to go out into the light, to break out into the world. The sustained way sometimes takes courage to get up and change ourselves, to do something, to change things as they are in the rest of the world. Sometimes you must swim against the stream. Although it appears that we have progressed, we are still struggling in almost every aspect of life. It is especially important to remember to see the light in our lives, even throughout all the layers. We can close the gap. Never lose hope! There is still so much work to be accomplished on the subject of equality between women and men. This video work is dedicated to this issue from a personal perspective, of the artist, showing different feelings and aspects.

Nature resonates, resolving forms and echoing solutions similarly at small and large scales. Throughout history man has used these links to contemplate his place in the world. It can even be said that theories of the microcosm and macrocosm emerge from the primitive human instinct of empathy. My work is the result of my personal attempt to explore my connection to the natural world. Investigating the body as an archeological site, literally ‘mining’ myself, I abstract the resulting observations and extractions into poetic reflections and devices, often utilizing laboratory equipment to set the stage.

My tear project began in 2012 with the intention of harvesting my own salt by dehydrating tears in petri dishes. I documented all of my samples under compound and inverted microscopes at a range of magnification and was curious to see such variation. I knew the chemical composition of emotional tears had hormones and proteins that weren’t present in basal and reflex tears, but was that what I was seeing? After reviewing over a hundred samples, the differences and similarities were inconclusive. I consulted a lab technician and drafted sterile protocol to control my samples, avoiding cross contamination and other indirect factors. It became clear how the tears were collected had much more to do with the composition of the crystal lattice structure than what “type” of tears they were. Because a solution crystalizes around solid nuclei, debris and particles play a major role in the resulting crystalline structure. If the sample is collected off the cheek, rather than directly from the tear duct it will have excessive skin cells, which will determine the sites of nucleation. If it is the first tear shed, there will be more debris in the duct, rather than if the duct has been flushed.

Most Wanted investigates the nature of perception, recognition, and representation while examining construction of the image of the new enemy. Interpretations of a series of faceless portrayals of the most-wanted terrorists as identified by the United States government contemplate the ways in which stereotypical perceptions of people are created while pondering the relationship between image and
identity. A few months after the 9/11 attacks, I came across a comically blurry, low-resolution online image produced by the US government that pictured over 70 of the “Most Wanted” international terrorists. Each suspect was pictured from the neck up. Although individual features cannot be made out because of the extreme pixelation of the image, general characteristics can be seen on the majority of people pictured – darkish skin, men with dark facial hair, women wearing head coverings. Even with such minimal visual information, there is an overbearing sense that these physical traits define terrorism as we know it and characterize the image of the “New Enemy” in the 21st century. Taking off from this foundation, Most Wanted addresses stereotypical misrepresentations of an entire group of people and challenges the Islamophobia and xenophobia
that have given rise to distorted images of people of Middle Eastern descent living in the U.S. Most Wanted explores the idea of portraiture and the widely differing contexts in which portraits can be seen. In the specific context of the U.S. government “Most Wanted” terrorist list, the faces with darkish skin, beards, and head coverings are positioned as individuals who need to be apprehended and brought to justice – the faces of the enemy and the proponents of global terrorism. Yet, without names, gender, or even cultural background, the blurry abstract faces are simply visual
representations of unknown people. The absolute reduction of concrete facial information makes them completely unrecognizable and brings forth the question of where the
danger actually lies. Are we conflating and equating people with nations? Drawing upon my Iranian cultural heritage, I
attempt to disrupt the tendency to generalize by placing these same abstracted faces into very different contexts, referencing common beaded wall-hangings and rosaries and massproduced iconic memorabilia of and about religious figures, symbols, and stories available at any bazaar in Iran as well as shrines for those considered martyrs. Most Wanted
brings forth the question of context and challenges assumptions that we, as a viewing audience in the U.S., may unconsciously or implicitly bring to these abstracted images
of people who could be anyone. The project questions our potential to fall into easy stereotyping and misunderstanding of cultures that are not our own.

“Texas Moments” is a screen saver whose subjects were all executed by the State of Texas in the year 2000. The whimsical flying toasters we have come to expect from screen savers are instead replaced by 40 Death Row inmates slowly scrolling by, following the contents of their last meals. They cycle, one after the other, in the order in which they were executed. When a user rolls over an inmate’s thumbnail image a larger picture of them fades in with their final statement.

“Texas Moments” uses our idle computers’ monitors as a platform for social commentary. The piece was first exhibited as part of “Refresh – the Art of the Screen Saver” and has since been updated to include all of the individuals executed this past year. All images and text were culled from the Texas Department of Criminal Justice Website. The screensaver is freely available at www.texasmoments.com

Dynamic Projection [OCTA] is a projection mapping art work “in which objects move dynamically”. High-precision tracking of projected image changes featureless cube and two panels (made of styrofoam) to the “magic objects” which is intermediate of real and virtual. Moreover, the feature of accurate motion tracking enables a performer not to move according to image but move without inhibition. The system can reflect creativity of the performer and the delightful happening in the spot.

The performance is roughly divided into three scenes and reflected technological expansion until this work is produced.

Scene 1. Projection mapping to static object
It all starts from here.

Scene 2.Dynamic Projection with cube
You will notice that the particles pursue the cube which the performer moves, and trajectory of movement is displayed on the back screen.

Scene 3.Dynamic Projection with cube and panels (real-time physics calculation)
A virtual physical things inside the cube and on the panel surfaces returns a reaction according to “How the performer move objects” on site.

Other scene.Dynamic projection with panels Panel representation of the second half, has produced the illusion effect by switching the particle movements between being fixed to the panel and fixed to the space.

All of these image expressions are output from 1 fixed projector.

Digital media is ageless, even though the equipment we use to produce it becomes obsolete more quickly each year. A dot-matrix printer is essentially useless in 2015, even though it represents a recent leap forward in technology. With Palimpsest, I created a hacked scanning device for the forensic analysis of the recently discarded tech. The resulting images reveal snippets of attempted communication from the recent past that appear ancient and mysterious.

Digital media is ageless, even though the equipment we use to produce it becomes obsolete more quickly each year. A dot-matrix printer is essentially useless in 2015, even though it represents a recent leap forward in technology. With Palimpsest, I created a hacked scanning device for the forensic analysis of the recently discarded tech. The resulting images reveal snippets of attempted communication from the recent past that appear ancient and mysterious.

From the makers of the 2012 Game of the Year: The Walking Dead, comes a gritty, violent and mature thriller based on the award-winning Fables comic books (DC Comics/Vertigo). As Bigby Wolf – THE big bad wolf – you will discover that a brutal, bloody murder is just a taste of things to come in a game series where your every decision can have enormous consequences.

An evolution of Telltale’s ground-breaking choice and consequence game mechanics will ensure the player learns that even as Bigby Wolf, Sheriff of Fabletown, life in the big bad city is bloody, terrifying and dangerous.

C++ shows the difficulty and weakness of human communication in a modern Japanese society. In a world where people actually do not communicate with each other face to face, it is very important to rethink what the word “communication” really means. Today people are living in an artificial condition on the internet that results in prob­lems such as loss of identity and personal accountability. Words are almost meaningless when people blame, punish, and slander others repeatedly. The animation, C++, explores society’s value systems in regards to personal communication and responsibility.

“Tea Gypsy” is the second in a series of paintings I am creating with the thematic subject of tea. It reflects my fascination with anti-illusionism, a technique I studied as a film student in undergraduate school. I intentionally left several of my original sketch lines on the nose, mouth, and elsewhere. And I left portions of the face in a somewhat unfinished state. All to pay homage to this anti-illusionism in art. All to remind viewers that they are looking at a work of art, not a photograph or reality. All to jar viewers into reflecting on the piece rather than simply being absorbed by it.

“Tea Gypsy” is a study in the contrast of traditional art and digital art. I painted the portrait face of my character in traditional-looking techniques of oil, pastel, and ink lines; in the computer, I am able to simulate the look of those traditional media. T he remainder of the image is devoted to digital technique. It would not be possible tci paint the light-filled stained glass background with any traditional art medium; likewise, the pattern that I painted and overlaid into the drapery and head-scarf is the result of digital tools and techniques, which have no equal in the traditional art tool world.

“Tea Gypsy” is a portrait and a self-portrait. She is a portrait of Barbara Karp, the most remarkable woman I have known: a writer, opera director, and inspiring muse to me. One day Barbara said: “Terry, we have the same green eyes.” I shared with her the first print of the painting I made, melding our eyes, the last time I saw Barbara, on the eve of her death. I never told her it was a portrait of both of us, a way for me to capture her and hold her with me for eternity. But I am sure she knew. She was that perceptive and intuitive.

“Tea Gypsy” is about life and emotion. I attempted to paint every emotion I could conjure with my digital brush into her two eyes. All the emotions my friend Barbara and I faced together as we visited and talked during her last months on this planet. Fear, innocence, anger, sadness, joy, awe … My greatest joy now is to see people stand before this painting and discover those emotions in themselves as they gaze at her.

The Choreography of Everyday Movement envisions as a topographical mapping the culturally inscribed nature of our everyday travels. Using global positioning satellite (GPS) receivers, the project seeks to render visible our movement through the built environment of the city, revealing sociopolitical and poetic patterns of traffic flow through the urban body. In these drawings we see images as often as we detect the variations of a traveler’s movement through the city over time. The GPS, designed for precise measurement and navigation, is subverted and recast as a kind of giant pencil or tool for making chance compositions.

The project takes process and performance as the subject of the work. Artist, studio assistant, and traveler are all equal performers in this process-based work that explores the performance of our everyday lives.

The relationship of performer/spectator is reconfigured in the live Internet performance in which the performer is only visible as an ant-like dot crawling across the screen. The performer is insulated from the gaze of the spectator, creating a shifted and mediated economy of the gaze that stands in contrast to traditional live performance, film, or video.

The Choreography of Everyday Movement reduces the representation of movement and physical presence to the most basic visual abstraction in an attempt to privilege the poetic over the indexical.

Since first becoming aware of 3D rendering technology in the mid-1980s, I believed it was the perfect medium for expressing one’s imagination. While it is most commonly used to mimic reality, I prefer using this technology to create clean, bold, graphical images that clearly do not mimic reality but do have a photographic quality about them.

My underlying inspirational sources are mostly hidden. Although it may be obvious that many of my images are inspired by nature. Those sources are only starting points for exploration and often evolve based on discoveries I make along the way. There are usually several related perspectives to explore, and each may develop separately over time. This was the case with the image presented here. It is one of several images, originally inspired by dreaming about pixels, in which I used rectangular blocks as compositional elements. Each of these images explores, from a slightly different perspective, a long-held fascination with structure.

The computer provides a wonderful environment for experimentation. No materials are wasted. Setup time is minimal. Tests can be easily and quickly saved. Changes can be made and different versions can be combined. I try to take full advantage of these attributes by incorporating experimentation into my workflow. I usually begin with only a very loose concept in mind. I am often motivated by something I’ve seen. Sometimes a simple shape can begin the process. Through experimentation, I usually discover multiple directions the work could take, and I may spend months exploring these in depth, creating several images along the way. I am currently fascinated by surface relationships and how surfaces can be used as structural elements within a composition. By surfaces, I mean shapes with very little thickness. In three-dimensional modeling, surfaces with no thickness are possible but they do not convey a proper sense of form and substance. I usually want to maintain a sense of reality in my work. I want my scenes to appear to exist in real space and to have physical attributes that suggest they could exist.

My goal is always to present more than the technology I use. I want my images to be emotionally evocative and to succeed on the basis of their visual impact rather than any implied meaning. It’s a grand expectation that may never be completely satisfied. I believe the artist’s initiative begins a process that only develops its full potential through those who experience it. I encourage you to explore for yourself and share your own creativity in the completion of this process.

The computer provides a wonderful environment for experimentation. No materials are wasted. Setup time is minimal. Tests can be easily and quickly saved. Changes can be made and different versions can be combined. I try to take full advantage of these attributes by incorporating experimentation into my workflow. I usually begin with only a very loose concept in mind. I am often motivated by something I’ve seen. Sometimes a simple shape can begin the process. Through experimentation, I usually discover multiple directions the work could take, and I may spend months exploring these in depth, creating several images along the way. I am currently fascinated by surface relationships and how surfaces can be used as structural elements within a composition. By surfaces, I mean shapes with very little thickness. In three-dimensional modeling, surfaces with no thickness are possible but they do not convey a proper sense of form and substance. I usually want to maintain a sense of reality in my work. I want my scenes to appear to exist in real space and to have physical attributes that suggest they could exist.

My goal is always to present more than the technology I use. I want my images to be emotionally evocative and to succeed on the basis of their visual impact rather than any implied meaning. It’s a grand expectation that may never be completely satisfied. I believe the artist’s initiative begins a process that only develops its full potential through those who experience it. I encourage you to explore for yourself and share your own creativity in the completion of this process.

The computer provides a wonderful environment for experimentation. No materials are wasted. Setup time is minimal. Tests can be easily and quickly saved. Changes can be made and different versions can be combined. I try to take full advantage of these attributes by incorporating experimentation into my workflow. I usually begin with only a very loose concept in mind. I am often motivated by something I’ve seen. Sometimes a simple shape can begin the process. Through experimentation, I usually discover multiple directions the work could take, and I may spend months exploring these in depth, creating several images along the way. I am currently fascinated by surface relationships and how surfaces can be used as structural elements within a composition. By surfaces, I mean shapes with very little thickness. In three-dimensional modeling, surfaces with no thickness are possible but they do not convey a proper sense of form and substance. I usually want to maintain a sense of reality in my work. I want my scenes to appear to exist in real space and to have physical attributes that suggest they could exist.

My goal is always to present more than the technology I use. I want my images to be emotionally evocative and to succeed on the basis of their visual impact rather than any implied meaning. It’s a grand expectation that may never be completely satisfied. I believe the artist’s initiative begins a process that only develops its full potential through those who experience it. I encourage you to explore for yourself and share your own creativity in the completion of this process.

The objective of this project is the development of new kinds of low-cost, high-quality, masscustomizable building assembly systems that provide visually rich design variations for housing and other small structures. The building systems are intended to be tailored for particular cultures and communities by incorporating local, vernacular, decorative design into the assembly design.

Two complementary areas of computational design are brought together in this work: shape grammars and digital fabrication. The visual, aesthetic aspects of the research are explored through shape grammars. The physical design and manufacturing aspects are explored through advanced digital design and fabrication technologies, and, in particular, they build on recent work on mono-material, interlocking, component-based assemblies with parts that can be fabricated with CNC machines and assembled easily by hand. The long-term objective is development of visualphysical design grammars with rules that generate complete CAD/CAM data for fabrication of full-scale components for assembly design variations.

If successful, the results of this research will lead to new solutions for economical, easily manufactured housing, which is especially critical in developing countries and for post-disaster environments. These new housing solutions will not only provide shelter, but will also support important cultural values through the integration of familiar visual design features. The use of inexpensive, portable digital design and fabrication technologies will allow local communities to be active participants in the design and construction of their homes.

Beyond the specific context of housing, visual-physical grammars have the potential to positively affect design and manufacture of artifacts at many scales, and in many domains, particularly for artifacts where visual aesthetics need to be considered jointly with physical or material requirements and design customization or variation is important.

A proof-of-concept study was initiated to establish the potential of this research. A visual, vernacular language of ancient Greek meander designs is the basis for the study. Figure 1 shows an excerpt from a grammar that generates a language of meander variations. The grammar rules generate a wide range of meander patterns (Figure 2) by stacking, shifting, and reflecting rows of meanders. This twodimensional visual language was then translated into a three-dimensional building system.

The components of the system are uniquely designed “meander bricks” (Figure 3). The components have integrated alignment features so that they can be easily fitted and locked together manually without binding materials. The meander bricks were 3D printed at desktop scale with a layered manufacturing machine to assess the visual and structural feasibility of the system. Figure 4 shows a wall being assembled. Figure 5 shows some of the many different meander-wall patterns that can be generated with the system.

The next steps of this study include construction of a full-scale mockup of a wall section and development of an automated visual-physical grammar for machine fabrication of full-scale components for wall-pattern variations. This research will undoubtedly open up new questions and provide the foundations for the longer-term, broader project on assembly systems for complete houses and other small-scale structures

No matter who you are or what kinds of games you play, flOw is designed for you to dive into the zone and lose track of time.

Flower is a video game version of a poem, exploring the tension between urban bustle and natural serenity. Players enter various flowers’ dreams to transform the world. And hopefully, by the end of the journey, they change a little as well.

Journey is an anonymous online adventure in which you experience a person’s life passage and their intersections with others. Experience the wonder. Discover the journey.

In Project Paradise, a telepresence installation that enables two isolated participants to interact with each other by projecting themselves into a remote “paradise;’ participants “inhabit” the bodies of remote human avatars to engage in “physical” interaction. The interaction occurs through telerobotics, live video, and audio conversation between participants. Visitors control the mechanically augmented human avatars as live video returns first-person perspectives of the environment. Through the empathy invoked by the human avatars, Project Paradise extends traditional telepresence to engage in sending and receiving human will and emotion.

Artists at remote sites around the world work cooperatively by telecommunication on interactive paintings existing in cyberspace and visible on a video wall at SIGGRAPH ’92.

The Lust card from the tarot was the inspiration for La Lussuria. It represents hidden intentions and secret knowledge, enticing you even though it is forbidden.

I communicate more effectively through imagery, and I value the response of the viewer because it helps me to gain a better understanding of my work.

All base images are my own original black-and-white, 35mm, medium-format, or large-format photographs. Final photographic fiber prints are then scanned and manipulated using Adobe Photoshop 7.0. They are then printed on a LightJet printer onto Kodak semi-matte paper.

The Crone is my tribute to the “Kitchen Witch.” The symbol in the center is the talisman they use to invoke the power of the goat. It is commonly used in love or lust spells or to simply give them more power during invocation.

I communicate more effectively through imagery, and I value the response of the viewer because it helps me to gain a better understanding of my work.

All base images are my own original black-and-white, 35mm, medium-format, or large-format photographs. Final photographic fiber prints are then scanned and manipulated using Adobe Photoshop 7.0. They are then printed on a LightJet printer onto Kodak semi-matte paper.

The artistic concept of the piece exhale is in its most essential form: “to wear our breath,” as a mechanism for redirecting our attention to our own body states, individually and between bodies in a space, creating a group ecology through its breath. In exhale, the breath is contained within the body, and also is worn on the body, shared through the garments and the garments response in a group-body, a group-breath. This cycle of inside and outside forms the modes of representation selected for this wearable art installation. exhale is a whisper[s] research group project based on designing and fabricating “a-wearable” body networks for public spaces. The rhythm of networked group breath is used as an interface for interaction and a mechanism for sharing our bodies’ affective non-verbal data.

We use the networked breath of the participants within the system to actuate the responses of small fans, vibrators, and speakers that are embedded in the lining of sensually evocative skirts worn close to the body. This work integrates gestural interaction with fashion, developing new communication metaphors for wearable technologies network design.

Art and Science
This work embodies the confluence of artistic design and expression with software and hardware technology. The whisper[s] research group combines backgrounds in fabric and garment design, choreography, and complex software systems, including both hardware and software architectures. The resulting work was influenced by their practices with modeling experience studies, networked micro-controllers, and real-time systems. It applies tools from choreography, such as Laban Effort/Shape Analysis, along with linguistic and statistical analysis, to investigate the physiological data that the work utilizes. The garments employ conductive fabric, shaped equally by the needs of the electronic elements and the design aesthetics. Placement and organization of the sensors and transducers is guided by body
ergonomics, bio-energy systems, and interface design. Movement analysis is used to frame gestural interaction , creating playful, intimate connections between participants.

Vision
In this work, garments are a step in a progression to systems that transparently exchange and express internal body state and intention via participant-mediated communication, mixing physiology-derived information with gestures and other non-verbal mechanisms. Concepts of device “listening” and biofeedback enable what we term subtle machine learning. The garments provide an environment in which we can augment verbal and visual modes of communication, where the quality of a gesture can replace many words, and can be exchanged with their affects as well as their effects through out-of-band pathways.

Experience
Participants walk towards the darkened space, becoming aware of eight textured and sensual garments: skirts made of silks and organza, natural fibers in earthy and vibrant tones, hanging from cables stretched from ceiling to floor. The visual image is a small forest of “skirt trees”: skirts suspended at various heights in space, connected to vertical cables dropping in plumb lines to the earth. A light positioned at the base of each skirt illuminates it upward from below, highlighting and bringing light to its materiality. Guides assist the participant in putting on the skirt and wrapping the breath sensor around the rib cage. As participants move through the space, consciously shifting their own breathing cycles, they create the interactions of self to self, self to other, and self to group: wirelessly communicating and creating a shared breath state. And as the lining of each skirt “breathes” with the participants, the small fans and vibrators respond to the breath beneath the lining unseen to others; the small speaker within the skirt marks the sounds of the breath data, creating a body network that tickles and caresses and whispers from within.

Innovation
The core technical innovation of exhale: (breath between bodies) is integration of non-verbal models of network communication in a playful multi-modal environment, using layers of directionally conductive fabric to provide both electronic pathways within the garment systems and a sensual tactile experience for participants. Connections between participants are realized through specialized electronics and embodied through acts of physical contact, designed using gestural models for interaction. The fabric that forms the conductive layers within the garment has electrical behavior due to its construction as a combination of very fine silver or gold wire with traditional materials such as silk. This conductive fabric is used as a replacement for conventional wiring, which is much heavier and less flexible. It is also used to form simple touch or pressure sensors, via contact between layers, and identification patches, using isolated fabric regions that include devices that have unique electronic signatures. Touch zones on the garment (or another garment) can make contact with these isolated regions, and the signature can be “read” to establish self-to-self, self-to-other, and self-to-group connections.

The VR Comper series of slow-art constructions represents historical-futuristic visualization devices. As stand-in artifacts from an imagined past (a pseudo-Victorian period), they evoke peculiar overarching notions between “Alberti’s Window,” Duchamp’s “Large Glass,” and other visual mechanistic antecedents to today’s electronic compositing systems. The artist’s approach is one that encourages viewers’ conceptual entanglements of faux realities. The piece is intended to create curious tensions in pinpointing its temporal (historical /current /futuristic) and/or conceptual (art/utility) locations, simultaneously both contentious and concrete.

In indoor physical spaces, the door is the main obstacle to entering and exiting rooms and hallways. From a usability perspective, Donald Norman is celebrated for wondering how “such a simple thing as a door” can be “so confusing” [7]. The door as physical object has been transformed metaphorically into a transportation device that allows us to completely shift our perspective from one location to the next. The object itself is often imagined as a “portal” between spaces and worlds, as it was in 1950 in the quintessential fantasy novel, The Lion, the Witch, and the Wardrobe, by C. S. Lewis. The children in the story open an apparently ordinary wardrobe door and are transported to the magical world of Narnia. Many other movies and stories use doors as portals through time and space, such as the phone booth door in the movie Bill and Ted’s Excellent Adventure.

Doors by THÉORIZ Studio, a group of artists and designers based in Villeurbanne, France, is a portal that takes on the middle ground between virtual and physical space. Built around the structure of an actual door, sensors surrounding the door track visitors’ movements and change the portal on the screen’s perspective in a real-time anamorphic system that adjusts to their visual angle in real time. The project uses four-channel, immersive spatialized sound so that onlookers can be immersed in virtual landscapes by simply moving their bodies around the space. Doors fits the theme of “data materialities” as it uses the framework of a physical door and manifests itself only through physical interaction with visitors, whose angle of view becomes the pivotal interaction point of data manipulation.