Pan, Tilt and Zoom
Three motorized CCTV dome cameras are installed on the gallery floor. The built-in auto-tracking function makes the cameras follow any motion in the room. While moving its lens the center of the weight of the device shifts and the whole camera starts to roll on the floor. As a result the software is confronted with even more motion which needs to be tracked. From time to time the cameras bump into each other or start to follow and trigger each other movements.

Future Dance of Nostalgia
Future Dance of Nostalgia is a dancing game which invites audience to perform the choreography that extracts and abstracts the movements found in the pre-industrial, heavy physical labour, and work songs. Motion tracking technology allows the body movements to be quantified, measured, and evaluated. Historical archives of work songs provide the inspiration for the music that renders the old tales and melodies into clubbing beats that lead the dance.

Satellarium II
Sun Outage is a degradation or temporary interruption of satellite signal caused by solar radiation. In these moments satellites occur to be in between the Sun and the Earth, producing with their shadows an invisible eclipse. Satellarium II shows these astronomical events through a variation of visuals and sounds in the room in which it is exhibited. The installation consists of a set up of multi channel surround speakers and graphics projected on a disk above the viewers, representing the fragment of the visible sky from the location of the artwork. Visuals and sounds are based on real time tracking of the satellites position and magnitude (brightness of a satellite as it appears in the night sky from Earth). The gradient on the background of the projection represents the sun and it is related to its real-time position in the sky.

Bilateral Time Slicer
A biometric tracking system finds the axis of symmetry of members of the public and splits a live camera image into two slices. With each new participant time slices are recorded and pushed aside. When no one is viewing the work, the slices close and rejoin creating a procession of past recordings.

Animistic Imagery
The exhibit introduces visitors to Duffy, the AI Artist, with an invitation to collaborate inside her Symbiotic Studio. This immersive space, made possible through projection mapping and interactive technology, invites guests to become the AI’s muse. As Duffy captures movements generated by visitors through real-time tracking, she draws links and connections, consulting a vast collection of colors and archetypal images of life on Earth. The result is an infinite series of surprising works of art—an artificial interpretation of humanity and the natural world.

Nadi Generative Art
Nadi is a Digital display of Kinetics and Energetics of Body Movements involved in Yoga. The visuals are created by investigating the flow of data, using the human body as a vehicle. With the support of computer vision technologies, a visual trail is formed by tracking the body movements during yogic postures. Inspired from Indian Yogic Science, we have visually depicted aspects of light, matter and energy in our forms. The generative nature of the visual comes from the digital juxtaposition of the poses that the body generates with each pose.

Sounds of Silence
Inside the exhibition, there’s not a word of written text, and few traditional photos or videos. Instead, you get abstract spatial graphics. Tracking systems respond as you navigate the exhibit, and an unseen voice hints at what you might do. There’s a snowy cotton-like entry, radio-like sound effects, and then a pathway to explore silence from the start of the universe until this century.

CHBL Jammer Coat
The CHBL Jammer Coat is a piece of clothing that enables its user to disappear: Google cannot find you anymore. The piece is made of metallized fabrics, which are blocking radio waves and shielding the wearer against tracking devices. You are no longer reachable on your mobile phone and no information from your credit card can be captured. The Wave Circle pattern of the fabric gives an illusion of strange multiple body parts, which hides and frees the individual physicality.

WINDLICHT
WINDLICHT is a artwork by Roosegaarde which shows the beauty of green energy by connecting windmill blades with lines of light. Special software and tracking technology detect the windmill blades rotating at 280 kilometres per hour. Visitors can tune into radio canal WINDLICHT FM 105.3 FM to hear the stories behind the artwork. WINDLICHT creates the missing link between the Dutch and the beauty of our new landscape.

no(where) now(here)
Fashion designer Ying Gao has fabricated a pair of dresses that writhe around and light up when someone stares at them.”We use an eye-tracking system so the dresses move when a spectator is staring,” Ying Gao told Dezeen. “[The system] can also turn off the lights, then the dresses illuminate.” The gaze-activated dresses are embedded with eye-tracking technology that responds to an observer’s gaze by activating tiny motors to move parts of the dresses in mesmerising patterns.

Silk
The installation is tracking the real time changes in the market activities related to cryptocurrencies Bitcoin and Litecoin – independent and uncontrolled by any state peer-to-peer payment systems. Constantly changing currency rate of of Bitcoin against major world currencies is influencing the strain of strings in installation and the way the picks are hitting them. The robotic system of the artwork is directed by a computer algorithm: influenced by dynamic changes of data, the installation sounds like a complex sound instrument.

INORI (Prayer)
The latest work to utilize real time tracking and face projection mapping using a state of the art 1000 fps projector and ultra high speed sensing, “INORI-prayer-,“ has been released. This project was born by the collaboration with Nobumichi Asai (WOW) ,the dancing duo AyaBambi, and the Ishikawa Watanabe Laboratory (the University of Tokyo), TOKYO.

SPACE WASTE LAB PERFORMANCE is a unique large-scale outdoor artwork of LEDs and real-time tracking information to visualise space waste above your head on an altitude of 200 to 20.000 kilometers. A real piece of space waste is part of the outside exhibition. Special designed software and camera technology developed in the last year enables the SPACE WASTE LAB PERFORMANCE to be exhibited international, in compliance with strict safety and aviation regulations.

Diamandini
Diamandini is a 155cm tall custom-made humanoid robot incorporating an omni-directional wheeled motion platform; cameras, laser scanners and computers for real-time tracking and installation control. The humanoid robot is being developed through a five year research project between Mari Velonaki and robotics scientists at the Centre for Social Robotics, Australian Centre for Field Robotics, the University of Sydney.

Reface [Portrait Sequencer]

Reface [Portrait Sequencer] by Golan Levin and Zachary Lieberman (2007) is a surreal video mash-up that composes endless combinations of its visitors’ faces. Based on the Victorian “Exquisite Corpse” parlor game, the Reface installation records and dynamically remixes brief video slices of its viewers’ mouths, eyes and brows. Reface uses face-tracking techniques to allow automatic alignment and segmentation of its participants’ faces. As a result, visitors to the project can move around freely in front of the display without worrying about lining up their face for the system’s camera. The video clips recorded by the project are “edited” by the participants’ own eye blinks. Blinking also triggers the display to advance to the next set of face combinations. Through interactions with an image wholly constructed from its own history of being viewed, Reface makes possible a new form of inventive play with one’s own appearance and identity. The resulting kinetic portraiture blends the personalities and genetic traits of its visitors to create a “generative group portrait” of the people in the project’s locale.

Эрнесто Клар
Luzes Relacionais
File Festival
“Luzes Relacionais” (Relational Lights) é uma instalação interativa audiovisual que explora a relação das pessoas com o caráter orgânico-expressivo do “espaço”. A instalação usa luz, som, neblina e um sistema de software customizado para criar um espaço-luz tridimensional de morphing (metamorfose), em que os espectadores participam ativamente, manipulando-o com sua presença e seus movimentos[…] A obra funciona como um organismo vivo, com ou sem a presença e a interação dos espectadores. Quando os espectadores saem da área de rastreamento ativo, o sistema começa seu próprio diálogo com o espaço através de extrusão e transformação de sequências de formas geométricas luminosas. Quando os espectadores penetram e interagem com o espaço-luz projetado, uma expressão coletiva e participativa do espaço se desdobra. “Luzes Relacionais” amplia o tecido tridimensional do espaço, tornando-o visível, audível e tangível aos participantes.

Canoe
The work here in Dawson is like an old vehicle in which I’ve put a new engine. Entitled Canoe, it consists of an approximately 20 foot long trough of water, that resembles some kind of boat. This provides a means for a gunwales tracking mechanism to slowly, endlessly paddle its way back and forth. It was first constructed in 2001 in a studio beside Halifax harbour. It draws visual inspiration from the bridges and water vessels of this port. Conceptually, it grew from an interest in technological obsolescence: how things (like canoes) make shifts from utility to leisure.
It has experienced several major rebuilds since 2001. Most of them have been practical, but for Dawson I’ve opted for an experimental configuration that changes significantly the nature of the work. Previously, Canoe has only ever been shown indoors. Normally in runs on rechargeable batteries, with a continuous, smooth motion. In Dawson, it is shown outdoors, alongside the Yukon river, showing up in an absurd way the paleness of its artificial river. Here, the primary source of power is sunlight.
Making use of the long northern day, solar panels receive light, storing energy in an array of super-capacitor cells. At this time, Canoe remains still. A custom circuit monitors the amount of charge, and when a predetermined trigger point is reached, it is dumped into Canoe’s electric motor in a burst, allowing it to make a few strokes. Then Canoe rests, while the charging cycle begins again. Motion is intermittent, entirely dependent on the amount and intensity of sunlight. It ranges from near standstill in overcast conditions to perhaps 1 or 2 strokes every minute in full light. The technical term for this type of circuit is a relaxation oscillator. I like this term because, if you remove it from its technical context, it points back to ideas about leisure and utility.

Magnavox Odyssey
Even if you’re a devoted fan of video games, there’s a decent chance you’re not familiar with the name Ralph H. Baer. This should be considered gamer high treason considering Baer’s importance in creating the concept of home video games and the vast, varied entertainment ecosystem now built upon them. Despite being the one to push the dominoes toward an industry that currently makes billions of dollars annually, the bulk of the gaming community has largely forgotten about him.Now a 91-year-old widower, the German-born Baer is the inventor of the Magnavox Odyssey, the world’s first video game console. The Odyssey is predated in the games-on-screens space only by experiments like Willy Higinbotham’s Tennis for Two and the coin-op dud Computer Space. But Baer also has a long and distinguished record as an engineer and inventor. The list of patents and gadgets in his name encompasses surgical-cutting equipment, “muscle-toning pulse generators,” submarine-tracking radar systems, video simulations for trainee pilots, talking books and talking doormats, iconic ‘80s toys like SIMON and Laser Command, and even launch displays and a lunar-resistant camera grip for the Saturn V and Apollo 11 space programs.

The Blur Building (an architecture of atmosphere)
The Blur Building is a media pavilion for Swiss EXPO 2002 at the base of Lake Neuchatel in Yverdon-les-Bains, Switzerland.From piles in the water, a tensegrity system of rectilinear struts and diagonal rods cantilevers out over the lake. Ramps and walkways weave through the tensegrity system, some of them providing a counterweight for the structure. The form is based on the work of Buckminster Fuller.The pavilion is made of filtered lake water shot as a fine mist through 13,000 fog nozzles creating an artificial cloud that measures 300 feet wide by 200 feet deep by 65 feet high. A built-in weather station controls fog output in response to shifting climatic conditions such as temperature, humidity, wind direction, and wind speed.The public can approach Blur via a ramped bridge. The 400 foot long ramp deposits visitors at the center of the fog mass onto a large open-air platform where movement is unregulated. Visual and acoustical references are erased along the journey toward the fog leaving only an optical “white-out” and the “white-noise” of pulsing water nozzles. Prior to entering the cloud, each visitor responds to a questionnaire/character profile and receives a “braincoat” (smart raincoat). The coat is used as protection from the wet environment and storage of the personality data for communication with the cloud’s computer network. Using tracking and location technologies, each visitor’s position can be identified and their character profiles compared to any other visitor.In the Glass Box, a space surrounded by glass on six sides, visitors experience a “sense of physical suspension only heightened by an occasional opening in the fog.” As visitors pass one another, their coats compare profiles and change color indicating the degree of attraction or repulsion, much like an involuntary blush – red for affinity, green for antipathy. The system allows interaction among 400 visitors at any time.Visitors can climb another level to the Angel Bar at the summit. The final ascent resembles the sensation of flight as one pierces through the cloud layer to the open sky. Here, visitors relax, take in the view, and choose from a large selection of commercial waters, municipal waters from world capitals, and glacial waters. At night, the fog will function as a dynamic and thick video screen.

Glow
Glow is an illuminating 30-minute choreographic essay by Artistic Director Gideon Obarzanek and interactive software creator Frieder Weiss. Beneath the glow of a sophisticated video tracking system, a lone organic being mutates in and out of human form into unfamiliar, sensual and grotesque creature states. Utilising the latest in interactive video technologies a digital landscape is generated in real time in response to the dancer’s movement. The body’s gestures are extended by and in turn manipulate the video world that surrounds it, rendering no two performances exactly the same.

Oups!
Oups!
FILE SAO PAULO 2007
Capturing and tracking camera, animated image integration and projection
Created in 2007. Oups! was born from the wish to mix new technologies and classic animation in a playful and artistic way. Each animated sequence has a script and the visitor interacts and transforms himself into an actor of this story.
When the visitor enters in a defined space, a camera records his image and projects it on a screen in front (like a mirror) in real size and time. The visitor sees himself integrated to an animation setting that follow his movements. He founds himself immersed in a creative universe of images and sounds. The animation sequences that feed this universe are stored in a video library, new animations may be added to enrich the project. Oups! universe is playful and naive, accessible to all publics and ages.
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