Nature Morte
Nature Morte focuses on Nauman’s long relationship to his own studio, a variation on his four unique multi-projection videos, Mapping the Studio (2001). Three viewing stations, each consisting of an iPad linked to a wall-sized projection, provide an interactive exploration of the 3D studio space. Only now the artist is absent, and the participant becomes performer as he/she manipulates the large scale video projections on an iPad using touch control. The participant is free to navigate anywhere throughout the space, selecting broad vistas or individual objects. Using a hand-held 3D scanner, Nauman recorded hundreds of images that allow participants to select an object and locate close-up anything found there, and further reorient the image to see an object from above and below, and at times inside-out. The resulting mobility intensifies the experience of the viewer/performer. Presenting a static, but immersive re-creation of his studio space, Nauman’s pieces once again play at the tenuous lines between the body and space, perception and physical material.

Kati Katona est une artiste multimédia basée à Budapest. Son travail est axé sur la génération, animation procédurale et 3D, art de l’installation interactive, mappage de projection et conception sonore. Kati s’inspire fortement des éléments de la nature, des structures biomorphes et des algorithmes trouvés dans la nature. En tant qu’artiste visuelle, elle a participé à divers projets audiovisuels, tels que Zagar AV Experience et se concentre constamment sur l’expérience des dernières technologies.

Re)Evolution

With the machine programed to draw, the robot becomes a medium for interaction and for “symbiosis” with the artist, creating a kind of “hybrid body” of man and machine, whose nervous system and brain waves administer “software commands” to the robot during the drawing performance. A key actor in the exhibition will be the new model of the KUKA KR 210 robot, that has a multi-functioning performative role: from drawing, experimental dance, music – through the production of industrial sound, and a six channel video projection that documents Ilić’s projects.

FRAGILE
Fragile is an audio-visual installation that aims to investigate the relationship between stressful human experience and the transformations that occur in our brain. Recent scientific research has shown that neurons belonging to different areas of our brain are affected by stress. In particular stress causes changes in neuron circuitry, impacting their plasticity, the ability to change through growth and reorganization.
Our process exploits the scientific data provided by the Society for Neuroscience and elaborates this information trying to show the effect of external interactions on our nervous system and ultimately on our relationship with the outside world. In order to achieve this we developed an artwork composed of different digital representations following one another, branching into 5 screen projections.

The exterior view of the figure and “point of view shot” are synchronised onto two projection surfaces. If a protagonist leans his head it shifts the observer’s view correspondingly. Observer, figure and object all interact. Netzhammer is not only a master of the erotic of touch, his images awaken unease: they show decay and perishability as well as regularity in the flow of life, which the subject cannot escape, much as expansion and transcendence are desired.

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A visão externa da figura e o “ponto de vista” são sincronizados em duas superfícies de projeção. Se um protagonista inclina a cabeça, ele muda a visão do observador de forma correspondente. Observador, figura e objeto interagem. Netzhammer não é apenas um mestre do erótico do tato, suas imagens despertam desconforto: mostram decadência e perecibilidade, assim como regularidade no fluxo da vida, da qual o sujeito não pode escapar, por mais que se deseje expansão e transcendência.

SMSMS-SMS Mediated Sublime

CIMs-Collective Intelligence Machines

“In 2000, I began to connect some of these computers to the mobile phone network (SMSMS-SMS Mediated Sublime, and CIMs-Collective Intelligence Machines). This enabled me to make interactive and multiple installations, connecting various locations.
In this case the flow of images was made visible by large-scale video-projections and the members of the audience were able to modify their characteristics in real time, by sending new inputs to the system from their own phones. This was done in a similar way to certain applications used in electronic democracy. What I had in mind was art which was generative, interactive and public.”

Imagerie animiste
L’exposition présente aux visiteurs Duffy, l’artiste IA, avec une invitation à collaborer au sein de son studio Symbiotic. Cet espace immersif, rendu possible grâce à la projection mapping et à la technologie interactive, invite les invités à devenir l’égérie de l’IA. Alors que Duffy capture les mouvements générés par les visiteurs grâce à un suivi en temps réel, elle dessine des liens et des connexions, consultant une vaste collection de couleurs et d’images archétypales de la vie sur Terre. Le résultat est une série infinie d’œuvres d’art surprenantes – une interprétation artificielle de l’humanité et du monde naturel.

The shimmering pulse
The installation consists of 451 independent modules arranged in a form of hexagon – each module reacts to light it receives by spinning iridescent disc that spreads out thanks to centrifugal force, creating a unique kinetic “physical pixel”. That field of shimmering pixels is combined with light projection mapped onto the installation surface to visualize real-time data of the traffic in the Shenzhen area – the hexagon is divided into sections corresponding the 9 city districts. As a result the public can observe and interact with the object that represents the pulse of life of the city in an artful and unexpected way.

톰슨 & 크레이그 헤드
Belief
Belief is made from information found entirely on the worldwide web. In fifteen minutes, this two-screen installation presents a series of fragmented broadcasts about belief, all sourced from the video sharing community YouTube. A compass floor projection interacts with the montage showing where each clip originated in relation to the geographical location of the artwork. With a little help from Google Earth viewers are placed at the centre point of this cinematic data visualisation.

WIDE/SIDE
WIDE/SIDE is an interactive installation in which shapes, images, and sounds are joined and interdependent. A visually engaging block, captivating in its monochromatic conception and minimalist lines, serves as a projection screen and teems with conglomerations of lines and shapes. As a result the installation is always changing and acquiring countless different forms.
The individual forms of the projections in reality are based on the surrounding environment, responding to the movements and gestures of the viewers. Visitors and passersby therefore themselves become part of the work and define its appearance.

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.

Brume
Brume is a series of works and installations by Joanie Lemercier, using a custom made device made of atomized water. Joanie frees his work from the screen and usual physical devices. He is using space and immateriality as a canvas, creating a mid air floating projection feeling. Thanks to this volumetric tool, he is modifying our frontal relationship with screen and allowing new interaction between the viewer and the projected image. Joanie Lemercier is still exploring the possibilities of this new medium with a series of experiences and chapters, questioning our view of reality. In his work, Joanie is researching timeless subjects like light, matter, geometry. With Brume, he is also interested in the link between water and light.

We only come out at night
FILE FESTIVAL 2007
We Only Come Out at Night is an urban graffiti project involving interactive public projections. A site is selected at dawn and a sticker is stuck or a stencil image is sprayed at the location. When the sun sets, jellies are projected over the heads of pedestrians on the street. As the pedestrian walks underneath the projection, the monsters grab the shadows of the people and eat them. The sticker is then removed and the project visits another place at dawn. A website is created to track the history of the monster appearance in order to promote and create a mythology. There are seven monsters in total, each monster’s design and behavior is unique. Gula, the monster that always eat, Avaritia, the monster that stuffs you into his pants, Invidia, the monster that takes your image and pretends to be you, and so on. Each monster is unique but always sad.

Derivations
“A collaboration with Symmetry Labs at Gray Area Foundation for the Arts in San Francisco. Derivatives of multiple generative rules I designed in the past were adapted to an interactive LED floor. The video demo includes 6 visual sets and transitions in between. Set 01 is an adaption of 1DFBD, which was also used in a couple of projection mapping tests in 2014. Set 03 is derived from an untitled turbulence piece created in 2014 as well. Similar to Set 03, all agents in Set 04 are driven by 3D Perlin Noise flow field. However, instead of being an emitter spawning agents, each dot functions as an attractor intervening in the flow, same way as it did in 2BCD.”Raven Kwok

move
File Festival
MOVE is an interactive installation divided into six distinct modules, JUMP, AVOID, CHASE, THROW, HIDE and COLLECT. Each module offers a single-user interaction, based on a verb corresponding to the action the participant is invited to perform. Each verb corresponds to a common procedure acted out by avatars during videogame play. Each module offers an interaction with abstracted shapes (circles, rectangles) behaving according to simplified rules of physics (collision, friction). Each module is color-coded with consistency, where the color red is used for the graphical element that poses the core challenge. Each module increases difficulty in a similar linear manner.What makes MOVE unusual is that unlike most computer vision or sensor based games like Eye-toy or Dance Dance Revolution, the participant IS the avatar, he is not seeing a representation of herself or an indirect result of her actions on a separate screen but instead interacts directly with the projected graphical constituents of the game. Because those graphical elements are non-representational they do not allow for a projection in a fictional space. The combination of abstracted shapes and direct interaction reinforces in the player the focus on the action itself (JUMP, AVOID, CHASE, THROW, HIDE or COLLECT) instead of an ulterior goal.

NETWORK
Sara Schnadt explores technology in her work both as subject and media. Her installations and performances use found objects, interactivity, projection, spatial illusions, and movement derived from common gestures. Much of her work involves representations or data that translate large quantities of socially resonant information into poetic forms, including data visualization. Schnadt often performs within accompanying sculptural environments, or sites works within functioning everyday spaces, attempting to articulate the personal within virtual and technological innovation.

Interactive Chalk Cars
“Interactive chalk cars” is an installation based on a traditional children ́s game, that was originally played on the streets. It uses new digital technologies to review a non-technological game. By using computer vision algorithms and projection mapping, it brings together the real and the virtual. In doing this, we try to combine two playing modes that are usually confronted: the individual video game and the outdoor social game.
FILE FESTIVAL

Baby Behold
band Carvel
Hi, my name is Cyrill and I’m a visual designer from Basel, Switzerland. I could also say ‹graphic designer›, but I guess that wouldn’t cover it. Don’t get me wrong, I love graphic design. But I see it as a foundation on which all my projects are built. I want to transform the quality of good graphic design into the medias of our time. Be it generative design, live visuals, projection mapping, film or interactive installations of any kind. Or good ol’ print media after all.

Your big face
Your Big Face is an interactive projection installation. Using a live camera feed, participants’ faces are projected onto the canvas of a giant polygonal 3D face. This combination of the organic and polygon raises questions about the digital representation of self, modern attention spans, and the narcissistic and voyeuristic qualities of modern culture. It is also just really fun.

Ecology and Planning Museums

Entering on the ground level to the ecology museum reveals a projection next to the restaurant and retail areas. an elevator takes guests to the top level where their descent through the three ecologies – earth to cosmos, earth to man, earth to earth – begins, connected through a series of ramps.
the earth to earth exhibit on the bottom floor features a plane that turns clockwise, moving slowly down towards the ocean ecology space appropriately situated under the reflecting pond of the exterior plaza. the earth to earth section contains four outdoor green terraces as temporary exhibit spaces that change with the seasons.The shared public square also marks the entrance to the planning museum where visitors are greeted by a large model of the eco-city and another temporary display area. a multimedia system makes the next sequence of program, the theory and practice zones, come to life with dynamic informative videos, images, and sounds, all located on the second level. mechanical escalators transport guests to the third floor where one-way display is turned into an interactive relationship with the viewer. this is accompanied by a 3D cinema and a restaurant with views out towards the sea. on the top storey one can find the green architecture, landscape and water resources exhibits as well as access to the vegetative roof-scape offering offering unmatched views.

Green Cloud (Nuage Vert)
The third edition of Nuage Vert (Green cloud) highlighted the cloud of vapour emitted by the largest waste incinerator in France, on the edge of Paris at Ivry-sur-Seine, using a green laser beam which draws the clouds outline in real-time. Beyond the spectacle of the projection onto a power plant emission, Nuage Vert is also an open space, a canvas onto which each individual can project their questions concerning our consumer-waste culture, adding a second level reading to a site which is both highly visible and ignored.
The work acts like a semantic parasite, an organism that takes cover and feeds itself by establishing a sustainable interaction with another organism, in a relationship that is not necessarily damaging for the host, but necessary since the emission cloud provides Nuage vert with its visibility. During two years the project generated a social-cultural process which attracted support from citizens and the power plant owner, but however led to political obstruction from the local authorities. Escaping from a political stalemate, the work was realised without institutional consent, from a secret location on a private rooftop with the cooperation of local residents.
The project was previously realised in Helsinki, Finland and in Saint-Ouen, France.

Shooting Thoughts
Филип Вилас-Боас
filipe vilas-boas has created an interactive projection called ‘shooting thought’ which enables people to generate star constellations by sending thoughts through their mobile device. these ideas connect to lasers and become shooting stars that follow any possible path that paris’ saint-eustache church’s architecture allows. the project was co-commissioned by art, culture et foi and nuit blanche paris.The pillars are the launch-pads that send the stars past arches and vaults to their destinations on the ceilings. each one reaches its on place, at its own speed and with an individual trajectory. ‘shooting thoughts’ means each person who engages with the lasers, can send their own star and be part of the display.

Symphony in D Minor

‘Symphony in D Minor’ is an interactive sound and video installation on an epic scale. A thunderstorm contained within a series of large hand cast resin sculptures, each individual form is a unique instrument hanging from the ceiling. Suspended just within reach and activated by touch, the viewer sets the symphony in motion by pushing the forms through the air to trigger the various sound elements of the storm. Sensors relay individual recordings of thunder, lightning, wind and rain with alternating intensities to a full-scale sound system. Acting as both conductor and musician, the viewer creates an evolving composition out of atmospheric sounds, forging an environment that envelops the audience. Housed within each piece are 2 video projectors employing mapping software to evenly fill the surface of the forms. Like giant illuminated pendulums each sculpture radiates video projections that in their dormant state display abstractions of water droplets and slow moving clouds. As the sensors detect movement different ranges initiate more visual elements of the storm. Once activated, the form then shifts to a swirling torrent of clouds.

カロリナ・ソアベッカ
Каролина Собечка
sniff
File festival

Karolina Sobecka is a Polish artist that works with animation, design, interactivity, computer games and other media. Her work often engages public space and explores ways in which we interact with the world we create. Sniff is an interactive projection in a storefront window. When motion is detected along the sidewalk in front of the display, a virtual dog appears and responds the person’s behavior and gestures. The passerby’s movements are tracked by a computer vision system, and the dog behaves differently depending on how he is engaged. Like a real canine, big swift actions are interpreted as threatening, while slow and friendly actions directed to him are interpreted as friendly. He tracks and remembers the attitude of the viewer and forms a relationship with them over time based on the history of interaction. Depending on the nature of the relationship, he may bark, growl, roll over or even play fetch.

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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