Push 1 stop and Woulg

Interpolate
Interpolate incorporates live coding and generative processes to create an audio/visual performance where visuals control audio, and audio controls visuals. Stark, minimal, generative 3D geometry and particle systems take the audience through the music, conveying the physicality of the sound while mapping out the emotional landscape of the melodies. To interpolate means to determine an intermediate value or term in a series by calculating it from surrounding known values; on stage Push 1 stop and Woulg send data wirelessly to each other in order to be able to patch new interactions between audio and visuals in real time, and interpolate the missing data between sound and image.

Ping Lim

Reimagine Social Distancing: Interactive Art for Post Pandemic Cities
Un jour dans la vie des grandes villes, des millions d’étrangers passent à quelques centimètres les uns des autres – dans les stations de métro, les trottoirs, dans les rues publiques. Nous sommes un réseau d’étrangers se déplaçant si près que cela devient parfois une expérience déshumanisée. Dans ces instants fugaces passés dans des espaces interstitiels, nous nous trouvons détachés de l’état présent où nous sommes parmi l’essaim humain. Cette installation explore comment les villes surpeuplées influencent notre sens de l’espace personnel, à travers un environnement interactif en temps réel qui suit nos données spatiales. Il examine comment nos barrières mentales sont fluides, adaptables et finalement destinées à être brisées, de sorte que notre sens de l’espace est élargi grâce à l’interaction avec les autres.

Claire Malrieux

Climat General College des Bernardins
Se référant à l’« Hypothèse Gaïa » de James Lovelock, Malrieux transforme la figure de Gaïa en une machine climatique autonome qui affiche un espace dynamique et organique, construit selon des flux de données empruntés aux principaux modèles climatiques prédictifs. A travers différents scénarios programmatiques, l’artiste met en évidence l’influence de l’homme sur son environnement, un environnement en perpétuelle mutation dont la fin ne peut être programmée. Car si l’entrée dans l’anthropocène marque la fin d’une Terre en extension, elle marque surtout le début d’autre chose : une situation différente dans le temps et dans l’espace. Un espace où le décor est en mouvance et dans lequel l’histoire humaine s’adapte et évolue.
L’usage simultané du dessin et des algorithmes permet de visualiser des interactions et des causes à effets habituellement invisibles, de les décoder et d’en interroger les enjeux.

ecoLogicStudio

BioBombola
The Coral
Home Algae Garden
In June 2020 ecoLogicStudio has devised BioBombola, a pioneering project that invites individuals, families and communities to cultivate a domestic algae garden – a sustainable source of vegetable proteins. BioBombola absorbs carbon dioxide and oxygenates homes more effectively than common domestic plants while fostering a fulfilling daily interaction with nature. Each BioBombola is composed of a single customized photobioreactor, a one metre tall lab grade glass container, filled with 15 litres of living photosynthetic Spirulina strain and culture medium with nutrients.

Dominic Harris

Flutter Hologram: Pendulum
Présentant différentes espèces de papillons dans une seule cloche, le premier, un albatros orange de l’Est, originaire d’Indonésie, est peint dans une teinte orange sanguine accrocheuse. Le yeoman commun contrasté possède des ailes orange fauve, presque dorées, qui battent rapidement lorsqu’il vole dans son environnement. Ils sont accompagnés du troisième papillon, un albatros chocolat d’Asie du Sud-Est. Un anneau en laiton physique est situé à la base de la cloche, tandis qu’un pendule, suspendu au dôme, agit comme un appareil sur lequel se posent les papillons – une allusion à la façon dont la vie est en jeu. Dans un état passif, les papillons habitent calmement la cloche en verre. Cependant, lors de l’interaction, ils voltigent avec excitation, atterrissant parfois gracieusement sur le pendule et l’anneau de laiton, tandis que d’autres, frappant simplement directement les objets.

Rhona Byrne

Huddlewear
For this exhibition, Huddlewear becomes a tool for activating exchanges in relationships between individuals, groups and communities. The exhibition invites and encourages visitors to wear and inhabit Huddlewear and to explore the intimacy and complexities of connection in real time. The interconnected designs of the garments can be worn by pairs and groups and aim to explore the wearer’s sense of self and vulnerability during moments of interaction and gathering. By inviting participation and reflection the ‘Huddle tests’ exhibition will involve a series of events and activities as well as an open invite for ‘group work’ for the duration of the exhibition.

MEMO AKTEN

Body Paint
File Festival

The interaction is simple, movement creates paint. Hidden in the simplicity are layers of subtle details. Different aspects of the motion: size, speed, acceleration, curvature, all have an effect on the outcome: strokes, splashes, drips, spirals; and is left up to the users to play and discover. The installation is designed to work with any number of people and is scalable to cover small or large areas. While the installation is suitable for a single user, when multiple users are present a new dynamic emerges. A user-to-user interaction is born when the audience starts playing with each other via the installation, throwing virtual paint on each other, trying to complete or destroy each other’s paintings.

JOSIAH MCELHENY

Interactions du corps abstrait
Avec “Interactions of the Abstract Body”, McElheny a poussé ces idées plus loin, créant un ensemble de travaux vaste et varié qui examine comment la mode et le modernisme se sont entrecroisés et influencés, en particulier à travers le langage commun du corps. Fondamentalement, McElheny a animé cette dynamique avec la présence constante d’un interprète. En combinant une performance continue en chair et en os avec une sculpture statique dans le même espace de galerie, une première pour White Cube, McElheny rompt radicalement la distinction entre performance et exposition.

liu chang and miao jing

Hills beyond a river
Music: “CHINA-瓷” by Mickey Zhang
file festival
“Hibanana Studio is a creative art&tech studio, swinging at the intersection of audio-visual performance & installation, moving images and interactive installations. We are inventing new forms of the moving image for display surfaces of the future. A series of interdisciplinary research and practices range from video, sound, light, interaction and spatial experience leads us to artworks, commissions, and exhibition.”

DI MAINSTONE AND TIM MURRAY-BROWNE

Serendiptichord

The result of a cross-disciplinary investigation spanning fashion, technology, music and dance, the Serendiptichord is a wearable musical instrument that invites the user (or movician) to explore a soundscape through touch and movement. This curious device is housed in a bespoke box and viewed as part of a performance. Unpacked and explored on and around the body, the Serendiptichord only reveals its full potential through the intrepid curiosity of its wearer. Adhering to the body like an extended limb, this instrument is best described as choreophonic prosthetic. Referencing the architectural silhouette of a musical instrument and the soft fabrication of fashion and upholstery, it is designed to entice the movician to explore its surface through touch, physical manipulation and expressive movement. Although this acoustic device can be mastered alone, it also holds subtle openings for group interaction.

Irina Nakhova

Ирина Нахова
Pilot’s head
L’exposition russe présente une œuvre ambitieuse, intitulée «Le pavillon vert», à travers laquelle Irina Nakhova (née en 1955) interagit avec l’architecture du pavillon, conçu en 1913 par Aleksey Shchusev, également auteur du mausolée de Lénine à Moscou. à partir des «installations totales» d’Ilya Kabakov, et en poussant plus loin le concept exprimé dans ses propres installations «Rooms» des années 1980, Nakhova a mis en place cinq espaces, où une interaction complexe entre l’art, l’architecture et la perception du spectateur se développe de manière surprenante , exploitant ainsi le concept original de Shchusev, qui n’a pas conçu le pavillon comme un simple conteneur, mais comme un soutien actif à la créativité des artistes.

OLIVIER RATSI

Perspective du cadre
Mesurant 30m x 30m x 2,4m et doté de lumières LED et de 8 canaux audio, Frame Perspective transforme un espace caverneux à la Maison de la Région. A des dates précises tout au long du festival Constellations, Ratsi a préparé un programme lumière dans l’espace, accompagné d’une composition sonore interprétée par Thomas Vaquié (voir le programme du festival pour plus de détails). Frame Perspective poursuit l’interrogation de Ratsi sur la réalité à travers la création d’espaces exploratoires et périphériques. Les formes répétitives de l’installation créent de nouvelles dimensions dans la Maison de la Région, interrompant les lignes de l’architecture. Pendant ce temps, la composition des lumières et des sons en interaction perturbe les textures sonores et visuelles de l’espace et résonne avec le visiteur sur des fréquences inexplorées. L’effet est de plonger le visiteur dans un environnement fluctuant qui relie les technologies numériques aux espaces physiques et soulève des questions sur la façon dont la réalité est construite et vécue dans les domaines numérique, physique et autres.

ERNESTO KLAR

Lumières relationnelles
FILE FESTIVAL
Lumières relationnelles» est une installation audiovisuelle interactive qui explore la relation des personnes avec le caractère organique-expressif de «l’espace». L’installation utilise la lumière, le son, le brouillard et un système logiciel personnalisé pour créer un espace-lumière en trois dimensions morphing (métamorphose), dans lequel les spectateurs participent activement, le manipulant avec leur présence et leurs mouvements […] un organisme vivant, avec ou sans la présence et l’interaction des spectateurs. Lorsque les spectateurs quittent la zone de suivi active, le système commence son propre dialogue avec l’espace en extrudant et en transformant des séquences de formes géométriques lumineuses. Lorsque les spectateurs pénètrent et interagissent avec l’espace-lumière projeté, une expression collective et participative de l’espace se déploie. «Relational Lights» élargit le tissu tridimensionnel de l’espace, le rendant visible, audible et tangible pour les participants.

A.I.L.O it pronounces Hello

Art and Light
Exploration sensorielle. Tout part de la ligne, comme une envie d’infini. Composition géométrique de lignes lumineuses projetées sur les miroirs et le mur. En partant de la ligne la plus épurée jusqu’à une recherche d’accumulation en travaillant la profondeur et la perte de repère. Le travail sonore créé à partir des vibrations lumineuses nous enveloppe et joue sur nos propres resonances. Interaction avec les surfaces réfléchissantes qui transcendent

STILLNESS

Penser et sentir
Sous le thème du Zen, cette œuvre représente une partie de la philosophie du Zen avec des données tridimensionnelles créées avec la technologie de photogrammétrie composée du paysage le plus minimaliste des «points» et du paysage sonore des «ondulations», avec la coopération de Toryo Ito, vice-prêtre de Ryosokuin, temple Kennin-ji Tacchu, Kyoto. L’image générée reflétant les informations environnementales de l’espace d’exposition crée «une interaction entre l’environnement et l’image», tout comme les arbres et les feuilles se balançant dans le silence du temple zen.

Daniel Rozin

Troll Mirror
The mechanical mirrors are made of various materials but share the same behavior and interaction; any person standing in front of one of these pieces is instantly reflected on its surface. The mechanical mirrors all have video cameras, motors and computers on board and produce a soothing sound as the viewer interacts with them. Troll Mirror was commisioned by Traget and is made of pairs of pink and blue troll dolls. Every troll doll pair can rotate so that the pink or blue troll face the front. The result is a colorfull reflection of the viewer’s outline and playfull colorfull transitions

Kasuga

DMX Linear Actuator Slim
The motion study with the DMX Linear Actuator Slim demonstrates a synchronized kinetic sculpture with 25 components (vertical and horizontal mount) and a sphere fixture (black and white). Controlled by the DMX LA Designer software, multiple motion sequences, pattern generators and text and image contents are transferred onto the array. Furthermore, interaction with the kinetic sculpture is made possible via the Leap Motion Sensor, the Kinect Sensor and other mobile devices via the OSC protocol.

KOKI TANAKA

田中功起
Everything is Everything

The eight-channel video installation, Everything is Everything, was created for the first time to be shown at the 2006 Taipei Biennial, curated by Dan Cameron. For this work, the artist and two assistants spent a total of eight days recording their interactions and interventions with readily available items, including hangers, glasses, towels, air mattresses and toilet paper, all found in the city of Taipei. The physical properties of these objects have been tested (a metal hanger is stretched to the breaking point) or their uses have been expanded (a level placed on two table legs becomes an improvised obstacle). Tanaka and his assistants experimented with these objects several times indoors and in public, and their explorations were compiled into eight separate video loops lasting from 1:19 to 1:50 minutes. Tanaka’s narrowly cut frame of each scene often features performers from the neck down or removes them completely from the scene, thus focusing the viewer’s attention on the simple, repetitive objects and acts being performed.

Christian Babski, Stéphane Carion, Christophe Guignar & Patrick Keller

Satellite Daylight
Satellite Daylight is an interactive light installation formed by a trapeze of 24 high-voltage neon tubes tapering upwards, created by fabric | ch – a studio for architecture, interaction and research dedicated to investigating contemporary space based in Lausanne. The installation is connected to data collected in real time from online weather stations and meteorological satellite maps, which therefore translate actual global light conditions picked up by satellites orbiting the earth at the latitude of Basel into an endless loop of perceivable electrical intensity.

Joanie Lemercier

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.

Datapaulette

Topographie digitale
“Topographie Digitale” is an interactive installation created by DataPaulette. This landscape uses electrically functionalized and pleated textiles as sensitive surfaces reacting to touch. This interaction brings to life a “digital clone”, video-projected. This mirrored scene reveals an organic side contrasting with the mineral aspect of the physical scene.

Ani Liu

Eyeris
Eyeris is a cultural prosthetic that renders the user dependent on human touch for sight. While many of today’s digital devices extend our abilities to connect with each other, disability of our current digital devices can been seen through our loss of tangible human interaction. I made this piece in trying to explore the importance of human interdependency in a society living under the myth of autonomy driven by technological symbiosis between man and computer. Eyeris is a mechanically operated electronic device powered by digital input that is deliberately over-engineered to call attention to the social behavioral conditioning imposed on us through less discreet technological devices that we assimilate on a daily basis.

Disney Research

Realistic and Interactive Robot Gaze
System for lifelike gaze in human-robot interactions using a humanoid Audio-Animatronics® bust. Previous work examining mutual gaze between robots and humans has focused on technical implementation. We present a general architecture that seeks not only to create gaze interactions from a technological standpoint, but also through the lens of character animation where the fidelity and believability of motion is paramount; that is, we seek to create an interaction which demonstrates the illusion of life. A complete system is described that perceives persons in the environment, identifies persons-of-interest based on salient actions, selects an appropriate gaze behavior, and executes high, fidelity motions to respond to the stimuli. We use mechanisms that mimic motor and attention behaviors analogous to those observed in biological systems including attention habituation, saccades, and differences in motion bandwidth for actuators.

User Studio

Les petits chercheurs de sons
Les Dirty Tangible Interfaces constituent une famille de contrôleurs basés sur l’interaction avec des matériaux tangibles. Elles permettent de contrôler par exemple une tablette de la même manière que l’écran tactile le permet… et elles s’en écartent en fournissant une interaction infiniment nuancée et expressive.

Stephanie Dinkins

Conversations with Bina 48
Artist Stephanie Dinkins and Bina48, one of the worlds most advanced social robots, test this question through a series of ongoing videotaped conversations. This art project explores the possibility of a longterm relationship between a person and an autonomous robot that is based on emotional interaction and potentially reveals important aspects of human-robot interaction and the human condition. The relationship is being built with Bina48 (Breakthrough Intelligence via Neural Architecture, 48 exaflops per second) an intelligent computer built by Terasem Movement Foundation that is said to be capable of independent thought and emotion.

GRINDER-MAN

Mirage
“MIRAGE” is the first performing art ever in the world to experience with immersive. This experience reminds us that we generate ourselves at each moment in our highly subjective ambiguous world. Unlike the general performing arts for the several audiences, “MIRAGE” is generated by the interaction of the two dancers and the one participant. As the participants, you are invited into an 8 minute immersive experience, using a head-mounted display fitted with headphones and a camera to capture live scenes. While unaware of the participant, dancer in front of the eyes is changed over to the dancer that has been recorded in advance. In addition, by overlapping the live scene and recorded ones, participants will experience simultaneous past and present. It is very difficult to tell which dancer is really existing or which is not. Each participant will be required to discover their own “reality”.

Dragan Ilic

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.

Índice

Jonattas Poltronieri, Luis Mello, Pedro Venetucci & Rofli Sanches
Phantom Limb

Just like the original box, the installation is a rectangular unit where the user inserts his arm and is urged to move it in different ways. The similarity with the original object disappears as, instead of having a mirror to provide the image that motivates the interaction, there is a screen that mediates the user’s view and the place where his arm actually is. The displayed image of the user’s arm can be reversed, distorted and coloured, among several modifications to simulate in a rich way the strangeness of not having control over a member, and to question whether what is seen is an accurate portrayal of the real body. Although deep and subjective, the topic addressed in this experience is easy and accessible in its interaction, offering various sensory feedbacks to the user. Through it, it is proposed that we experience and reflect upon the disconnection between thought and body, intention and action, sensation and reality.

 

FILE SAO PAULO 2015

Studio Tish

Vanishing Places
Vanishing Places is an audio-visual installation that investigates dialogues and tensions between the real and artificial. In keeping with the studios recent experiments with real-time generative visuals, Vanishing Places brings a new iteration of the intersection of digital life-simulating systems and organic interaction.

Tine Bech Studio

The Kinetic Storyteller
The Kinetic Storyteller is a playful environment for social interaction consisting of a pair of swings next to each other. As participant swings on a structure, they are connected to the twitter stream of the networked landscape around them. With each kinetic swing rotation, new messages tagged with specific hashtags are presented on three large screen situated in front and to the sides of the participants.

NOHlab x buşra tunç

OCULUS
OCULUS: A Spatial Experience Based on the Interaction of Architecture and Media Arts
An audio-visual performance based on a selection of HAS Architects works interpreted by NOHlab and Buşra Tunç
A selection of HAS Architects’ projects is presented in a performance that blends digital technology with spatial design, forming a synthesis between the past and the present within the magical atmosphere of the historical Single- Dome Hall of the Imperial Arsenal.
Taking the Single-Dome Hall as the focal point, the exhibition uses contemporary interpretations to alternate between old and new, whole and fragment, real and virtual, balanced and unbalanced states. Notions of time and space become blurred and the exhibition surrounds the visitors, offering them an unusual spatial experience.

Rhizomatiks Research ELEVENPLAY Kyle McDonald

discrete figures 2019

Human performers meet computer-generated bodies, calculated visualisations of movement meet flitting drones! Artificial intelligence and self-learning machines make this previously unseen palette of movement designs appear, designs that far transcend the boundaries of human articulateness, allowing for a deep glimpse into the abstract world of data processing. The Rhizomatiks Research team, led by Japanese artist, programmer, interaction designer and DJ Daito Manabe, gathers collective power with a number of experts, among them the five ELEVENPLAY dancers of choreographer MIKIKO as well as from coding artist Kyle McDonald. The result is a breathtaking, implemented beautifully, in short: visually stunning.

Oscar Sol

Trinity
Trinity is an audiovisual interactive dance piece which tells the journey of a body going through different states of perception of the space. Through movement, the body is immersed in an environment of textures and audiovisual landscapes that not only accompany but will push to a transformation process.This work proposes a profound, clear and efficient interaction between its three elements: the triad of movement, sound and visuals. This interaction is understood as a dialogue which passes through different levels of intensity and transformations throughout the piece and is focused in the detection of the following qualities and patterns of movement like: forces and directions, acceleration, position, speed and body area.

Josiah McElheny

Interactions of the Abstract Body
With ‘Interactions of the Abstract Body’ McElheny pushed these ideas further, creating a large and varied body of work that looks at how fashion and modernism have intersected and influenced each other, especially through the common language of the body. Crucially, McElheny animated this dynamic with the constant presence of a performer. By combining a continuous flesh-and-blood performance with static sculpture in the same gallery space, a first for White Cube, McElheny radically fractures the distinction between performance and exhibition.

Circus Family

Triph
“When left alone with no audience, the object glows dimly as if it were asleep. Yet when visitors approach, the installation slowly comes back to life. Colour gradients pour into each shape, whilst mirrored surfaces start reflecting light – all to the orchestra of an encompassing soundscape. This project invites visitors to become part of something. An immersive light experience in which the audience directs the intensity, audio and colour palettes simply by approaching, moving around in and between the large geometric shapes of the installation. Truly, a merging of art, interaction design, sound, tech and vision. As visual architects, our aim with ‘TRIPH” is to demonstrate that a number of different techniques can be combined into a mix of unexpected shapes and materials, that in turn help to create a new truly unique way of experiencing a story. Both in daylight condition and at night. With our self-initiated work, we aim to find undiscovered methods of narrative, questioning the ways people discover and open themselves up to new conceptual work.” Circus Family

Kohei Nawa

FORCE
FORCE is an installation work that provides a visualization of the force of gravity via the interaction between gravity and a liquid with carefully computed qualities. Black silicone oil, engineered to achieve the required viscosity, streams constantly from the ceiling under the influence of gravity, forming a black pool on the floor and blurring the distinction between the characteristics of solids and liquids as if it were a sculpture transformed into a liquid. The tightly configured space places the viewpoint in the interface between time, space, and matter, giving us a direct awareness of the reality of our existence within a continuous series of actual moments.

RASA SMITE & RAITIS SMITS

Atmospheric Forest
Atmospheric Forest is a large scale VR point-cloud installation that visualizes and sonifies the relations between the forest and climate. It reveals the interaction patterns between the pine-tree emissions in Pfynwald, an ancient Swiss Alpine forest, and weather conditions in this valley, effected by drought. The trees do not only produce oxygen, but they are living bodies who breath too. I.e., they emit part of carbon dioxide, sometimes even up to 20 perc. from what they have consumed. When trees die, they release all the carbon they have collected during their lives back into the atmosphere. Atmospheric Forest explores the effects of drought on local forest ecosystems, and how such stress situations influence production of resin and volatile emissions (such as usual pine-tree scent).

robert seidel

Vitreous
The nine virtual sculptures underlying vitreous resulted from experimental setups by Robert Seidel for generating three-dimensional clusters of fibrous refractions, as well as the gravitational lensing of different volumetric and chromatic densities. Singular elements gravitate towards each other, accumulating in a gigantic sculptural system, where each entity exists with its own visual axis and vanishing point. The impalpable luminous formations create prismatic interactions between the ridges and plateaux of the main colours floating in front of the infinite violet background.

vivian xu

ELECTRIC SKIN

The Electric Skin explores the possibility of creating a wearable that extends the functionality of the skin to sense electromagnetic fields (mostly within the radio spectrum) and translate that information into touch sensation. The wearable consists of two main functional parts: 1) A matrix of omnidirectional antennas that act as sensors and probes and 2) corresponding electrodes that stimulate the skin of the wearer. Through this artificial “skin” or “exoskeleton”, the wearable changes our experience, perception, and understanding of space and movement, and in doing so, our interactions. The project speculates on the possible co-evolution of man and technology and draws attention to the role of environmental influence on our own bodily development and behavior.

Maurice Benayoun

Maurice Benayoun and Tobias Klein
Brain Factory Prototype 2
Brain Factory is an installation that allows the audience to give a shape to human abstractions through Brain-Computer Interaction (BCI), and then to convert the resulting form into a physical object. The work examines the human specificity through abstract constructs such as LOVE, FREEDOM, and DESIRE. The project articulates the relationship between thought and matter, concept and object, humans and machine. Brain Factory uses Electroencephalography (EEG) data captured by BCI. As a brain activity is unique, we developed a novel calibration process of the individual data readings and associated emotional responses within a framework of binary outcomes. This is key for a real-time feedback – a biofeedback – between the virtual generative processes and the brain’s associated response.

Skylar Tibbits

Aerial Assemblies
Self-Assembly is a process by which disordered parts build an ordered structure through local interaction. We have demonstrated that this phenomenon is scale-independent and can be utilized for self-constructing and manufacturing systems at nearly every scale. We have also identified the key ingredients for self-assembly as a simple set of responsive building blocks, energy and interactions that can be designed within nearly every material and machining process available. Self-assembly promises to enable breakthroughs across every applications of biology, material science, software, robotics, manufacturing, transportation, infrastructure, construction, the arts, and even space exploration.

Stillness

THINK AND SENSE

Under the theme of Zen, this artwork represents a part of the philosophy of Zen with three-dimensional data created with photogrammetry technology composed of the most minimalistic landscape of “dots” and the soundscape of “undulations,” with the cooperation of Toryo Ito, vice priest of Ryosokuin, Kennin-ji Tacchu temple, Kyoto. The generated image reflecting the environmental information of the exhibition space creates “interaction between the environment and the image,” just like the trees and leaves swinging in the silence in the garden of a Zen temple.

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Credit Concept / Technical Direction: Shuhei Matsuyama Point Cloud System Design:Takamitsu Masumi Sound Design: Intercity-Express (Tetsuji Ohno) Photogrammetry Shooting: Naoya Takebe Photogrammetry Engineering: Katsuya Sakuma

Cod.Act

Sound City
Suspended from the ceiling by two springs and equipped with an oscillating weight fixed inside its body, a Sound City loudspeaker shakes in a disorderly manner in space. The music it plays reacts directly to the movements as if the musicians were inside the loudspeaker and trying in vain to adapt their playing to the turbulences. The originality of the movements comes from the pulsations and interferences produced by the interaction of two coupled harmonic oscillators (the spring and the pendulum) not having the same natural frequency. The two pneumatic jacks to which the springs are attached control the amplitude of the swings.

BINA BAITEL

Pull over
French-israeli-swedish architect-designer bina baitel‘s lighting transcends the interaction between light and material, combining technological innovation with french handcraft. Her newest collection of lighting objects is commissioned and produced by nextlevel galerie in paris.‘Pull-over’: baitel’s previously designed ‘pull-over’ tactile luminaire is now also being produced by nextlevel gallery. The skin of the design is a variable luminous source thanks to its flexible nature – the light bulb, dimmer and lampshade are one.

UVA UNITED VISUAL ARTISTS

ユナイテッド·ビジュアルアーティスト
美国视觉艺术家
volume

Volume is one of the projects that could be bestowed with the adjective “poetic“. Composed of multiple columns, this scultpure, both luminous and sound, comes to life as the participants travel in it. The more visitors there are, the more the “forest” is adorned with bewitching colors and sounds, harmoniously blending interaction with immersion.

JON MCCORMACK

Fifty Sisters
“I am an artist and academic based in Melbourne, Australia. I am interested in the creative possibilities of computers and computation, in particular how computers can enhance and augment our creativity. My interests and research are relatively broad: philosophy, evolution, nature, visualisation, interaction design, software, sound, art and the moving image. I prefer the intersections between these fields, rather than the differences that set them apart.” Jon McCormack

Geumhyung Jeong

Homemade RC Toy
Her new installation centers on five human-scale, remote-control sculptures that she cobbled together from metal brackets, batteries, wires, dental study props, and disassembled mannequins. Surrounding them are stepped plinths whose bright colors echo the robot sculptures’ wiring. The plinths display fetishistic agglomerations of spare parts: wheels, cables, gutted medical practice torsos, home repair parts. In their default state, the sculptures are frozen, comatose, even if all that wiring and machinery certainly suggests movement. The installation is the setting for a series of live interactions between the artist and her uncanny others.

karolina halatek

halo
The title of the work HALO refers to the natural optical phenomena seen around the sun or moon, produced by light in the interaction of ice crystals. The first references of the atmospheric phenomenon can be found in a section of the “Official History of the Chin Dynasty” (Chin Shu) from 637, on the “Ten Haloes”, giving technical terms for 26 solar halos. In the exhibition, the place of the celestial body is given to the art viewer, who becomes a central part of the piece.

REJANE CANTONI & LEONARDO CRESCENTI

Tunnel
File Festival
“Tunnel” is a kinetic, immersive and interactive sculpture, composed of 92 porticos that become disordered in function of the position and body mass of the interactor. Numerous users can simultaneously enter and interact with the machine. Interactors agency the machine via their position and weight. An example of interaction is: you go into the “Tunnel” and stand by one of the side walls. In this case, the relative position and the gravitational force of your body provoke variations of floor height. The floor inclines up to 5º, the associated porticos progressively rotate in the corresponding direction and angle, and this propagates ondulatory movements throughout the entire installation. For the outside observer, the internal movement or your displacement in relation to the installation produces kinetic optic effects.

Nicholas Stedman

After Deep Blue

ADB is a modular robot designed for tactile interactions with people. It is composed of a chain of prism-shaped robotic modules. Through the modules’ coordinated behavior, the robot writhes, wriggles and twists in response to the presence of skin and force. The robot is animated only when actively engaged by a person, otherwise it is at rest. Stroking, rubbing or grasping ADB results in it pushing back, retreating or occasionally grasping onto a body part, depending on the combination of stimulus. Participants may experience the object at their leisure. They can play with the device, exploring how it feels, and how it responds to their touch.

Suguru Goto

L’homme transcendé
Suguru Goto explore l’extension des potentialités dans la relation homme-machine. Ses performances joue sur l’interaction entre la représentation vidéo de corps virtuels et les vrais corps présents sur la scène, qui peuvent grâce au BodySuit, transformer ces images en temps réel. Un puzzle est créé autour des différences et des ressemblances entre le vrai corps et le corps virtuel.

tangible media group

transdock
Ken Nakagaki, Yingda (Roger) Liu, Chloe Nelson-Arzuaga, and Hiroshi Ishii
TRANS-DOCK is a docking system for pin-based shape displays that expand their interaction capabilities for both the output and input. By simply interchanging the transducer modules, composed of passive mechanical structures, to be docked on a shape display, users can selectively switch between different configurations including display sizes, resolutions, and even motion modalities such as rotation, bending, and inflation.
In our paper accepted to TEI 2020, we introduce a design space consisting of several mechanical elements and enabled interaction capabilities. Our proof-of-concept prototype explores the development of the docking system based on our previously developed 10 x 5 shape display, inFORCE. A number of transducer examples are shown to demonstrate the range of interactivity and application space achieved with the approach of TRANS-DOCK.

KITE & LASLETT

CANDESCENCE
Candescence is a performative light sculpture. Acoustically responsive spheres are activated by sound and touch, designed to inhabit and alter perceptions of architectural space. The installation consists of one or multiple spheres, acting in a spatial dialogue with the audience. Human interaction triggers an ascendance of vision, light and sound in a cyclic loop of which the individual is integral.

Sougwen Chung

愫君
Drawing Operations
Sougwen Chung is an internationally renowned multidisciplinary artist, who uses hand-draw and computer-generated marks to address the closeness between person-to-person and person-to- machine communication. She is a former researcher at MIT Media Lab and current Artist in Resident at Bell Labs and New Museum of Contemporary Art in New York. Her speculative critical practice spans installation, sculpture, still image, drawing, and performance. Drawing Operations Unit: Generation 1 is the 1st stage of an ongoing study of human and robotic interaction as an artistic collaboration.

nieto sobejano

The Contemporary Art Center in Córdoba is not a centralized building: the center moves from one space to another, it is everywhere. It is configured as a sequence of precincts linked to a public space, onto which all the different functions of the building flow. Conceived as a place for interaction, it is a common space in which one can express and exchange ideas, see an installation, access exhibitions, visit the cafeteria, spend time in the media library, wait for a performance to begin in the black box, or maybe simply look out onto the Guadalquivir River. The materials help to achieve the art factory character pervading the entire project. In the interior, bare walls, slabs of concrete, and continuous paved flooring establish a spatial structure susceptible to being transformed individually through different interventions. A network of electric, digital, audiovisual, and lighting infrastructures ease access to sockets and connections throughout the building. On the exterior, the building asserts its presence by means of a single material: prefabricated concrete fiberglass panels, or GRC.

EJtech

Liquid MIDI
An experimental modular textile interface for sonic interactions, exploring aesthetics and morphology on contemporary interaction design. Trigger  pads and fader board are screen printed modules focused on AV performances, allowing the performer to build its set up regarding its needs.

THEODORE SPYROPOULOS

BEHAVIOURAL COMPLEXITY

Design Research Laboratory (AADRL) and the experimental design studio Minimaforms examining a behavior-based agenda that engages experimental forms of material and social interaction. Cybernetic and systemic thinking through seminal forms of prototyping and experimentation will situate the work through continued experiments that have manifested since the early 1950s as maverick machines, architectures and computational practices exploring the generative potential of self-regulating phenomena as proto-architectural environments. Through explicit models of interactions, observable patterns and proto-animalistic agency; the research will discuss the capacity of these systems to evolve, adapt and self-structure through computation.

Anarchy Dance Theatre

الفوضى الرقص المسرح
תיאטרון מחול אנרכיה
アナーキーダンスシアター
무정부 댄스 극장
Seventh Sense
Seventh Sense is the collaborative project between Anarchy Dance Theatre and Ultra Combos focusing on building up a new viewer centered performance venue. In this space all movements including the dancers’ and audience’s can be detected and interact with each other through visual effect. The audience is not merely watching the show but actively participating in it. Seventh Sense combines new media and dance to present a wonderful space atmosphere. The elements of interaction, theater and dance are rubbed in to a successful balance. by Sakai Naoki.
Photographer: Shou-cheng LIN

Yihan LI

Since the emergence of time as a concept, the circle has been a graphic representation that registers and measures the passing of seconds, minutes, hours, and even decades. . . . The torus may be seen as a three-dimensional form utilized to represent time as it travels through a cyclic loop. The geometric shape of the torus speaks of duration, of looped time, and of transformations along and in time. In this project, Boolean operations between varying tori in multiple dimensions indicate the interaction between durations—possibly time in addition to time, or interactions diluted by time—that reveal a new architectural realm featuring free curves which direct visitors’ movements inside flowing spaces. People will lose the perception of direction or time and find themselves worshipping in open and serene volumes.

PHILIP BEESLEY

菲力浦 畢斯雷

Hylozoic Ground

The project’s title refers to ‘hylozoism’, the ancient belief that all matter has life. Hylozoic Ground offers a vision for a new generation of responsive architecture. The Hylozoic Ground environment can be described as a suspended geotextile that gradually accumulates hybrid soil from ingredients drawn from its surroundings. Akin to the functions of a living system, embedded machine intelligence allows human interaction to trigger breathing, caressing, and swallowing motions and hybrid metabolic exchanges. These empathic motions ripple out from hives of kinetic valves and pores in peristaltic waves, creating a diffuse pumping that pulls air, moisture and stray organic matter through the filtering Hylozoic membranes.