We were inspired by the quote by Nathaniel Hobs Jenkins, “Beauty becomes ugly under the influence of the demons inside the mind.”
We are all beautiful people, perfect white flowers waiting to bloom. Yet, we still crave perfect beauty, endlessly pursuing it. In our attempts to reach that beauty, the demons in our minds tell us that the perfection we hope to achieve is still far away. We attempt to chase after the epitome of beauty but drown in the concept of what true perfection is. Now, when we look at ourselves, because we overthink, because we have no self-love or because we are too harsh on ourselves, we warp our beauty into what we think is inner demons- ugliness and pain that other people don’t see. The disgusting flesh hiding within the perfect exterior of a white flower bud. We think that these demons are the representation of our raw selves, our true flesh. We tell ourselves that the beauty people say we have is just a plain white mask, and that they don’t see the ugliness hiding beneath it. Our ugliness is on the inside solely because it comes from within- it is the demons in our own minds that have manifested the ugly in ourselves. The beauty we each have in ourselves is lost upon us, becoming imperfect and ruined in our own eyes. It is never enough, and the voices in our heads whisper confirmations of our failures.
We wanted a dress that looks simple, pure and pretty from the outside to represent the beauty that everyone has within them. We then wanted our transformation to be very visceral, a full contrast of this pretty exterior- our flowers would open up to reveal a disgusting bloody flesh, instead of the expected beautiful flower. With this stark change in aesthetics, we wanted to show how people are afflicted by their own minds. How from the outside, others can see that we possess something so beautiful, but in our own heads, we just think the worst of ourselves. We’re not ugly/imperfect because we are, but because we think that that is what we truly are. Hence, this ugliness appears only on the inside and blooms like a flower from within our own minds. We hope that with our dress, people might feel comforted that they’re not alone in this, and that this is a problem many others face as well. Or that people who don’t really have this issue with themselves might now be aware that this is an issue that some people face. And in all, we wanted people to know that despite some of us maybe thinking we have “a fake beautiful facade that conceals the true horrific flesh other people don’t see”, that in itself can be beautiful as well- We hoped that even with our flowers open, our dress still looks as pretty, or even prettier than when the flowers were closed
During one of our lessons, we were fortunate enough to receive a guest lecture by Ong Kian Peng! His lecture was on Automated Utopia and he touched upon many interesting points surrounding the Utopia/Dystopia and Artificial Intelligence. I would like to briefly talk about some of the points he made and what I thought about them!
During his lecture, he posed us a question-
So how can AI present a different world than that of the cyberpunk genre and give us a technological Utopian society?
I immediately thought of the American science fiction television series, Westworld. (It’s a really interesting western series and I highly recommend it!)
In the show Westworld, people travel to a Wild-West-themed amusement park filled with humanoid robots called “hosts.” With the whole wild west theme, it is already a very different take on the common AIs in a cyberpunk universe (such as technologically advanced cities features in Ghost in the Shell or Blade Runner 2049). Instead of thinking forwards, and placing AIs in a fictional futuristic setting, Westworld places AIs in a futuristic setting that is seemingly old school and historically inspired, going back to the time of cowboys and steam powered railways.
What value does it add ? And what do we lose as a result of automation?
In Westworld, the park is of great value to high-paying “guests”. It allows them to indulge their wildest fantasies within the park without fear of retaliation from the hosts, who are prevented by their programming from harming humans. They are able to visit brothels, drink shots at the salon, take on bounty hunts on horseback, or have a high-noon showdown, et cetera. The whole world is theirs to explore and interact with. The AIs are there to aid them in to the whims and fancies of the guests. These hosts think and interact like real people, but since they aren’t living beings, guests often treat them with reckless abandon. I think that the whole allure of this automated theme park in Westworld made the humans in their world lose their humane-ness. In the theme park, people are shown to lose their humane restraints, to act without any moral or ethical judgement. Talking about the premise of Westworld, Georgia Tech’s Ridel said: “Making things that are designed to be as close to looking and acting human and then saying ‘go ahead and abuse these things,’ to me it says something about humans.”
Just because the hosts were not human, guests say it fit to take advantage of them. This makes me wonder, in a world with humans and AIs, would it be possible to truly co-exist? To be inclusive and not just tolerance. Is a world where humans and AIs are equals possible? Or will it always be painted as a world whereby AIs are sub subservient for they are the creations of man, and eventually grow intelligent/conscious enough to rebel against us?
This thought was also spurred on by Bin’s sharing of Justin Emard, Mirai Moriyama and Alter’s artwork, Co (AI) xistence.
Can humans and AI coexist peacefully without any racial discrimination? This question reminds me of a Japanese animated movie called Time of Eve.
Set in a not-too-distant future, androids have become integrated into society’s daily lives. Like most other people, the protagonist, Rikuo treats robots and androids like appliances, despite them bearing an uncanny resemblance to a normal human. In the film, androids are easily identified with a holographic status ring above their heads. Rikuo, who has taken robots for granted for his entire life, one day discovers that Sammy, his home android, has been acting independently and coming and going on her own. He finds a strange phrase recorded in her activity log, “Are you enjoying the Time of Eve?”. Along with a friend, they follow Sammy to an unusual cafe called “The Time of Eve”. There, they learn that the cafe’s main rule is to not discriminate between humans and androids. Within the cafe, androids do not display their status rings, as such, patrons will be unable to identify who is android and who is human in the cafe. In that intimate shared space, they have transcended the discriminatory boundaries and are all seen as equal beings. Additionally, when patrons depart, the door is automatically locked for two minutes to prevent another patron from following them to discover their true nature. The whole idea of hiding one’s true race to not let it affect interactions and relationships within the cafe is really interesting to me. The conversations among the patrons make frequent allusions to Isaac Asimov‘s Three Laws of Robotics, often highlighting surprising interpretations of those laws, through not only the point of view of humans, but also the robots themselves.
The overarching plot involves the beginnings of independence displayed by the androids, what they do with that independence within the bounds of the three laws, and what motivates them. Secondary plots involve the individual stories of each android the protagonists encounter in the cafe, and how they come to discover which patrons are androids and which are not. Through multiple visits to the cafe and unprejudiced interactions with the different patrons, Rikuo comes to realise that perhaps the true identity of each guest is not what matters the most. The neutrality of the cafe eventually enables him to let go of his former prejudice against androids. Additionally, though he was initially fearful of Sammy’s independence, he begins to learn that she is more human than he first thought. Illah Nourbakhsh, professor of robotics at Carnegie Mellon University said: “It’s a dangerous moral ground are we walking into, making systems that are reminiscent of humanity and then treating them in a way that is inhumane”. It perplexed me to think why humans would aim to model robots or program artificial intelligence so closely after ourselves, only to treat them as lower beings. Should they not receive the same respect? If some people believe that men is born with innate sins because of Adam’s doing, then shouldn’t robots/AI be born with innate humanity since they are our creations?
I think that the tiny cafe in Time of Eve was something close to a utopia for the shared interests of humans and androids alike!
While researching more I found this article, and part of it said-
Although robots do not have emotions, people can get attached to them, Georgia Tech’s Riedl said. Some people name their Roombas and give them backstories, only to be emotionally upset when the devices break down, he said. People have even held funerals for robot dogs.
Say, if robots/AI were to gain the ability to form emotional connections back with humans, would they be genuine? Emotional connections formed out of feelings instead of logical and rational thought? This reminded me of the Australian sci-fi film “I am Mother“. The film follows Daughter, a girl in a post-apocalyptic bunker, being raised by Mother, a robot aiding the re-population of Earth. It was interesting to watch the change in their emotions towards each other, and their relationship dynamics. I don’t want to spoil the plot by revealing too much, but the movie left me with even more thoughts about the whole AI and humans in a dystopian/utopian world scenario.
AI should always follow the 3 Laws by Asimov, but what if the means and the ends conflict with each other and the 3 laws. Should AI be allowed to harm humans for the greater good of humanity? Should we then put our trust in them that they are in the greater scheme of things, obeying the 3 Laws. In my opinion, artificial intelligence is able to think rationally and logically, unlike humans who are unable to separate our emotions from thinking no matter how hard we try. Despite our best efforts, we will never be objective while I think that AI is able to do so, so in times like this what if the AI’s actions seemed to be creating a dystopian world, but only temporarily, to pave way for the utopian world they are trying to achieve for humans?
Part 1, Chapter 2: Video Games and Computer Holding Power.
Write your impressions and reflections: min 250- 500+ words
Add links and media.
To be honest, I found it strange that quite a bit of the readings weren’t directly Interactive Media or art related (in my opinion), and when I was reading Turkle’s chapter about video games, I was trying to figure out how this was related to IM. And then I remembered that video games are actually art, and a great example of interactive media at that. So before I begin to discuss about some of the many points on video games raised in Turkle’s chapter, I would like to talk about my opinion on video games and its relation to art!
Video games have become so common in today’s society especially among the generations born into the digital age, that they have become their labels. People have lost sight of video games as a work of art. However, in my opinion, games are one of the most successful artforms; one of the most notable instances of coming close to a true Gesamtkunstwerk. There so many aspects of art and design in video games- Character design, environment/level design, soundscape, animation, narrative writing, etc. So many overlapping areas of art that I cannot even fully differentiate or name them all. You basically design every single detail in a whole new world! And if that does not include almost all, if not all, artforms then I don’t know what other artwork would be able to achieve so.
A normal video game would stimulate visual and audio sensory experiences, but with the advancement of technology, more senses are being incorporated into games. Gaming devices like the Occulus Rift, opens a whole new world of VR and allows us to have a deeper level of sensorial immersion, such as the addition of physical sensation, or a more immersive in game point of view. Maybe in the future, smell and taste might be possible in video games too! Who knows. Furthermore, there are video games suitable for all ages, making ir an extremely inclusive form of art. With so many genres to pick from, from first person shooting to puzzle games to horror, one is bound to find a game that would suite your personal tastes. Additionally, each game usually offers an individualized yet universal experience to players. That is a quality that interactivity in many artworks try to achieve. For example in games such as Detroit: Becoming Human, players are given different options that will open up different pathways in the story tree, allowing them to craft their own story/experience in a way, but still having the same overarming ark, or being able to reply to try out different experiences.
Multiple options to choose from in Detroit: Becoming Human
At the end of chapter, the story tree shows how your choices led to an ending
Now moving on to some points mentioned in Turkle’s writing! –
“There has been controversy about video games from the days of Space Invaders and Asteroids, from the time that the games’ holding power provoked people who saw it as a sign of addiction to become alarmed…
For Jarish knows that despite the complexity of the games, there is program behind, there are rules. There is the computer that Jarish mythologizes as the dream machine that can make anything possible and as the rule machine that makes everything that is crazy ultimately controllable…
Most people don’t become addicted to video games just as most people who diet don’t become anorexic. But when they use these powerful materials to measure themselves, they are at risk. And, of course, some people come to the material more vulnerable than others. The greater the anxiety about being out of control, the greater the seduction of a material that offers the promise of perfect response.”
Even till now, the social effects of video games are still being widely debated, and controversial. Many still view video games as addictive, video games as violence instigators. Even recently, Trump suggest that video games are the cause of violent outbreaks such as mass shootings due to the glorification of violence in video games. Although I do agree that some video games do glorify violence, I find that this video game stereotype no longer holds true to many games now. Now, there are more and more games with different genres, and messages. Shooting and killing games aren’t the only genres in the game industry. There are numerous non-violent games that are immensely popular, such as the recently trending Animal Crossing: New Horizons, a wholesome video game where you create a home, interact with cute animal villagers, and just enjoy life whilst exploring. There are even games that preach non-violence, such as Undertale. In the battles in Undertale, you can choose to resort to violence, or to use words to talk ourself out of the fight. Choosing not to resort through violence throughout the whole game will lead to a True Pacifist Ending, which is considered the “true ending” to Undertale, leading to a happy conclusion and the complete credits. If the player choose to resort to violence and slay enemies in some battles during the play through, they will complete the Neutral Route. Upon completing the Neutral Route, the protagonist receives a phone call after the credits that provides a hint to the next requirement for getting the True Pacifist Ending, prompting them replay and choose that pathway instead.
Example of battle mechanics, you can choose to “Fight” or “Act” in different ways, and eventually spare “Mercy” instead of resorting to violenceEnding for True Genocide Route, where you kill everyone (above) versus True Pacifist, where no lives are taken and the story truly ends (below)
Many people are drawn to games because of the power they hold in games. Unlike in real life, almost everything you do is solely controllable by the player in a game. Like what Turkle said, they get seduced by the control one wields in the game, compared to real life which is unpredictable, where many a times, things happen outside of our control. Is giving people power and control over something a good way to make them engage with your creation? Anyways, I think people who get addicted to games and are actually influenced to carry out violent acts already have pre-existing psychological issues, and the full blame (or any blame at all) cant be placed on video games.
“Marty is a twenty-nine-year-old economist who works for a large Manhattan bank. He is a nervous, wound-up man. “I’m a real worrier. A real ‘type A person.’ That’s me.” He says he plays the game because he needs “to have something to do which is so hard that I can’t think of anything else.” The games force him into another mental space where the thoughts and the cares of his day cannot intrude. For many years, Marty used transcendental meditation to relax. Now he uses video games.”
I feel like games are usually painted as a villain, often affiliated with connotations that people forget its positive impacts. People go to museums to look at artworks, as a form of entertainment; or make their own art as a form of therapeutic release. Games are works of art, games can be the same too. Games are a great form of escapism from the real world. Like mentioned before, people are able to escape into a new reality which they have more control over, or one that is out so fictionally out of their wildest dreams, where they are able to choose their own story and create a new identity. They can be transported into a world that allows them to relax, and provide entertainment.
Its interesting that some games are created with for relaxation in mind. Games like Journey or Abzu takes players into a beautiful tranquil landscape , and aims to create a really zen game play experience. There are even games you can play with friends to enjoy some time together and relax, such as Snipperclips or Animal Crossing.
Abzu JourneyAnimal Crossing
“Technological advances have enabled designers to create games that provide visually appealing situations and demand a diverse and challenging set of skills. But the ambition is to have the appeal of Disneyland, pinball, and a Tolkien novel all at once. Games like Joust do not offer the imaginative identiﬁcation with a character and a situation that literature does.”
Its interesting that Turkle noted how people wanted more customization and literary in games. Perhaps thats what sets video games apart from other forms of art and makes it successful. The fact that video games are such flexible amalgamations of both art and design. In more traditional artworks like paintings, the audience has no hand to play in creating or playing around with the work, and they could each have vastly different interpretations. Compare that to video games, where the audience has almost full interactivity and control of what they wish to do, with the power to personalize their experience; whilst they might all experience something different, the overall story line or overarching message they derive is still more or less the same. Video games are designed so that everyone is still able to understand the basic narrative, although it still allows for some interpretations; while in art the fundamental artist message might still be lost to some; while in design, there is no room for interpretation for good designs.
“The knights in Joust owe their appeal to associations the player makes with fantasies about medieval combat that have been sparked through other media. And even the graphically “advanced” Joust lacks the degree of individual characterization one has come to expect in animated cartoons. Designers are starting to break out of these limitations. New generations of computer graphics will allow game characters to have more realistic gestures and facial expressions. New programming techniques offer the hope of creating characters who have more speciﬁc and interesting personalities than the monsters in Pac-Man so that players’ interactions with them may feel more like a social encounter and less like controlling a pinball”
A good example for the above paragraph is the game Monster Hunter World. When you begin the game, you are free to customize your characters looks however you want. Whats so cool about MHW is that the graphics look pretty realistic and you can customize numerous details from the age of your character to the color of their hair, or if they have special markings on their faces, etc. During the game, there is even more ways you can create your own unique character, by mixing and matching whatever armor or weapon you prefer as you carry our your quests in the main story line. MHW also allows for co-op battles with your friends to slay the monsters. Being able to play games alongside your friends is something that many games are working towards today. By giving the option to play multiplayer, games can indeed feel more like a social encounter, and less like a solitary activity. Hmm, maybe its just my lack in knowledge of artworks, and the vastness of the artworld, but I struggle to think of works of art that allows its audiences to partake in social interactions that help build or complement the artwork.
Different weapons to wield and different parts of different monster armours to choose from
“Woody Allen dreamt of the interactive novel. Video game designers plan to implement it, perhaps less voluptuously, by putting the player in control of a character who lives not in a maze but in a piece of literature.”
This got me thinking of Netflix’s latest Blackmirror movie, Bandersnatch. The first time I played it, I found it to be an interesting experience, and thought that it was rather innovative, a movie that you could decide your own ending! But after finishing the whole film, I still thought it was cool that Bandersnatch was blurring the lines between movies and games now, but I was kind of disappointed at its level of interactivity with the literature. I realized that the choices you made did not really affect what happens in the story, or that they would kill the main character off, thus making it seem that there is a “Right Choice” in the film. Although Bandersnatch did disappoint a bit, I think that it set down the foundations for more interesting interactive novels, like what Woody Allen dreamt of, to come. Perhaps future examples would do well to learn from the diverse and deep interactivity found in video games. But by then, I wonder, would the film be seen as a video game then? What would set them apart? Simply the medium of presentation? One presumably using actors and cameras, while the other digital or hand drawn animations. But then again, more movies today are also starting to rely on 3D animations to create characters or scenes, and like what Turkle said, new generations of computer graphics are allowing games to appear way more realistic. Is it possible that if interactive films became more common in the future, they would slowly morph into games, while games morph into them? Would there be a clear line of distinction between the two, or will they be added to a long list of never ending debates such as “what is the difference between art and design?”.
TASK: Research existing examples and projects of wearables recontextualizing biomimicry- the imitation of the models, systems, and elements of nature for the purpose of solving complex human problems.
Biomimicry is an approach to innovation that seeks sustainable solutions to human challenges by emulating nature’s time-tested patterns and strategies. The goal is to create products, processes, and policies—new ways of living—that are well-adapted to life on earth over the long haul.
While researching, I found several examples of biomimicry in fashion and realised that they could also be categorised into the Science/Aesthetic approach I previously used on what wearable tech was to me.
I felt that technology and the innovation of new textiles that mimicked solutions/mechanics/science from nature were a more scientific take on biomimicry. On the other hand, a more aesthetic take would be a more direct and visual representation of biomimicry- like designs that mimicked patterns found in nature. I felt like the definition of biomimicry in the project task was more aligned to the scientific-approach rather than the aesthetics. However, I will still be including some examples of both in the following paragraphs!
The following examples, practices the use of the marvels of nature and its functioning for developing new innovative technology. Many innovative textile products have been engineered using biomimicry. They serve a more functional purposes, being purposefully created with specific properties and intended uses
Invented in 1948, Velcro has become a textbook example of biomimicry – an emerging science that emulates nature to solve human problems. After a walk in the fields, George de Mestral noticed burrs stuck to his trousers and his dog’s fur, which led to his creation of a new hook and loop fastening device that we know as velcro
Water spilled on a lotus leaf does not wet its surface but beads up and rolls off, also cleaning its surface from accumulated dust and dirt. This effect is known as “superhydrophobicity”. Researchers have mimicked this process to create water-repellent and self-cleaning materials and fabrics.
Inspired by sharks’ sandpaper-like skin that reduces drag in water,
Researchers studied the swiftness with movements of sharks under water, and found that a sharks’ sandpaper-like skin reduces drag in water. Inspired by this, they developed their own material that reduces friction caused by human skin, while swimming under water. Speedo’s Fastskin line of performance-enhancing swimwear was thus created and helps one swim faster and more smoothly.
BIOMIMICRY LEVEL: Kind of both scientific and aesthetics? Borrowing the form/structure and texture of the sharks skin to apply it for a human-use context
A group of researchers from PennState implemented a new way to produce fabric in order for it to be self-healing and act as a barrier between the bearer and the outside world. By dipping the fabrics in several liquids, they create layers of material that then form a polyelectrolyte layer-by-layer coating. This process was inspired by polymers present in Nature in the form of squid ring teeth proteins, where positively and negatively charged polymers compose the polyelectrolyte coating. For the coating to protect the human body, enzymes can be incorporated into it during the layering: when matched to the harmful chemical being targeted, the enzymes would make the coating tailored to protect the wearer from being contaminated
BIOMIMICRY LEVEL: Feels very scientific as the level of biomimicry is down to a microscopic level, trying to emulate the cellular process that nature has.
There are a lot more similar examples of biomimicry in textile, such as warm clothing, inspired from the thermal insulation properties of a polar bear. Or dye-free coloured fabric inspired by Morpho butterflies’ wings which appear cobalt blue despite lacking any colour pigment. Or a fabric that imitates how a squid changes colors, by expanding or contracting their pigment-filled cells. By taking inspiration from these underwater colour shifters, scientists are taking the first steps towards developing self-camouflaging clothing that could be a boon to the military
The following examples, don’t really serve a functional purpose or solve complex human problems as they function as mainly works of art. However, they still make use of biomimicry in their designs. make fabrics self-healing using conventional textiles. So we came up with this coating technology. For the coating to protect the human body, enzymes can be incorporated into it during the layering
Biomimicry Shoe by Marieka Ratsma and Kostika Spaho
Nature has been the main source of inspiration for the making and shaping of this shoe. Ratsma and Spaho used the shape of a bird’s cranium for the front of the shoe, with the tapered beak as the spike of the heel. The idea for this shoe highlights the aesthetics and the shape of the bird skull, along with the characteristics of the lightweight and highly differentiated bone structure within the cranium.
BIOMIMICRY LEVEL: Leaning towards aesthetics, as the form of the shoe itself directly borrows the anatomy of the bird. Very appearance based mimicry. I feel like there is not much science-approach in this as its a very visual surface-level work, lacking a deeper conceptual meaning that is inspired from processes/behaviors we see in nature.
Iridescence by Behnaz Farahi
The male Anna’s hummingbird has feathers around his throat that appear completely green, but can turn into an iridescent pink when he moves. This is how the Anna’s hummingbird attracts mates during his spectacular displays of aerial courtship. Iridescence is an interactive collar, inspired by the gorget of the Anna’s hummingbird. It is equipped with a facial tracking camera and an array of 200 rotating quills. The custom-made quills flip their colors and start to make patterns, in response to the movement of onlookers and their facial expressions.
BIOMIMICRY LEVEL: Both science and aesthetics, but a less direct copying of a hummingbird. Aesthetically borrows the visual language of the humming bird feathers, and has a very similar appearance. However, Farahi created his own material that uses lenticular science to mimic the color changing feathers of the hummingbird. The logic/system behind the why the custom-made quills also mimic the mating process of the hummingbird, making use of a deeper level of biomimicry
FURTHER READINGS :
While researching, I found some research papers online that are related to the topic. I especially liked the paper “Nature Inspired Clothing Design Based on Biomimicry (2016)” as it was elaborate/detailed; and Anzabi gave numerous good examples, that I did not mention above. He even had the same method of classifying the different levels of biomimicry in clothing design as me.
Nature Inspired Clothing Design Based on Biomimicry (2016)
While researching for an inspiring example of interactive art, I discovered a few artists who make quite a lot of interactive art pieces. Thus, I will be sharing a few works by each artists because I find them too interesting not to share!!
RAFAEL LOZANO-HEMMER Rafael Lozano-Hemmer was born 1967 in Mexico. His work can be considered a blend of interactive art and performance art, using both large and small scales, indoor and outdoor settings, and a wide variety of audiovisual technologies. Lozano-Hemmer is best known for creating and presenting theatrical interactive installations in public spaces across Europe, Asia and America. Using robotics, real-time computer graphics, film projections, positional sound, internet links, cell phone interfaces, video and ultrasonic sensors, LED screens and other devices, his installations seek to interrupt the increasingly homogenized urban condition by providing critical platforms for participation. His smaller-scaled sculptural and video installations explore themes of perception, deception and surveillance.
Under Scan is an interactive video art installation for public space. Passers-by are detected by a computerized tracking system, which activates video-portraits projected. The portraits projected were recordings of volunteers who were free to portray themselves in whatever way they desired. These portraits are projected at random positions. When the viewer covers the projections with their shadow, the portraits are “revealed” and thus “wake-up” and establish eye contact with the viewer. As the viewer walks away, the portrait reacts by looking away, and eventually disappears if no one activates it.
Every 7 minutes the entire project stops and resets. The tracking system is revealed in a brief “interlude” lighting sequence, which projects all of the calibration grids used by the computerized surveillance system. Under Scan was inspired by
The piece was inspired by mise en abyme in visual works such as Jan Van Eyck’s paintings, where the portrayed (who is also the viewer) makes eye-contact with the viewer. Other inspirations for this work include the post-photographic device described in La invención de Morel, written by Adolfo Bioy Casares (1940). In the novel, a character called Morel tells the tourists he has been recording their actions of the past week with a machine he invented that is capable of reproducing reality. The recording capture their souls, and enables them to relive that week forever through relooping the recording. As such, the recording is able to overlap with reality.
My thoughts: I found the concept of using peoples
shadows as an input to trigger an output really
interesting. I am also amazed at how their shadows
makes the projections clearer, instead of obscuring
them completely. Additionally,I think that the small
details like how when the viewer walks away, the
portrait looks away, and "sleeps" if there is no
input anymore. I find the whole trigger and
deactivating system well thought about. I can also
see how the artwork relates to Morel's photographic
device- The portrait projections and viewers shadows
parallels (in the novel,)the recording overlapping
Sandbox is a large-scale interactive installation. On two small sandboxes tiny projections of people appear. These projections are actually real time projections of people on the two larger sandboxes (a.k.a the beach). As participants reach out to touch the small projection of people , a camera detects their hands and relays them live to two of the world’s brightest projectors, which hang from a boom lift. Their hands are live-streamed and projected over the beach. In this way people share three scales: the tiny sandbox images, the real human scale and the gigantic scale of special effects. These images are amplified by digital cinema projectors which create an animated topology over the beach, make tangible the power asymmetry inherent in technologies of amplification.
I really love how simple, and yet complicated this
project is. It is amazing to see how participants
are able to interact with each other indirectly and
yet directly, through the clever manipulation of
scale. The use of live-streaming and real time
feedback is a very immersive way to get participants
to play with each other through the artwork. Perhaps
something we can think about! This work amplifies
human connection, and I think it is a very successful
interactive media artwork as it is v engaging.
Lozano-Hammer's use of projections as a medium,
although tricky, is also something I think we can
consider using. I find the technical execution of
this work really impressive, as it looks rather
seamless and considering this was made back in 2010!
RAFAEL LOZANO-HEMMER has a lot of really cool works,
you can check them out!! :
- Pulse (2019)
- Cloud Display (2019)
- Pareidolium (2018)
JEPPE HEIN Jeppe Hein was born in 1974, and is an artist based in Berlin and Copenhagen. His interactive sculptures and installations combine elements of humour with the 1970s traditions of minimalism and conceptual art.
Path of Frequencies is a site-specific installation of steel tracks that responds to the architectural configuration of the museum, assembled to run through the entire exhibition space like a guided path. As each visitor enters the space, a sensor is activated and releases a ball on a string. The ball is then set in motion along a dynamic and meandering track, creating various tones as it collides with singing bowls dispersed throughout the space. Visitors are accompanied by a unique and continuous sound during their visit, experienced physically in the vibrations that the singing bowls produce. In addition, the emerging melody becomes a connecting element between visitors as they unconsciously make music together.
I personally like how this artwork is both an
individual and a collective experience. Each
visitor experiences the same path that the ball is
set on, yet depending on other fellow visitors,
the collective sound this work generates in the
end is different. I also enjoy how input is the
viewers presence, while output is the motion of the
ball; and that the motion of the ball creates an
additional audio output for the viewers.
A large mirror hangs on the wall with a small bench positioned in front of it. Upon taking a seat on the bench, visitors begin to observe their own reflections. However, a small trigger activates a fog machine within the bench, releasing smoke from small holes that surround the seat. Thus while contemplating their reflections in the mirror, they see themselves engulfed in a cloud of smoke, gradually reappearing only as the fog dissipates.
I like the idea of how you can see yourself go through
the process of the artwork, but not through a digital
medium such as live-stream or recording. Instead a
mirror is used for the viewer to see their own
reflection and to witness what is happening to them as
they are engulfed. Being able to see yourself through
the mirror provides a sort of out of body experience
due to seeing your entire self through someone else's
pov (instead of first person); And I feel that this
enhances the ephemeral and other-wordly experience
that the fog also comes with. The visuals of the fog
coming out through small holes in the chair due to
the viewer's pressure (upon sitting) is definitely
eye catching, and pretty engaging.
At first sight, with their black leather and white-painted wood, Jeppe Hein’s benches seem to be a permanent fixture in the museum’s décor. Looking like any average bench in a museum institution, each bench is positioned parallel to the architectural form of the space. However, this benches are also motorized. The moment visitors sit on them, the benches unexpectedly move. The benches reposition the seated visitor by moving a calculated distance when activated by the weight of the body. By adding this surprising element Jeppe Hein creates food for discussion and puts a smile on people’s lips. At the same time, he draws attention to the bench and its function.
Although the execution of this work is rather straight
forward, it is not only fun, but also quite meaningful.
Thebench is a common item in a museum, but this time,
it has become the artwork itself. However, if no one
were to sit on the bench, then it does not function
as how it was intended to as an artwork. So then, if
there is no human input, the bench is still just a
bench right? But once there is human input (weight
via pressure sensors), the bench comes to live and
moves- becoming the statement piece of art it was
programmed to be. It is interesting that the work
only comes into its own right, when visitors use it.
It is also interesting that the artwork in focus is
now a bench, instead of the artwork that the bench was
placed in front of. This is a simple interactive work
of art yet worthy of discussions, which I think is
something our works should strive for too!
JEPPE HEIN has other interesting works, you can check:
- Appearing Rooms (2004)
- Self Destructing Wall (2003)
- Let Me Show You The World (2000)
- Bear Your Consequences (2018)
- Today I Feel Like (2018)
GELITIN Gelitin is a group of four artists from Vienna, Austria. The group consists of Wolfgang Gantner, Florian Reither, Ali Janka and Tobias Urban. They were formerly known as Gelatin and changed their name in 2005. They are known for creating sensational art events in the tradition of Relational Aesthetics, often with a lively sense of humor, and the occasional nudity involved.
In the Moscow Lenin Museum, a hanging hut outside was mainly built to keep the cold temperatures outside the museum halls and to offer some privacy. However, Gelitin did a cheeky move and turned it into an outdoor loo where people could “support(ed) Gelatin by donating a watery solution of metabolic wastes (such as urea), dissolved salts and organic materials”. This waste would then be poured down a chute in the hut. In the cold temperatures of russian winter, the hot piss was frozen really quickly and formed an ice sculpture. In the end, this collective ice sculpture was made with the help of “some 200 thousand kidneys” (aka. museum goers who volunteered to play a part in this artwork). The iceicle eventually ” turned into a handsome 7 meter tall and one meter fat pipi amber colored iceicle” after some weeks.
This interactive artwork is amazing because it is
cheeky and really funny. It is kind of provocative?
Some people might call it a piss-poor work of art:
how is frozen pee art?? Its hilarious. I think that
this is a really unique artwork that invites
participants to come and do something really weird
together. And evidently, the appeal of this project
was really strong... so many volunteers, with such
a tall and fat icicle as a final product...
It works well as an engaging work of interactive art!
Obviously, in a school setting, I doubt we can use
such controversial materials, but this work can
inspire us to start thinking out of the box when we
are considering what mediums to use; or how/what
every participant is able to contribute to the
A wooden and metal structure was built for Parallel Vienna 2016. With the help of 30 strong men, participants were provided the experience of riding a human elevator. Participants were manually lifted several floors up by the men
Like Zapf de Pipi, I find that this work is a good
example of interactive works that are non-digital.
There is no technological element at all in both
these works, yet they are able to provide a very
interactive experience for the participant. Human
Elevator is a performance artwork that makes use of
volunteers in the process to create not only a
performative process, but also a personal experience
for other participants. It has definitely inspired me
to think of how I can perhaps aim to create a work
whereby, the whole process and end result is heavily
dependent on the actions of those who participate/
volunteer, and to create a work that is more playful/fun
GELITIN has a lot of really weird and funny works, I
implore you to check them out!! :
- Ritratto Analitico (2013)
- Klunk Garden (2009)
- Gedichte von einem Freund (2014)
- Normally, Proceeding and Unrestricted With
- Die Tusovka Runde (2014)
- Gelatin at the Shore of Lake Pipi Kacka (2003)
Lumen Couture provides fashion technology dresses for everyday wear, special events, and performers
Garments incorporate embedded LED technology for fashionable glow that transitions day-to-night
LUMEN COUTURE: https://www.lumencouture.com/
MICROSOFT PRINTING DRESS
The Printing Dress (2011) by Astra Roseway and Sheridan Martin
Laser-cut buttons that look like old typewriter keys are sewn into the dress. A laptop, four circuit boards, and a projector
designed to project what you’re putting out on the Internet
weets become fashion statements as words flit across the skirt
step toward social accountability for your online actions. It could conceivably help reduce the flame war phenomenon that comes from people hiding behind anonymity and pare down the number of controversial tweets offhandedly tossed out by celebrities. Online words become a lot more real when you have to display them to everyone within eyesight
Robotic clothing that reacts to the chromatic spectrum
Made out of silicone, glass, PVDF, electronic devices
Inspired by neurologist Oliver Sacks’ novel., The Man who Mistook his Wife for a Hat
Like Oliver’s patient, the garments alternate between 2 states- what they are and what they can potentially become as they recognize the colours in their immediate surroundings and adapt to and mirror the rhythm of the ever-changing environment
Two robotised garments are connected to a fingerprint recognition system. However, through bypassing the notion of security, they only become animated in the presence of strangers whose fingerprints aren’t recognised by the scanner
Equipped with a AI facial tracking camera and an array of 200 rotating quills. The custom-made quills flip their colors and start to make patterns, in response to the movement of onlookers and their facial expressions
Explores how wearables can become not only a vehicle for self-expression, but also an extension of our sensory experience of the world
3D-printed wearable which can detect other people’s gaze and respond accordingly
Explore how clothing can behave as an artificial skin capable of changing its shape and operating as an interface with the world, reacting to external stimuli such as emotions, temperature, etc (like real skin)
A camera (can detect age, gender, and orientation of the subject’s gaze) uses image sensing technology communicates with a microcontroller which is able to actuate and control various nodes in the garment.
Special ink (PdCl2) with color change potential across the CMYK or RGB scales. Can be painted, sprayed or dyed on fabric
Ink has chemicals whose molecules change their shape depending on a stimulus, so that they refract light differently and make us see another colour
Stimuli: changes in temperature, UV light, friction, sound, moisture, levels of carbon monoxide absrobed
Pallidium Chloride is commonly used in catalytic converters, which reduce car emissions by reacting with exhaust gases. Reversible process where palladium chloride is broken down into palladium that can be reused, while turning the carbon monoxide into carbon dioxide. Hence the clothing changes from yellow to black in relation to the pollution it absorbs
Swarovski x The Unseen (2014)
Created as a reflection of the inner workings of the human brain, stands true to Bowker’s mission of revealing the magic of the world unseen to the human eye
Headpiece made from chameolonic Swarovski stone
4000 Swarovski gems are doused in temperature-sensitive ink. These stones then serve as insulators to the energy generated and lost from the head, hence changing colour
Throughout the day as your thoughts and emotions drift in and out a beautiful display of gems will shift and change along with you.
Wearer is also equipped with an EEG (electroencephalography) headpiece, which communicates wirelessly with an app
The app then wirelessly sends the data to the garment, which changes colour in response, from monochrome grays and blacks, to subtle pastels, to vibrant rainbow hues — each of which indicates a different emotion
“Red portrays anger, nerves and anxiety, whereas green reflects teaching, sociality and people. Blue reveals calming, truthfulness and peace, while white mirrors an inner state of sensitivity, intuitiveness and psychic ability,”
Could be brought forward in the future to help treat psychological disorders such as depression, or as a measure of emotional states.
THE UNSEEN: http://seetheunseen.co.uk/
TED X LAUREN BOWKER: https://www.youtube.com/watch?v=5VM-
Grown from a bathtub mixture of yeast, bacteria and sweetened green tea, sheets of bacteria cellulose are produced
When wet, they can be molded/sewn into garments. Tinted with vegetable dye
Similar to vegetable leather
Biodegradable and compostable
TED X SUZANNE: https://www.ted.com/talks/suzanne_lee_why_biofabrication_is_the_next_industrial_revolution/up-next?utm_source=twitter.com&utm_medium=social&utm_campaign=tedspread
Wearable tech for “mass consumption”
– not really very scientific-approach (like health or textile exploration) or artsy (not haute couture or art pieces that would be placed in an art museum. but belong to high fashion)
– Usually more gimmicky in my opinion???
– Though there are exceptions-> ie anrealage?
"Canvas of the Future" from the Louis Vuitton Cruise 2020 Fashion Show
Louis Vuitton x Royole Corporation (leading innovator and manufacturer of advanced flexible displays and sensors)
Flexible OLED screen allows users to show custom images and videos on the touchscreen displays
v) Propose an artwork that draws inspiration from Graphic, Product, and Interactive Design history. Explain how the works and/or art movements within each history shape your concept. Describe the significance of the artwork—is it an homage, a reflection of the present, or a speculative future work. Provide sketches for your proposal. If necessary, provide historic visual references