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DreamDrops

Felt, paper, computer with custom software, Kinect interface, video projectors, speakers
2014
DreamDrops
DreamDrops

DreamDrops is an interactive fiber/video installation where viewers can interact with felt sculptures, brought to life as a colorful, immersive video and audio environment.

Three DreamDrops are constructed with felt and paper. The felt gives them the form, and the paper provides a window into the virtual words. The Drops are suspended by their “tails”, from the ceiling at three heights. The red Drop is hung the most high, the blue Drop is lower, and the green Drop hangs the lowest.

As visitors walk among the DreamDrops, they can see the three animated worlds. The red world looks like clouds at sunset, the blue world looks like the depths of the oceans, and the green world looks like a lush, tropical forest. The three worlds are populated by “boids”, a flock/school of animated critters that dash about in small groups.Visitors are invited to poke their heads up into DreamDrops. They’ll see bursts of color and dynamic sparks triggered by their motion which is detected by a Microsoft Kinect sensor. People can interact with the boids, who will playfully investigate the human visitors, calling out with a futuristic wail. A hand clap gesture will trigger a colorful tunnel effect that will transport the visitor to other worlds.

With their installation, Rob and Kristina are exploring the threshold between personal space and public space in the technology era. The installation allows people to experience a private environment of light and color in a very public arena.

Several open source software projects were used in this installation:

  • OpenFrameworks - an open-source C++ library for creative coding
  • ofxKinectNui - Sadam Fujioka’s addon using the Microsoft Kinect
  • ofxMSAFluid - an addon for solving and drawing 2Dfluid systems by Memo Akten
  • ofxBoids - a flocking motion addon for by Satoshi Okami

Rob and Kristina would like to thank Jennifer Lim for her help with this installation.

See video

Human Nature

Projector, computer, speakers, X-Box 360 controller
2011
Human Nature

'Human Nature' is a 3D virtual art installation, created with video game technology.  It can be presented with either a screen or projector. Viewers can navigate through the installation using a standard game controller. Dimensions are variable.

See video

Airlock Park

Custom Sony PlayStation 3 game system, HDTV, audio speakers
2011
Artwork by [user-name]
Artwork by [user-name]
Artwork by [user-name]
Artwork by [user-name]
Artwork by [user-name]
Artwork by [user-name]
Artwork by [user-name]

Airlock Park is an interactive, screen-based work powered by a PlayStation 3 game machine.  Influenced both by the history of moving images as well as by the spatial dynamics of video games, this work pulls image fragments from many sources -- from cinema and art history to internet video and video game footage -- to construct virtual tableaux, or scenes.  Intended to be viewed in a darkened space, the work alludes to themes of media legacies, and of the obsolescence of technology.

LumaTouch Synesthesia

wood, Plexiglas, fluorescent lights, computer with custom software, webcam, video projector, headphones, speakers
2010
Artwork by [user-name]

LumaTouch Synesthesia is an interactive system for creating abstract artwork with electronic music by manipulating tangible objects. The system consists of a light table with five movable objects on the surface, four small cubes and a small cylinder. By manipulating these objects, the user can simultaneously create an abstract painting and compose electronic music to complement the painting. The phenomenon of synesthesia is experienced literally in the creation of color and sound.
The location and rotation of the four cubes are detected by a webcam in the light table. The custom software uses these inputs to choose up to eight of 16 reference images to be morphed and combined for the painting and up to eight of 16 music loops to be mixed for the song. The cylinder is used to change the color of the images and the musical key of the song.
While a viewer is interacting with the piece, it will show the digital painting projected on the wall behind the light table, and play music at a moderate volume level in the room. Headphones are also available to allow the operator to listen more closely. The user can retrieve his/her painting by sliding the “ROBGON” gadget to the center of the light table. The image will be uploaded to www.RobGon.com and instructions for retrieval will appear on the screen.
LumaTouch uses OpenFrameworks, an open-source C++ library for creative coding. The tracking used by LumaTouch is based on the concepts from TrackMate, an open-source tracking system. The reference paintings are from the Smithsonian Institute Website, www.si.edu, and are used in accordance with the Smithsonian's terms of use. Some of the music loops are original and some are from looperman.com and are used in accordance with their terms of use. I would like to thank Jennifer Lim for her help with this project.

the phenomenology of painting (Albers machine)

3 stretched and gessoed canvases, 3D animation with sound, software, video projector, speakers, computer
2010
Artwork by [user-name]

This new body of work is an extension of my previous explorations, in which I created a series of interactive installations and sculptures featuring lifelike 3D animated forms. That work investigated empathy, and the way we come to identify with the objects of our gaze, be they living or technological. In this new work, which I am calling “unspecific objects” (in both parody of, and homage to Donald Judd’s famous essay, Specific Objects), my goal is to use projected 3D animation combined with material forms to create objects that have a strong physical, almost lifelike presence. Despite their simple formal constraints, they elicit an awareness of our process of perception, and the difference between perceiving and knowing. They also expose the anthropomorphism latent in our perception of even the most minimal of objects.
the phenomenology of painting (Albers machine) specifically explores the relationship of abstract painting to spatial illusion. Throughout the last 100 years there has been much discussion of the “nature” of painting, and the relative value of acknowledging the flatness of the picture plane vs. explicitly creating the illusion of depth. This piece both pokes fun at and investigates these stances by creating the illusion of depth in three wall-mounted objects that very closely resemble Joseph Albers' paintings from the series “Homage to the Square.”

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