QR Mirror and QR Stitchers are two audiovisual installations that explore the graphical and morphological properties of QR codes as an aesthetic object. Unlike the usual function of QR codes as an ...intermediary mechanism to link to a destination or final digital object, in QR Mirror and QR Stitchers the QR code itself becomes the final object, presenting a distinct exploration that somehow seeks to transform and deconstruct the original function of the code, giving it a new readability and a new meaning.
Puppetry is the most distinctive folk craft and local opera in Taiwan. With the development of digital media and changes in entertainment patterns, troupes have chosen to develop towards theatrical ...performances. They emphasize the combination of puppet body language and story situations to become a new performance type. Using Radio Frequency IDentification (RFID) as the interface between the puppet and stage scenario, an interactive puppet show device "Puppet come on stage" was designed and manufactured. We also designed exclusive audio and video, background, and special effects for characters. Four aspects were defined for the evaluation: operational safety, design innovation, operational convenience, and content appropriateness. The interactive performance was enabled by combining digital audio-visual media and electronic media for leading actors and puppeteers. The system allows traditional skills to continue in the future.
InExChange is an interactive mixed reality experience centering around an inflatable vest which conveys a physical sense of shared breathing on the diaphragm between two or more participants. The ...experience is composed of three acts in which the participants’ breaths are transformed into metaphorical projected representations: expansive waves, flowing light trails, and growing tree branches. The inflatable wearable devices physically enact in near real-time the inhale/exhale pattern of the other person’s breath, varying in intensity level to create an attention interplay between the embodied sensation and the projection. Through this embodied sense of playful shared breathing, we aim to cultivate a genuine feeling of connection and contribute to the integration of somaesthetic design principles in mixed reality HCI.
This paper presents Connected: Birth-Death-Rebirth, an art installation that explores imaginative lives from human hands in the extended physical environment with physical, virtual, and networked ...environments. The project is an extract of our body and generates virtual lives (birds, trees, and snakes). The new creatures build new societies based on computer algorithms and mimic human society and behaviors. The audience creates new organisms by putting their hands or objects into the white box in front of the projection screen. Their input becomes a flock of birds, a group of trees, or snakes in the projected virtual environment. Participants can get immersed in the virtual environment through a projection or a VR headset. In the virtual environment with a VR headset, they can navigate the world of Connected: Birth-Death-Rebirth by walking or teleporting using the VIVE controllers. The new world is the dynamism of the trees, birds, and snakes. They are born, grow, interact, dead, and are reborn in the environment.
With the development of globalization, the culture convergence of cities has become a common phenomenon, resulted in the fading of the unique regional culture. How to utilize artworks to convey local ...culture has become an important issue. This project explored the connotations of the banyan tree, which symbolizes the Minnan culture of Southern China. The Kinect sensory device sensed the number of participants to modulate the visual representation of the banyan tree's aerial roots, creating an immersive interactive work that can establish the connection between humans and the tree. This project aims to research on the cultural identity reflected by the banyan tree, which represents the Minnan family and their common memories. It also evoked people's awareness of the disappearing regional culture and called on the younger generation to attach more importance to the culture convergence of cities.
新媒體藝術互動裝置之結構分析 陳韻如(Chen, Yun-Ju)
Yi shu ping lun,
01/2022, Volume:
42, Issue:
42
Journal Article
本文以唐．伊德（DonIhde）科技現象學（phenomenology of ...technics）的「人—科技」關係理論作為方法論，並擴及相關現象學和詮釋學理論觀點來形成研究脈絡，以「知覺」與「身體活動」的觀點，探析「人—科技」關係現象學的四種關係，發現參與者（人）與互動裝置作品（科技）之間的各種感官體驗結構，是從知覺身體活動的意向性（intentionality）、經驗性與動態情境空間（世界）位置中不同知覺經驗的四種動態關係而來。在此脈絡下，進一步分析歸納出新媒體互動裝置的四種人機動態結構：「動態被動結構」、「動態互動結構」、「動態交互結構」與「動態智能結構」，論述此四種人機動態結構的必要性，並以國內外新媒體藝術互動裝置作品為例，分析作品中所具有的新媒體互動裝置的人機動態結構，結果可供新媒體藝術創作者以科技現象學觀點，構思互動裝置中的互動程序和動態系統創作架構的可能性。
Este texto aborda tensões entre aspectos políticos e estéticos da cibercultura. Primeiramente, discute-se as aspirações utópicas iniciais em torno da internet como um instrumento democrático que ...motivou a produção de artistas da net.art e posteriormente grupos associados ao movimento antiglobalização e ciberfeminismo. Estes grupos se concentraram no uso da tecnologia para mobilizar ações e discussões sobre o impacto da cultura digital na vida de comunidades marginalizadas, questionando o papel da internet na economia global de mercado, articulando formas de resistência ao neoliberalismo. Em seguida, examinamos produções artísticas de caráter mais lírico, ligadas à instalação interativa. Ao examinar separadamente os aspectos políticos e estéticos nas diversas manifestações da cibercultura, encontramos facilidade em identificar grupos com tendência maior ao ativismo político ou ao desenvolvimento de obras ligadas à percepção sensorial, mas concluímos que uma divisão rígida de posicionamento “estético” versus “político” deve ser evitada.
We begin by examining the tensions between political and aesthetic aspects of cyberculture. Initially, we discuss the early utopian aspirations which saw the Internet as a democratic instrument, ...motivating the practice of artists who created net.art and, more recently, groups associated with the antiglobalization movement and cyberfeminism. These groups focused on the use of technology to mobilize actions and discussions about the impact of the digital culture on the life of marginalized communities, questioning the role of the Internet in the global market economy, articulating forms of resistance to neoliberalism. We then examine artistic productions of a more lyrical nature connected to the interactive installation. Upon examining the political and aesthetic aspects of cybercultural practices separately, we find it easy to identify groups with a strong tendency either for political activism or for involvement in research on sensorial perception, but we conclude that a strict division between “aesthetic versus political” approaches should be avoided.
Connected Immersion, a mixed reality art installation explores dynamic spaces that were created by imaginative organisms from captured human images in the physical, virtual, and networked ...environments. The project is an extract of our body and generates virtual lives (birds, trees, and snakes). The new creatures build new societies based on computer algorithms and mimic human society and behaviors. The audience creates new organisms by putting their hands or objects into the white box in the physical installation space. Their input becomes a flock of birds, a group of trees, or snakes in the projected virtual environment. Participants can get immersed in the virtual environment through a projection or a VR headset. In the virtual environment with a VR headset, they can navigate the world that is full of the dynamism of the trees, birds, and snakes by walking or teleporting using the VIVE controllers. The organisms go through a life cycle (birth, growth, interact, death and re-birth) and provide various interactions to the participants. In the VR environment, participants can experience the space through multiple sensory channels.
