MOSTON is a 12-foot tall suspended inflatable sculpture that embodies the cyberfusion of two geographically distant locales: Moscow and Boston. While MOSTON's three-dimensional form references ethnically specific artifacts, the visual appeal and conceptual ingenuity of "matryoshkas" reach audiences beyond Russia and Russian diasporas. A universally understood symbol of sequential creation, these toys offer a fitting framework for evoking the concentric evolution of Moscow's and Boston's city armatures.
{"title":"MOSTON","authors":"A. Belkina","doi":"10.1145/2077355.2425801","DOIUrl":"https://doi.org/10.1145/2077355.2425801","url":null,"abstract":"MOSTON is a 12-foot tall suspended inflatable sculpture that embodies the cyberfusion of two geographically distant locales: Moscow and Boston. While MOSTON's three-dimensional form references ethnically specific artifacts, the visual appeal and conceptual ingenuity of \"matryoshkas\" reach audiences beyond Russia and Russian diasporas. A universally understood symbol of sequential creation, these toys offer a fitting framework for evoking the concentric evolution of Moscow's and Boston's city armatures.","PeriodicalId":205330,"journal":{"name":"SIGGRAPH Asia 2011 Art Gallery","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117216967","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Byongsue Kang, Hyohoun No, Junghwan Sung, Jaeyoung Kim, Hwanik Jo, Semi Kim, Minju Lee
We want to express digital communication with a human touch. So we pay attention to the properties of a door because it links one place to another. We think the linking of different places and sharing of places is one of the substantial qualities of network technology. Another reason that we focus on a door is because it bears great meanings. For example, a door is the first spot for a meeting with someone or for kissing someone goodbye. It could be your children, spouse, or your friends. These days, we talk and say hello to friends by Messenger or mobiles. Accustomed to digital devices which neglect time or space, we expect that the devices can carry our emotions to others. However, these have limits in expression. We want to show through the our work "The Door" that network technology should have a little more humanity and love in the near future.
{"title":"The Door","authors":"Byongsue Kang, Hyohoun No, Junghwan Sung, Jaeyoung Kim, Hwanik Jo, Semi Kim, Minju Lee","doi":"10.1145/2077355.2425810","DOIUrl":"https://doi.org/10.1145/2077355.2425810","url":null,"abstract":"We want to express digital communication with a human touch. So we pay attention to the properties of a door because it links one place to another. We think the linking of different places and sharing of places is one of the substantial qualities of network technology. Another reason that we focus on a door is because it bears great meanings. For example, a door is the first spot for a meeting with someone or for kissing someone goodbye. It could be your children, spouse, or your friends. These days, we talk and say hello to friends by Messenger or mobiles. Accustomed to digital devices which neglect time or space, we expect that the devices can carry our emotions to others. However, these have limits in expression. We want to show through the our work \"The Door\" that network technology should have a little more humanity and love in the near future.","PeriodicalId":205330,"journal":{"name":"SIGGRAPH Asia 2011 Art Gallery","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130009892","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Wonder (2011) is an interactive, kinetic sculpture. The work is essentially a living drawing, a residuum of movement that is brought to life by the movement of others. From a distance, the white dots appear to be a constellation, and the work remains static. As a person approaches, the motors suddenly come to life and the dots slowly coalesce to spell the word 'wonder'. However, much like a pointillist painting, the word is illegible when viewed up close. Because of that, it ideally requires two or more people to participate. The person approaching or 'wondering' becomes the artist/performer, physically bringing the work to fruition with their movements. Onlookers are given the ability to see the 'wonder' in the making, both literally and metaphorically. The typically passive act of looking becomes a physically active performance, and people in the vicinity are able to watch and be entertained by the spectacle of it. It is the sculpture's playful nature that really interests me. Whether or not viewers ever discover the word 'wonder' within the work is not important. Meaning is constructed and elaborated collectively, through a shared and hopefully memorable experience.
{"title":"Wonder","authors":"Alicia Eggert","doi":"10.1145/2077355.2425802","DOIUrl":"https://doi.org/10.1145/2077355.2425802","url":null,"abstract":"Wonder (2011) is an interactive, kinetic sculpture. The work is essentially a living drawing, a residuum of movement that is brought to life by the movement of others. From a distance, the white dots appear to be a constellation, and the work remains static. As a person approaches, the motors suddenly come to life and the dots slowly coalesce to spell the word 'wonder'. However, much like a pointillist painting, the word is illegible when viewed up close. Because of that, it ideally requires two or more people to participate. The person approaching or 'wondering' becomes the artist/performer, physically bringing the work to fruition with their movements. Onlookers are given the ability to see the 'wonder' in the making, both literally and metaphorically. The typically passive act of looking becomes a physically active performance, and people in the vicinity are able to watch and be entertained by the spectacle of it. It is the sculpture's playful nature that really interests me. Whether or not viewers ever discover the word 'wonder' within the work is not important. Meaning is constructed and elaborated collectively, through a shared and hopefully memorable experience.","PeriodicalId":205330,"journal":{"name":"SIGGRAPH Asia 2011 Art Gallery","volume":"35 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114438543","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Lilliput is a digital peep show installation inspired by Edison's Kinetoscope and other early motion picture devices. Lilliput is a little man who lives in a room built into a wooden box. When he wakes up in his bed he is surprised to find out he is under surveillance. The spectator can watch animated 3D characters through the peepholes on top of the box. The animation loop is 2.5 minutes long and it shows Lilliput's room from above. Big staring eyes are peeping at the character from the window and doors and he gets annoyed when he can't get rid of them. In the end the spectator becomes one of the peeping eyes that disturbs Lilliput's life. The unlucky little man continues his life under surveillance endlessly. The form of the installation and the design of animation gives an impression of a magic box. Lilliput's voice, footsteps and other sounds can be heard when one approaches the installation. A vibrating speaker also gives spectator also a haptic experience. The box has a lock indicating that there's a secret inside. The installation goes back to the early roots of moving images by offering a small scale spectacle for one viewer at a time. The theme of the work is peeping and its different forms in our society, such as reality television and surveillance cameras. It doesn't give any straight answers about the theme but rather gives the viewer freedom in his or her own interpretations.
{"title":"Lilliput","authors":"Reetta Neittaanmäki, Jari-Pekka Suominen","doi":"10.1145/2077355.2425805","DOIUrl":"https://doi.org/10.1145/2077355.2425805","url":null,"abstract":"Lilliput is a digital peep show installation inspired by Edison's Kinetoscope and other early motion picture devices. Lilliput is a little man who lives in a room built into a wooden box. When he wakes up in his bed he is surprised to find out he is under surveillance. The spectator can watch animated 3D characters through the peepholes on top of the box. The animation loop is 2.5 minutes long and it shows Lilliput's room from above. Big staring eyes are peeping at the character from the window and doors and he gets annoyed when he can't get rid of them. In the end the spectator becomes one of the peeping eyes that disturbs Lilliput's life. The unlucky little man continues his life under surveillance endlessly. The form of the installation and the design of animation gives an impression of a magic box. Lilliput's voice, footsteps and other sounds can be heard when one approaches the installation. A vibrating speaker also gives spectator also a haptic experience. The box has a lock indicating that there's a secret inside. The installation goes back to the early roots of moving images by offering a small scale spectacle for one viewer at a time. The theme of the work is peeping and its different forms in our society, such as reality television and surveillance cameras. It doesn't give any straight answers about the theme but rather gives the viewer freedom in his or her own interpretations.","PeriodicalId":205330,"journal":{"name":"SIGGRAPH Asia 2011 Art Gallery","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115851725","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
The Galloping Horse sculpture is a homage to the works of Marey and Muybridge, both pioneers at the frontiers of art, science, the cinema and biomechanics. This animated sculpture pushes us to understand the extent to which we are movement ourselves: in our actions as we can ride this animal, or even as we imitate a galloping horse through child's play. With no more than 18 light diodes, we sense the presence of the horse. We are movement before anything else.
{"title":"The Galloping Horse","authors":"R. Brun","doi":"10.1145/2077355.2425788","DOIUrl":"https://doi.org/10.1145/2077355.2425788","url":null,"abstract":"The Galloping Horse sculpture is a homage to the works of Marey and Muybridge, both pioneers at the frontiers of art, science, the cinema and biomechanics. This animated sculpture pushes us to understand the extent to which we are movement ourselves: in our actions as we can ride this animal, or even as we imitate a galloping horse through child's play. With no more than 18 light diodes, we sense the presence of the horse. We are movement before anything else.","PeriodicalId":205330,"journal":{"name":"SIGGRAPH Asia 2011 Art Gallery","volume":"11 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126360831","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Semi Kim, Hwanik Jo, Junghwan Sung, Byongsue Kang, Jaeyoung Kim, Hyohoun No, Minjoo Lee
"The pendulum series" explores the meaning of space through the process of pendulum movement. These pieces have virtual pendulums and real ones. We can see the flow of invisible energy in virtual pendulums. Hybrid Form (Digital and Analogue, Space and Emptiness) The movement of a pendulum generates special energy in the impact between first and second pendulum, and this energy is delivered to the last pendulum in the law of momentum conservation. This energy is invisible, but we experience it by viewing a pendulum movement. This piece has virtual pendulums with real ones. Real pendulums are located on both sides, and they are made from electromagnets. Virtual pendulums, located in the middle of this piece, are three-dimensional images, and show the flow of energy as an expressive medium. Impacting objects (magnetic pendulums) and elements in the video animation (energy) create hybrid visuals. With Pendulum#1, we can extend the meaning of emptiness inherent in media art. Emotions and Words Pendulum#2 expresses very emotional feelings. Energy generated from an impact between real pendulums makes virtual pendulums, and virtual ones explore or communicate lots of information with network connections. This energy is communicative, hybrid and emotional. This energy crosses the border between real and virtual - like internet articles that have been exchanged or generated continuously in networks, and the symbolism of words in articles. We might feel emotional 'temperatures' through the meaning of words. 'Happiness' and 'peace' is warmer than 'war' or 'suicide'. Cool words are decomposed gradually by communication and resonate of the repetitive movement of pendulums. In short, this piece mixes and reassigns words.
{"title":"Pendulum","authors":"Semi Kim, Hwanik Jo, Junghwan Sung, Byongsue Kang, Jaeyoung Kim, Hyohoun No, Minjoo Lee","doi":"10.1145/2077355.2425812","DOIUrl":"https://doi.org/10.1145/2077355.2425812","url":null,"abstract":"\"The pendulum series\" explores the meaning of space through the process of pendulum movement. These pieces have virtual pendulums and real ones. We can see the flow of invisible energy in virtual pendulums. Hybrid Form (Digital and Analogue, Space and Emptiness) The movement of a pendulum generates special energy in the impact between first and second pendulum, and this energy is delivered to the last pendulum in the law of momentum conservation. This energy is invisible, but we experience it by viewing a pendulum movement. This piece has virtual pendulums with real ones. Real pendulums are located on both sides, and they are made from electromagnets. Virtual pendulums, located in the middle of this piece, are three-dimensional images, and show the flow of energy as an expressive medium. Impacting objects (magnetic pendulums) and elements in the video animation (energy) create hybrid visuals. With Pendulum#1, we can extend the meaning of emptiness inherent in media art. Emotions and Words Pendulum#2 expresses very emotional feelings. Energy generated from an impact between real pendulums makes virtual pendulums, and virtual ones explore or communicate lots of information with network connections. This energy is communicative, hybrid and emotional. This energy crosses the border between real and virtual - like internet articles that have been exchanged or generated continuously in networks, and the symbolism of words in articles. We might feel emotional 'temperatures' through the meaning of words. 'Happiness' and 'peace' is warmer than 'war' or 'suicide'. Cool words are decomposed gradually by communication and resonate of the repetitive movement of pendulums. In short, this piece mixes and reassigns words.","PeriodicalId":205330,"journal":{"name":"SIGGRAPH Asia 2011 Art Gallery","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123239570","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
"Frameworks" is an interactive installation trying to enhance the experience of an architectural space. This installation is about generating warmth to medium like walls of an architectural space that would otherwise be considered a cold and insignificant space. Through this installation, we witness an opportunity to interact with the walls to add a new meaning to that space. This installation showcases how interactivity can be explored for opening up new possibilities to create more immersive experiences. The artists have tried to achieve this immersive experience by developing a game, where a virtual character plays with walls and their depth, in an actual physical space. A game is considered as one of the most engaging mediums. The artist tries to take a simple game and transform it into a more engaging and immersive experience primarily because of the scale and the seamless integration of the architectural spaces and structures into the game play. The installation will be designed in response to specific spaces or public sites selected by the artist.
{"title":"FRAMEWORKS","authors":"Roychoudhury Promila, Suresh Srinivasan","doi":"10.1145/2077355.2425808","DOIUrl":"https://doi.org/10.1145/2077355.2425808","url":null,"abstract":"\"Frameworks\" is an interactive installation trying to enhance the experience of an architectural space. This installation is about generating warmth to medium like walls of an architectural space that would otherwise be considered a cold and insignificant space. Through this installation, we witness an opportunity to interact with the walls to add a new meaning to that space. This installation showcases how interactivity can be explored for opening up new possibilities to create more immersive experiences. The artists have tried to achieve this immersive experience by developing a game, where a virtual character plays with walls and their depth, in an actual physical space. A game is considered as one of the most engaging mediums. The artist tries to take a simple game and transform it into a more engaging and immersive experience primarily because of the scale and the seamless integration of the architectural spaces and structures into the game play. The installation will be designed in response to specific spaces or public sites selected by the artist.","PeriodicalId":205330,"journal":{"name":"SIGGRAPH Asia 2011 Art Gallery","volume":"26 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126273239","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Imagine yourself walking along a calm beach at night. It's dark and all you hear and feel are breaking waves and sand between your toes. You sit on the beach and start digging up the sand, creating ditches and hummocks. Right at that moment, light swells up from the bottom of your terrain and it gradually becomes a sea of clouds. Suddenly your ditch becomes a giant valley and small hills rise up through the clouds forming a cordillera. This is what you experience with the piece Mont. Mont is an interactive installation composed of a projector, a depth-sensing camera and a computer. Its camera senses the volumetric topology of the ground below the piece and projects a hallucination of clouds, giving spectators illusions of mountains and canyons. Mont offers a playground of creation giving people a god-like ability to create worlds of their own. In a sense, Mont is a meta-creation, a magnificent sculpture delineating wonders of the nature but still existing as a creative medium. Utilizing raw materials, Mont seamlessly fuses itself with nature. With its noninvasive nature, Mont will bridge the gaps between the real world and the digital new media by enabling collaborations between technology, human and nature.
{"title":"Mont","authors":"H. Bang, Yunsil Heo","doi":"10.1145/2077355.2425790","DOIUrl":"https://doi.org/10.1145/2077355.2425790","url":null,"abstract":"Imagine yourself walking along a calm beach at night. It's dark and all you hear and feel are breaking waves and sand between your toes. You sit on the beach and start digging up the sand, creating ditches and hummocks. Right at that moment, light swells up from the bottom of your terrain and it gradually becomes a sea of clouds. Suddenly your ditch becomes a giant valley and small hills rise up through the clouds forming a cordillera. This is what you experience with the piece Mont. Mont is an interactive installation composed of a projector, a depth-sensing camera and a computer. Its camera senses the volumetric topology of the ground below the piece and projects a hallucination of clouds, giving spectators illusions of mountains and canyons. Mont offers a playground of creation giving people a god-like ability to create worlds of their own. In a sense, Mont is a meta-creation, a magnificent sculpture delineating wonders of the nature but still existing as a creative medium. Utilizing raw materials, Mont seamlessly fuses itself with nature. With its noninvasive nature, Mont will bridge the gaps between the real world and the digital new media by enabling collaborations between technology, human and nature.","PeriodicalId":205330,"journal":{"name":"SIGGRAPH Asia 2011 Art Gallery","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2011-12-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129627365","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"SIGGRAPH Asia 2011 Art Gallery","authors":"","doi":"10.1145/2077355","DOIUrl":"https://doi.org/10.1145/2077355","url":null,"abstract":"","PeriodicalId":205330,"journal":{"name":"SIGGRAPH Asia 2011 Art Gallery","volume":"25 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125459138","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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