This sort of installations or architectures is trying to pixelate the surface of buildings. Maybe the next step will be the organizing the building itself with the kinetic way.

Articulated Cloud
Kinetic Design Group

Jeff Han
http://www.cs.nyu.edu/~jhan/

Jeff Han: Unveiling the genius of multi-touch interface design
http://www.ted.com/index.php/talks/jeff_han_demos_his_breakthrough_touchscreen.html

Microsoft surface
http://www.microsoft.com/surface/index.html

The reacTable*
http://reactable.iua.upf.edu/
http://en.wikipedia.org/wiki/Reactable
http://www.youtube.com/watch?v=0h-RhyopUmc

VoodooIO pin & play interface architecture (w/ haptic device)
http://eis.comp.lancs.ac.uk/voodooio/

Man With a Movie Camera: The Global Remake is a participatory video shot by people around the world who are invited to record images interpreting the original script of Vertov’s Man With A Movie Camera and upload them to this site. Software developed specifically for this project archives, sequences and streams the submissions as a film. Anyone can upload footage. When the work streams your contribution becomes part of a worldwide montage, in Vertov’s terms the “decoding of life as it is”.

http://dziga.perrybard.net

All this collaboration is meaningful cause it is the joint-remake of existing legendary movie. Also this instantiates not the intellectual result but the artistic/aesthetics result of collaboration. The previous state of artistic collaboration was far from the autonomous participation of unspecified individuals. But this artistic collaboration is consisted of the participation of unspecified individuals for specific purpose. We can watch out the artistic behavior that is organized intentionally from public domain. There is only the catalytic factor. But there’re no regulation for there artistic behavior.

코드 레이스는 팀 단위 실시간 프로그래밍 경진 대회입니다.
온라인게임이나 바둑, 혹은 스포츠 중계를 컴퓨터 프로그래밍에 적용하면 어떨까요?
코드 레이스는 10여팀이 동시에 같은 문제를 두고 프로그래밍을 하고,이 모습이 실시간으로 벽에 투영되며,해설자들은 관중과 교감해가며 그들이 두는 코드 한 수 한 수를 해설하는 독특한 행사입니다.자신의 프로그래밍 실력을 뽐내고 싶거나 혹은 뛰어난 프로그래머들의 모든 것을 현장에서 직접 느끼고 싶은 분들을 환영합니다.
프로그래밍도 하나의 엔터테인먼트가 될 수 있다는 것을 체감하실 수 있을 겁니다.

주최 : 정보통신부
주관 : 한국소프트웨어진흥원

시간/장소:
* 일시 : 2005년 11월 26일
* 장소 : 한국소프트웨어진흥원

자세한 정보

translation

코드레이스(Coderace) is a real-time competition for competing ability of programming.
Imagine the situation that several team of programmers compete their programming ability in real-time, a likely to that of sports, soccer, baseball or basketball game.
In Coderace, 10 program team will be got the same question, and they have to solve in real time. The process will be projected real screen. The commentator will give the audience the explanation for the written codes.

This competition is hosted by the ministry of information and communication, South Korea.

Someday, programming ability will be common for the every person. It’s inventory play or game, like any other sports game.
similar event; livecoda 2006, Real-Time Programming Competition in Melbourne, Australia.

Charles Sandison

Charles Sandison lives and works in Tampere, Finland. Originally from Scotland, Sandison studied at the Glasgow School of Art, graduating in 1993.

After moving to Finland ten years ago Sandison has worked mainly with computer generated video projections that combine language, form, architecture, and movement.

As well as participating in exhibiting at home and abroad Sandison is also currently a visiting professor at the National Studio of Contemporary Arts, France.

문자로 미디어아트를..찰스 샌디슨展

Frieze Art Fair 2006 (6)

presentation and article written for the class, advanced media aesthetics
Referred article, vizster, visualizing online social network, (pdf file link).

Summary

In my personal view-point, this paper concentrate on 2 important concept. The first one is visualization. If so, what is the information visualization? Though it’s hard to make clear definition of visualization, I believe the most important purpose of visualization is to understand something better. Undoubtedly, through the simplification and emphasis, the information visualization help for us to understand and comprehend the object better. Then, in this article, what is the object for understanding?
It is friendster. Friendster.com is a social network service. And this is another main subject in paper. Like cyworld in South Korea, friendster helps people to mange their relationship in internet. The description page of friendster.com will be more helpful.

• Friendster is focused on helping people stay in touch with friends and discover new people and things that are important to them.
• Online adults, 18 and up, choose Friendster to connect with friends, family, school, groups, activities and interests.

The essential concept is very simple. From now on, we’ll cover how it works in short.
You can make your account through the invitation or sign-up. And the first page shows your current profile. Your bookmarks, groups and your friends, too. But, If you signed up by yourself, you would have no friends at the first time. To make friends, you can use various ways. You can type your offline friends’ e-mail address or their name. Or you can browse the member list by their photos or videos. Also, you can search by keywords in the pre-determined criteria such as hometown, movie, music, books and so on.
That’s vizster. In this paper, the authors said vizster is a visualization system that end-users of social networking services, friendster, could use to facilitate discovery and increased awareness of their online community. And from now on I want to show how the authors accomplish their goal.

See slide # 13. This is the screenshot of vizster. In the left panel you can see the structure of the lines and icons which consists graph. Each icon, the authors call it node, represent the member of friendster. And the line, I mean edge, show the relationship between the members. In the right panel, you can see the individual information about the selected member. Each time you clicked the member icon, the right panel exchange, and will show you the member’s information. But I think the essential function of vizster is to show the connection between the members. Who is who’s friend? That’s the main concern.

First, you can find one member’s friends by the different saturation of member icon with mouse over action. Or, it’s possible to know the connection between two specific members. You can type the desired keyword to the text field by yourself. [See slide #16].
Or you can choose the keyword in the given criteria at the individual information panel on right side. Then, you can see the highlighted member icon which answers with your keyword. In this slide, you can see the members for the keyword, “student”.

See slide #17. Here is the different mode of visualization which is called x-ray mode, to visualize attribute values such as age, number of friends, gender, relation status, or time since last log-in. Now, you can see the gender difference at here. You can happen to know whether someone is male or female among Amanda’s friends. And the distribution of gender, too. Through the clustering close members, you can see the overview of the community structure. And with the dragging the community slider, you can change the state of clustering as you want.

After development of vizster, the authors test their work through the public installation and informal laboratory setting. The public installation was took in San Francisco with the group of party-goers and early-adopters of friendster. The test in lab, the participants were also friendster members. The authors found that both group enjoyed exploring social network and playing with this tool. And during the process of discovering the pattern of the community, the participants re-produce the story about the community. In this way, they tends to give a higher level of sophistication to the community analysis that is shown. As a result, the end-users of vizster use this tool to explore and play with their networks.

Topics

topic 1. the information and its visualization in the sociological context

higher level patterns of community

it can be regarded as the characteristics or meaning of information. Shannon and Wiener also said that the we can get information from the extracting pattern from something in his book, The Human use of Human beings: Cybernetics and Society. the interesting thing is the Wiener and Shannon derive their definition from the theory of the signal processing theory in the communication theory. Though, as I think, the partial concept of the visualization is obtained from the practical situation, the central concept is based on the other related studies, such as sociology, communication theory and cybernetics. For this reason, the coupling of the sociological data-set and the visualization of the technical regeneration is not a strange at all. In other words, the discovery is not a technology-based concept rather it occurs in our everyday life in spite of our unawareness. I want to insist that the discovery of the pattern as a process of producing information exists in the social perspective of our culture as well as in the individual context.

topic 2. virtual subjectivity

The most difficult part for reasoning about subjectivity is the sense of alienation between one’s representational subjectivity to public and his own sense of subjectivity or subject. One’s representational subjectivity in real world is out of subject’s control, or most of us believe that this proposition is true. On the contrary, in the virtual world or the online social networking service, the members assume that they can detach their own subjectivity which is generated during his online social behavior. That is to say, the created subjectivity in the online social networking service, i.e. the virtual world, is the different aspect of subject. Or it is possible to say that the virtual subjectivity has nothing to do with his real world subject. Like we need to have a set of several masks for our social behavior, the online subjectivity is the another set of our masks to live in the virtual society.

topic 3. information visualization and database

As a whole system, the platform for online social networking service imitates the real world. During this imitation, the complex system of real world is simplified by the generalization. And this generalization needs judgment. Because, during generalization, you should judge which factor in given dataset is necessary or not. For there is no photo-realistic method to represent or imitate the snapshot of online social activity, to grap the flash moment of virtual world, or to log the whole data-transfer, we have to judge which part of human activity has to be converted to the data in server. With this judgment, the architect who design online social network service represents the dynamics of the real world. Then, as a framework which represents the human activity, the database is a result of the judgment and representation. This premise can be a start of the asethetic discourse on the database. Further, we can think about the connectivity between the database as a structure of selective data and the information visualization as a reflection of real wolrd.

2008 s/s Diesel Liquid Space Holographic Fashion Show via messaget.com

summery for this fashion show is as below

Diesel recently held a fashion show in Florence that featured 3D holographic sea creatures accompanying the fashion designs. The art is amazing and very fluid, like creatures from the deep sea or another world. While regular human models paced up and down the runway, a host of polyp-like CGI characters appeared in mid-air to interact with them within an underwater landscape. And in a unique twist, these animated holograms were entirely viewable from both sides of the stage.

Diesel’s Creative Team (under the direction of Wilbert Das) based the show on an aquatic theme entitled “Liquid Space” and brought together Barcelona animation studio Dvein – who worked on the CGI visual effects and 3D animations – and Danish multi-media production agency, Vizoo, who provided the innovative technology for the show, which they had created themselves. Neither studio, say Diesel, had previously worked on anything like this before.

The core technology, 3-dimensional projection is developed by Vizoo. This video will be more helpful for your understanding of this technology. The fashion show vid does not seem to be processed in real-time rendering. The harmony between the models and the hologram has time-differences. Think about the SF comic book is published about 20 years ago. The imaginary thing in the comix became visible. The projected hologram in arena is not only for Lynn Minmay.

ref www.fashvids.com
see also, 4dart.com, technology with play, play with technology. whatever.
and Kate Moss Hologram in Alexander McQueen fashion show

The focus of the InfoLab is on the theory and practice of information systems designed for the actual skills and limitations of human users. We examine the work and life flow of people and seek the points of contact where our systems can draw the information from that flow that will allow them to provide information designed for that time, that place, and that person. We use the context of a person’s life and activities to get them to the information they need.The focus on our work in Network Arts is on the strategic mining of the Web to draw down information built through the distributed knowledge engineering that is Web publishing. Focusing not just on the documents that make up the Web, but on the point of view that they exhibit, our systems are able to both illuminate and inform.

Northwestern Univ. Intelligent Information Laboratory

Network Dynamics: A cross-dimensional analysis of network models excerpt (ISEA 2004, Helsinki/Tallinnn)
Network Arts: Defining Emotional Interaction in Media Arts by David Ayman Shamma

networked_performance – a research blog about network-enabled performance

“이터널 선샤인”에는 기시감이라는 기억의 작용과 플래시백이라는 영화적 장치가 매우 빈번하게 등장한다. 플래시백이 등장하는 방식 또한 기시감이 인간에게 닥치는 것만큼이나 매우 갑작스러운 성격을 띤다. 플래시백을 예고하는 관습적인 영화적 규칙들, 이를테면 오버랩이나 디졸브, 음악의 사용 없이 우리는 주인공의 매우 다양한 기억체계를 여행하게 된다. 미셀 공드리를 매우 뛰어난 아티스트라고 말할 수 있다면, 바로 이 지점에서일 것 같다.from Nomadic Behavior :: Eternal Sunshine of the Spotless Mind

인용하려면 어찌 해야 하지? 영화 이터널 선샤인(원래 제목은 Eternal Sunshine of the Spotless Mind) 과 그 안의 기술적 내용에 관한 내용. 영화 매체의 특성으로 인해, 기술과 내용이 복잡하게 얽혀있거나 혹은 두 측면이 절대 분리될 수 없음을 보여준다. 촬영과 세트, 쇼트의 구성에 관하여 논함. 핵심 부분은 시간에 대한 인식인 것 같음.

영화가 시간 경험을 직접적으로 조작하고 있다는 부분은 레프 마노비치를 통해 알려진 바 있으나 공간 경험에 대한 부분은 게임과 관련된 차이를 둘 필요가 있음. 게임이나 체험형 미디어에서의 공간 인식이 경험을 통해 구성된다면 영화에서의 공간인식은 전혀 이루어지지 않거나 시간에 대한 footnote로 처리되는 것은 아닐까? 분명한 점은 영화가 오랜 기간 동안 시간과 공간, 혹은 시공간에 대한 새로운 시도를 하고 있다는 점이다. 시공간은 처리 과정을 거친 후 영사된다. 반면 new media 안에서는 시공간이 조작(operation or manipulation)된다.

Robotarium X, the first zoo for artificial life, approaches robots very much in the way as we are used to look at natural life. We, humans, enjoy watching and studying other life forms behavior and, sadly, also to capture them. However, in this case, although the robots are confined to a cage it can be said that, not like animals, they enjoy it. In fact the Robotarium is their ideal environment with plenty of sun, smoothness, tranquility and attention. There are no fights or aggression and the only competition is to assure a place under the sunlight.

zoo for robot. via Rhizome

http://www.uniqlo.jp/uniqlock/

시간을 견디게 하거나, 시간을 잊게 하거나. 혹은 차이가 있는 사건의 연속
리토르넬로를 참조할 것

The Daniel Langlois Foundation for Art, Science, and Technology

Mandate and Objectives
The Daniel Langlois Foundation’s purpose is to further artistic and scientific knowledge by fostering the meeting of art and science in the field of technologies. The Foundation seeks to nurture a critical awareness of technology’s implications for human beings and their natural and cultural environments, and to promote the exploration of aesthetics suited to evolving human environments. The Centre for Research and Documentation (CR+D) seeks to document history, artworks and practices associated with electronic and digital media arts and to make this information available to researchers in an innovative manner through data communications.

The Foundation’s mission is to:

- Promote contemporary artistic practices that use digital technologies to express aesthetic and critical forms of discourse;

- Encourage interdisciplinary research and, in general, sustain the development of projects calling for co-operation between people from a variety of fields, such as artists, scientists, technologists and engineers.

- Make available the results of research supported by its programs.

J.G. ?2003 FDL

historic video clips are available here, the Daniel Langlois Foundation for Art, Science, and Technology.
materials on 9 evenings
Carraige Discreteness by Yvonne Rainer
Vehicle by Lucinda Childs
Open Score by Robert Rauschenberg
Variations VII(clip 1) by John Cage
Variations VII(clip 2) by John Cage

other links on 9 evenings
http://www.medienkunstnetz.de/exhibitions/9evenings/
http://www.artmuseum.net/w2vr/archives/Kluver/06_9Evenings.html
http://www.fondation-langlois.org/html/e/page.php?NumPage=1716

And here is none-flash version of langlois.org

New York Electronic Art Festival

There is no doubt that the New York region is currently experiencing a heyday, of sorts, for new media. Centered in New York and reaching its tentacles out into Brooklyn, Queens, and many parts of New Jersey, the ‘scene’ on the east coast is thriving, and diverse, as evidenced by the ambitious lineup at this year’s New York Electronic Arts Festival (NYEAF), which is produced by Harvestworks, the NYU Music Technology Program, and LEMUR, among other partners. At the heart of this year’s festival (which features a number of exhibitions, conferences, screenings, and performances) is NIME, the 7th annual New Interfaces for Musical Expression conference. Previously known by the slightly less catchy title, ‘Conference on Human Factors in Computing Systems,’ NIME presents the most interesting, innovative, and risk-taking contemporary musicians, composers, performers, sound artists, and music theorists working today, all of whom include technology in their practice. This year’s! NIME places particular emphasis on robotics and promises to deliver ‘feats of musical athleticism beyond the capacity of even the most amazing human performer.’ NIME and the entire NYEAF run through June 10. – James Petrie

via rhizome.org