| URL: | http://netzspannung.org/database/89754/de |
| Last update: | 22.05.2003 |
| Date of print: |
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visual title (pictogramm) |
Kurzdarstellung
Kurzbeschreibung
PMVP ist:
1.) Kunst/Improvisation, bei der Virtual Reality-Elemente, algorithmisch (in Echtzeit) erzeugte audiovisuelle 3D-Szenen und Interaktionen mit Gestik zum Einsatz kommen.
2.) Experimentelles Tool-Set (variable Software- und Hardwareeinrichtung) für die Erforschung von immersiven Multimedia-Aspekten.
Der 'visuelle Titel' (3-Zeichen-Piktogramm) dient in erster Linie zur Schaffung einer sprachneutralen Identität für die Arbeit, bei der ich versucht habe, auf einige ziemlich abstrakte metaphysische Vorstellungen hinzuweisen. Thema: unsichtbare, jedoch imaginäre Dichte der Luft, leerer (umgebender) Raum, zusammengesetzt aus metaphysischem Code.
Das Kernkonzept bei der Umsetzung dieser Ideen in ein künstlerisches Format bestand in der Schaffung einer Einheit (oder eines Datenmolekularsystems) aus visuellen, auditiven, Raum-, Bewegungs-, Zeit- und Kontextinformationen ähnlich dem Pixel in digitalen 2D-Bildern, dem Voxel in 3D-Computerumgebungen und dem polyphonischen Akkord in der Notenschrift. Diese neuen molekularen Objekten überlagern sich nun gegenseitig in dynamischen Kontextformationen.
Durch die absichtliche und zufällige Kreuzung von sensorischen Pfaden ist dies ein Experiment, bei dem es zu Wahrnehmungsparadoxons kommen kann.
KünstlerInnen / AutorInnen
- Jaanis Garancs
MitarbeiterInnen
- Sven Hahne, sound processing programming, KHM
Entstehung
Deutschland, 2003
Partner / Sponsoren
KHM - Kunsthochschule für Medien, Köln (Academy of Media Arts, Cologne)
Eingabe des Beitrags
jg@khm.de, 22.05.2003
Kategorie
- künstlerische Arbeit
Schlagworte
- Themen:
- Immersion |
- Interface |
- Visual Effects |
- Konzeptuelle Arbeit |
- Abstraktion |
- Wahrnehmung |
- Musik |
- Datenbank |
- Performance Kunst |
- Interaktivität |
- Klang |
- Artistic Software |
- Echtzeit-Rendering |
- Virtuelle Realität |
- Datenraum
- Formate:
- Performance |
- Virtuelles Environment |
- Installation |
- Projektion |
- 3D |
- interaktiv
- Technik:
- VRML |
- Midi |
- Datenbank |
- Infrarot Tracking |
- Gesture Recognition |
- MPEG 4
Ergänzungen zur Schlagwortliste
- 3D sound
Inhalt
Inhaltliche Beschreibung
Thinking on how to combine 'passiv' and 'active' audience participation, I chose to create a 2-faced artwork: a) an interactive installation - a toy where public can play with some features for a game-like experience, and b) the up-scaled version, where the author(s) improvise with the material in an expert way on the stage.
The scenes through the stereoscopic (3D) projection and the surrounding (3D/XYZ) sound create experience of extreme density and saturation of multi-layered spatial ambience. Images and sounds range from hyper-geometric ('animated suprematism') to organic photographic/filmic reality, shifting from morphing sculpture to 'animated cubism', 'dyno-collage' landscape.
The featured hybrid 'audiovisual molecules' collide, mutate, join, morph into each other. The new clusters open new micro-perspectives (spatial gateways). Some objects disappear from visual- and transpose into aural representation (and vice versa).
The interactivity is a 'dialogue' between 'micro-ecological' system (algorithmic simulation) and observer's navigation and input device gestures. It resembles 'virtual surgery' through 'the tissues' of this hybrid reality.
Background:
The utopia of visionaries centuries ago is becoming an industrial trend today to let the code organize (control) the hidden reality to the degree that it is becoming almost a tangible matter.
Every day awareness of myself being wrapped in a cloak of visible and invisible reality fabric, every nanomillimeter of air is full of chemical reactions, 'cellular radiation', digital modeling and traces of past processes.
I was trying also to reflect to rather abstract notions as Endoperspective, Ultraperspective, Cross-Modal Association, Artificial Synaesthesia, and finally - Mirror World hypothesis.
(more: on the project's URL: http://+.x-i.net or http://plus.x-i.net )
Technik
Technische Beschreibung
The developed technological solutions facilitates and emphasizes the main formal concept - multi-modal inter-translation of image, sound, space and movement, allowing control of (almost) every pixel, tone, and millisecond.
The use of database for description of scenes, object properties and relationships organises the playground, where the specific behaviors mediate the user's interaction. Objects carry their identity-type, accumulate 'infection' with other 'molecules', interaction history during the session.
Extensive use (and-abuse) of non-standard/multi-layer rendering effects e.g. multiple camera views translated to texture, Z-depth traces, etc.
The technological platform is based on mass-consumer-rate equipment with few specific add-ons. At the time of the production (2002/2003), the utilised computer parameters were 2.6 GHz processor, 1 GB RAM and a graphic card with 128 MB memory.
Self-(co-)developed technical solutions as VRML and C++ :
- overlay of abstract computer graphics on stereoscopic photos and movie files.
- Translation of object geometry, coordinates, movements from VRML to MIDI signals and vice versa (MIDI-to-VRML).
- Scene, Object and Animation Database.
- Touch-screen additional navigation/control interface (also written in VRML/MPEG-4).
The work structure and software components allow to expand (scale-up) the work up to a very large set-up, when the on-site accessible hardware resources allow that (e.g. HDTV resolution projectors, CAVE-like setup, more sound speakers, etc.)
Another direction is to implement it as 'VR-organ' for multimedia/VR 'orchestra' performances.
(more on the project's website: http://plus.x-i.net )
Hardware / Software
Hardware:
3 computers
[ 2 PCs (Windows) for graphics (dual-output nVidia chip graphic cards) and database
and 1 PC or Mac for sound ]
projection:
passive (polarisation glasses) with 2 LCD/DLP projectors or active (shutter glasses) projection - with single CRT projector
Touch-screen monitor
MIDI keyboard
data glove (P5 3D controller)
6DOF space-mouse and/or 1-2 joystick(s)
Software:
BS Contact MPEG-4 (extended VRML browser) for graphics /audio
Reaktor for additional audio processing
MySQL for database access (via custom written ODBC plugin in C++)
Interaction written in VRML script and Java.
Kontext
Hochschule / Fachbereich
Kunsthochschule für Medien, Köln
Medienkunst
URL der Hochschule
» http://www.khm.de
Betreuer des Projekts
David Larcher
Kommentar des Betreuers
I was very happy to be able to act as one of the "Betreuer" for Jaanis Garancs diploma work +=X at KHM in Köln (the others being Prof. Zielinski and Prof. Vogelaar). It represents the current state of his ongoing research in the areas of real-time 3D, VRML, coding, midi triggered audio synthesis and the interface.
The work is difficult to describe since it evolves with each individual presentation and is dependent on aesthetic improvisation and timing which are never quite reproducible. It takes the form of an interface instrument rendering image and sound in real-time and producing 3D spaces both on a flat screen and with the addition of polarizing spectacles. In some sense it can be called an interactive installation since the work is experienced via a joystick, data glove or touch screen interface which link to a database of VRML objects, textures, audio samples and coded behaviours. These create evolving 3D spaces which are rendered on the fly whilst simultaneously triggering and creating audio spaces. Work such as this has already been seen in >=Cave<= and other virtual environments, but in +=X we are invited to take part in the actual creation of the environment. Moving seamlessly between connected visual environments, particle image explosions, lettrist landscapes and disintegrating geometric borderlands. The installation has its roots in current experimentation in VR but it represents an interesting step in new form cinema and gaming relationships since we are immersed in a synthetic aesthetic that becomes its own "raison d'etre" as we learn to navigate its varied geographies. Whether seen single screen in 3D or on multiple screens one is drawn into the experience through the process of continuous transformation.
Seminar / Kurzbeschreibung
Medienkunst
Zuordnung Forschungsbereich
David Larcher, Professor Medienkunst
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