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 Studio IMC & Chelsea Art Museum
 Studio IMC
 Chelsea Art Museum

 New York City

Convergence: The Collision of Physical & Virtual Space in Digital Art 
Convergence:

Convergence: The Collision of Physical & Virtual Space in Digital Art 
The Collision of Physical

Convergence: The Collision of Physical & Virtual Space in Digital Art 
& Virtual Space in Digital Art


 Convergence: The Collision of Physical & Virtual Space in Digital Art  Convergence: The Collision of Physical & Virtual Space in Digital Art  Convergence: The Collision of Physical & Virtual Space in Digital Art  Convergence: The Collision of Physical & Virtual Space in Digital Art  Convergence: The Collision of Physical & Virtual Space in Digital Art  Convergence: The Collision of Physical & Virtual Space in Digital Art
artworks
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Infinite City
2004, James Tunick, Jean-Marc Gauthier, and Miro Kirov.
Infinite City is an immersive audio visual environment where audience members establish control of their surroundings through ultrasonic sensors, live video feeds, and lasers,making the immersive environment a malleable, dynamic space that can be altered in real-time. The futuristic environment is influenced by the pop-cultural iconography of the gesture interface imagined in the Stephen Spielberg film, Minority Report , engaging the audience with all-surrounding hyper-realistic 3D graphics and spatialized multi-channel sound which they can control by simply waving their hands in the air. Intelligent Sensor Nets interface as the bridge between the physical and digital worlds, allowing audience members to control the artworks and gallery space with their bodies. [ www.studioIMC.com ] [ www.tinkering.net ]


See-Through Wal
2004, Gabe Winer and Dana Karwas
See-ee-Through Wall is an interactive video art work that redefines of space by blending the real architecture of the gallery space with virtual architecture, giving viewers “x-ray?Evision to see through the walls of the gallery and out into a virtual urban landscape.

3D Cube
2003, James Clar
The 3D Display Cube is a low resolution three-dimensional television. Just as users can address pixels on a monitor screen to create images, they can also address any pixel within the display region of the 3D Cube to create spatial imagery.Unique in its design, the current embodiment of the Cube was hand made and consists of a free-standing array of 1000 LEDs in a cube display with a lower base that houses the microcontroller. 2004 Design Distinction Award from I.D. Magazine. [ www.jamesclar.com ]

Line
2004, James Clar
Minimal in design, Line creates a system that maximizes informational output. Controlling different color shifts in an array of tri-color LEDs, Line can display various different types of information. Functioning as a clock, each color of Red Green Blue are attributed to Hours Minutes Seconds. As time passes throughout the time of day different combinations of colors occur. At noon and midnight white light is emitted as RGB are combined together.Because a serial adaptor is built into the piece, one can then set up various other systems to be displayed, such as weather, temperature, or other such multiples of linear information. Line's minimal approach to information display engages the user to think about visual information systems by stripping away numbers, letters, and images to represent data in the most basic form of visual intake; color patterns. [ www.jamesclar.com ]

Swarm
2003, Daniel Shiffman
Swarm is an interactive video installation that implements the pattern of flocking birds (using Craig Reynold's “Boids?Emodel) as a constantly moving brush stroke. Taking inspiration from Jackson Pollack’s “drip and splash?Etechnique of pouring a continuous stream of paint onto a canvas, Swarm smears colors captured from live video input, producing an organic painterly effect in real-time. [ www.shiffman.net ]

Multi-Channel Sound Installation
2004, Konrad Kaczmarek
This sound installation subtly transforms fragments of the participant’s conversations and mixes them in real time into a pre-composed ambient backdrop. The participants?Evoices are captured as they approach and interact with each other in the space defined by the eight surrounding speakers. These recordings are then spliced, transformed in various ways, and then diffused throughout the space to create a coherent counterpoint to the existing texture. The piece plays on the concept of sonic intimacy and space by reversing the roles of commonly intimate or location-specific sounds and sounds that are often more distant or ambiophonic.

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