Week 4: Lighter: 19.10.10

In addition to functioning as a statistically-skewed polling device, Sonic Lighter is a lighter:
- Strike the flints to ignite your phone.
- Blow out the flame with your breath.
- Pinch the flame to change its size.
- Wave your finger across it and see how the flame reacts.
- Tilt the flame sideways to fry the side of your phone.

Yet Sonic Lighter is more than a lighter:
- Hold the valve to create a blowtorch flame.
- Ignite other phones by using the blowtorch flame.
- Tap the globe to see ignitions across the world.
- Customize your flame color to express your views in global opinion polls.

www.smule.com/soniclighter

week 4: Ocarina: 19.10.10

The Smule Ocarina is a wind instrument designed for the iPhone, fully leveraging its wide array of technologies: microphone input (for breath input), multitouch (for fingering), accelerometer, real-time sound synthesis, high- performance graphics, GPS/location, and persistent data connection. In this mobile musical artifact, the interactions of the ancient flute-like instrument are both preserved and transformed via breath-control and multitouch finger-holes, while the onboard global positioning and persistent data connection provide the opportunity to create a new social experience, allowing the users of Ocarina to listen to one another. In this way, Ocarina is also a type of social instrument that enables a different, perhaps even magical, sense of global connectivity.


http://smule-web.s3.amazonaws.com/ocarina/ocarina-nime2009.pdf

Week 4: Smule: 19.10.10

www.smule.com

Week 4: Eadweard Muybridge: 19.10.10

Muybridge was the man who famously proved a horse can fly. Adapting the very latest technology to his ends, he proved his theory by getting a galloping horse to trigger the shutters of a bank of cameras. This experiment proved indisputably for the first time what no eye had previously seen – that a horse lifts all four hooves off the ground at one point in the action of running. Seeking a means of sharing his ground-breaking work, he invented the zoopraxiscope, a method of projecting animated versions of his photographs as short moving sequences, which anticipated subsequent developments in the history of cinema.

Week 4: Fiona Banner: 19.10.10

Fiona Banner: For Banner these objects represent the 'opposite of language', used when communication fails. In bringing body and machine into close proximity she explores the tension between the intellectual perception of the fighter plane and physical experience of the object. The suspended Sea Harrier transforms machine into captive bird, the markings tattooing its surface evoking its namesake the Harrier Hawk.

Week 4: Anemometer: 19.10.10

Wikipedia: An anemometer is a device for measuring wind speed, and is a common weather station instrument. The term is derived from the Greek word anemos, meaning wind. The first known description of an anemometer was given by Leon Battista Alberti around 1450[1].
Anemometers can be divided into two classes: those that measure the wind's speed, and those that measure the wind's pressure; but as there is a close connection between the pressure and the speed, an anemometer designed for one will give information about both.

Week 3: Interactive Flowers: 12.10.10

Jing Hua by Jifei Ou - Interactive Computer Installation from jifei ou on Vimeo

In Chinese Jing Hua means flowers in the mirror, but here it’s an interactive installation with visual treats. A bowl that captures creative images of flowers, as projected from an overhead birdhouse. By moving and tilting the bowl, the image of an archetypical flower changes: its color, form, size and structure may be manipulated directly. Jing Hua was showcased in the botanical garden in Frankfurt during the light festival LUMINALE 2010. Many people interacted with it to create virtual flowers by tilting, shaking, turning, even knocking!

Week 2: U K R C Meeting: 06.10.10

Mind mapping on the subject of Wind

Week 2: Wind: 05.10.10

A piece for Nokia's Flagship Store project by company Nanika, which sees high-end retail experiences opened in shopping capitals around the world.

One of the overarching concepts with all our work for the Nokia Flagship stores has been to take peoples own content and make something beautiful for them out if it.

This piece, together with SwimmingMessageSystem, is an attempt to bring a bit of nature into the store, the concept of this particular piece being a wind blowing through the store taking messages submitted by users via SMS and flying them across the different landscapes.

In it's original incarnation the landscape is something like a magic forest, but the idea is to also make versions specific to the locations that stores open up, like the wheat field below for the Chicago store.

The piece is implemented as real time software running on anything from 24 to 42 screens, depending on the store layout, providing a seamless canvas.

www.nanikawa.com

Week 2: Blow Up: 05.10.10

Blow Up by Scott Snibbe records, amplifies, and projects human breath into a room-sized field of wind. The installation comprises two devices. The first is a rectangular array of twelve small impellers, which stands on a table on one side of the gallery. This small input device is electronically linked to a large wall of twelve electric fans. The tabletop impellers are spatially and temporally synchronized to the fans in the wall. When a “sender” blows into the first device, “receivers” experience the magnified breathing patterns over their entire bodies. When he stops blowing, the wall continues to play back the most recent breathing pattern, captured in an amplified loop, until someone inspires a new pattern.




www.snibbe.com/projects/interactive/blowup

Week 1: tele-present wind: 05.10.10

This installation by David Bowen consists of a series of 21 x/y tilting devices connected to thin dried plant stalks installed in the gallery and a dried plant stalk connected to an accelerometer installed outdoors. When the wind blows it causes the stalk outside to sway. The accelerometer detects this movement transmitting it in real-time to the grouping of devices in the gallery. Therefore the stalks in the gallery space move in real-time in unison based on the movement of the wind outside.



www.dwbowen.com/telewind.html

Week 1: ALT//LANGUAGE: 02.10.10

Middlesex University MA Design for Interactive Media Show
www.altlanguage.com

What is ?: 29.09.10

What is Interactive?

What is Virtual?

What is Immersive?

Liquid Athletes: 29.09.10

Liquid Athletes
The London 2012 Olympic games is the inspiration for the installation created by Thames Valley University MA New Media Art and Design students, each from different artistic disciplines.
by Ryan Best, Immo Blaese, Sally Butterfield, Panos Diamondis, Nimra Javaid and Marcin Wysocki

Kinetica Art Fair: 29.09.10

www.kinetica-artfair.com

Session One: 29.09.10

Introduction to module: Interactive and Immersive Virtual Artworks

This module is designed to investigate the creative and expressive potential of interactive and immersive virtual environments for artists. The focus will be on activating the technology that allows application of the fundamental concepts of active and interactive space. Students will be expected to draw on painterly, sculptural and art historical conceptions of space in the production of such environments.

This module explores the expressive potential of virtual space in the context of a user participatory approach. Advanced concepts of navigation through interactive spaces will be applied to environments evolving from student lead investigations into architectural, sculptural, painterly, animated and virtual reality concepts in art.

Initially students will be asked to explore ways of creating virtual panoramas, objects and scenes by modelling in 3D. These environments will then be exported to a suitable Interactive 3D Content development tool for implementing and testing behavioural interactivity. Thus you will create and experience Real-time Interactive 3D content. The emphasis will be on drop and drag techniques instead of coding.

In critical terms: the student will, from their investigations, select a suitable concept that they feel could benefit from an interactive and immersive treatment; consider this in relation to any existing virtual reality projects; plan, create and present a 3D 'reality' supportive of their chosen concept.