Post on 12-Apr-2017
NMNT 2017
Workshop 2
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Old New Media Expo• Steps
– Audience experience first – if possible by experiencing the work with minimal introduction
– Then explain the concept how you would explain it to a general visitor audience, what led you to the concept, possible extensions – again from a conceptual or experience perspective
– Only then provide any ‘inside info’ on how the project is realized (more for your fellow students)
– Audience should reflect on the work by asking questions & giving (constructive) criticism and comments
• Evaluation criteria– The strength, novelty, depth, interestingness, originality, clarity,
creativity, context of the concept itself (i.e. not taking into account technicalities of how it was built)
– The execution of the project as displayed by the end result– The (technical) approach of how the project was realized – complexity
not necessarily an advantage (maximum of effect with minimum of means).
– The documentation on the course website
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Schoffer (re)visited
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Nicolas Schöffer: CYSP 1, 1956
• Cybernetics and Spatiodynamics• ‘Robot Dancer – Homeostat on wheels’
(Cybernetic Zoo)
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Nicolas Schöffer
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Nicolas Schöffer
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SPACE
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Augmented Reality
Augmented Virtuality
Virtual Reality
Artificial Reality
Meatspace
Diminished Reality
NMNT 2017 Milgram's Reality-Virtuality Continuum
Steve Mann. Mediated Reality with implementations for everyday life. presenceconnect.com, the on line companion to the MIT Press journal PRESENCE: Teleoperators and Virtual Environments, Date Posted: 2002 August 6
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The Cinema of the Future
(Morton Heilig, 1956)
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The Cinema of the Future (Morton Heilig, 1956)
• ‘The Cinema of the Future’
• Reality Machines• Dissolving the
fourth wall of film
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So what is the ultimate display? Where there is no
distinction between the real and the virtual?
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Building blocks for the reality
engine
To rebuild reality?
No.
To gain familiarity
with concepts not realizable in the physical
world.
Ivan Sutherland
(1965)
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The Ultimate DisplayIvan Sutherland, 1965
‘The ultimate display would, of course, be a room within which the computer can control the existence of matter. A chair displayed in such a room would be good enough to sit in. Handcuffs displayed in such a room would be confining, and a bullet displayed in such a room would be fatal. With appropriate programming such a display could literally be the Wonderland into which Alice walked.’
NMNT 2017ASPEN Movie MapArchitecture Machine Group
1979
NMNT 2017ASPEN Movie MapArchitecture Machine Group
1979
NMNT 2017ASPEN Movie MapArchitecture Machine Group
1979
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Augmented Reality: ARQuake (2000)
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Augmented Reality: The Hand from Above
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Feedforward 50 (!) years....
NMNT 2017SEEK @The Jewish Museum NYC
Architecture Machine Group, 1970 • Installation by MIT
Architecture Machine group at on exhibition held at Jewish Museum (1970)
• Computer stacks blocks, builds mental model of the world... But gerbils can topple stacks
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• Sense and act in an environment, deal with unexpected events• Planning versus randomness• Smart environments – totalitarian mechanistic worlds
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Responsive Environments - Myron Krueger (1970-1975)
• Artist as Composer of Responsive Environments – intelligent real time computer mediated spaces
• Response is the medium: focus on experience through interaction
• Immersiveness, audience participation, real time interaction, randomness, computer mediated spaces, ...
Input
State Update
Output
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Myron Krueger, Videoplace (1975)
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Responsive Environments - Myron Krueger
• Glowflow, (‘69), METAPLAY (‘70),PSYCHIC SPACE (‘71), MAZE, VIDEOPLACE (‘75)
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Response is the mediumBeauty of aural and visual response is secondary
Composing responsive environments at a meta level
Artificial Realities
Learning and adaptation
Personal Amplifiers
Cooperation and frustration – meaningful interaction
Play
Creative Science applications such as psychology
NMNT 2017Modern Responsive Environment Example:
Funky Forest
Funky Forest, Theo Watson: A Modern Responsive Environment
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James Seawright: Network III, 1971
Seawright, James: Network III, 1971, Walker Art Center, Minneapolis 1971.
Left: Davis: Experiment 1975, p.195. Photo: Eric Sutherland.Right: Image source: URL: http://blogs.walkerart.org/visualarts/files/2011/12/ex1971wns_ins_027.jpg
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MeatspaceReality
CyberspaceVirtuality
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Spaces
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openFrameworks in Space
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Assignment 2