Interaktion mit Medienfassaden : Design und Implementierung interaktiver Systeme für große urbane Displays

Media facades are a prominent example of the digital augmentation of urban spaces. They denote the concept of turning the surface of a building into a large-scale urban screen. Due to their enormous size, they require interaction at a distance and they have a high level of visibility. Additionally, they are situated in a highly dynamic urban environment with rapidly changing conditions, which results in settings that are neither comparable, nor reproducible. Altogether, this makes the development of interactive media facade installations a challenging task. This thesis investigates the design of interactive installations for media facades holistically. A theoretical analysis of the design space for interactive installations for media facades is conducted to derive taxonomies to put media facade installations into context. Along with this, a set of observations and guidelines is provided to derive properties of the interaction from the technical characteristics of an interactive media facade installation. This thesis further provides three novel interaction techniques addressing the form factor and resolution of the facade, without the need for additionally instrumenting the space around the facades. The thesis contributes to the design of interactive media facade installations by providing a generalized media facade toolkit for rapid prototyping and simulating interactive media facade installations, independent of the media facade’s size, form factor, technology and underlying hardware.Die wachsende Zahl an Medienfassenden ist ein eindrucksvolles Beispiel für die digitale Erweiterung des öffentlichen Raums. Medienfassaden beschreiben die Möglichkeit, die Oberfläche eines Gebäudes in ein digitales Display zu wandeln. Ihre Größe erfordert Interaktion aus einer gewissen Distanz und führt zu einer großen Sichtbarkeit der dargestellten Inhalte. Medienfassaden-Installationen sind bedingt durch ihre dynamische Umgebung nur schwerlich vergleich- und reproduzierbar. All dies macht die Entwicklung von Installationen für Medienfassaden zu einer großen Herausforderung. Diese Arbeit beschäftigt sich mit der Entwicklung interaktiver Installationen für Medienfassaden. Es wird eine theoretische Analyse des Design-Spaces interaktiver Medienfassaden-Installationen durchgeführt und es werden Taxonomien entwickelt, die Medienfassaden-Installationen in Bezug zueinander setzen. In diesem Zusammenhang werden ausgehend von den technischen Charakteristika Eigenschaften der Interaktion erarbeitet. Zur Interaktion mit Medienfassaden werden drei neue Interaktionstechniken vorgestellt, die Form und Auflösung der Fassade berücksichtigen, ohne notwendigerweise die Umgebung der Fassade zu instrumentieren. Die Ergebnisse dieser Arbeit verbessern darüber hinaus die Entwicklung von Installationen für Medienfassaden, indem ein einheitliches Medienfassaden-Toolkit zum Rapid-Prototyping und zur Simulation interaktiver Installationen vorgestellt wird, das unabhängig von Größe und Form der Medienfassade sowie unabhängig von der verwendeten Technologie und der zugrunde liegenden Hardware ist

Arte por computadora: diseño de arte por software

[EN] The article presents artistic works developed at the Computational Art Research Laboratory Media Lab / UnB, carried out as a team, under my coordination. The artistic and theoretical production sought to defend the idea that computational art is a new form of appreciated art, based on the assumption that it contains many of the components of a complete philosophy of an art form, which can be summarized in four basic references: one definition, an ontology, aesthetic characteristics, and the recognition of its status as art. What is currently called computational art is based on the observation that experiments in this domain involve more general common issues, in statu nascendi, to the artistic and technoscientific domains, which provide the structuring modes, the methodology and the programming techniques, introduced in the process. Computational art does not always use the computer, sometimes it is based on logical-mathematical operations only. However, computers had a profound impact on the arts, and in order to carry out a partial synthesis, based on a global theory of aesthetics today, a set of artistic works was selected that encompass the following subjects: the computer as an amplifier complexity (computational methods of creation); computational language; the developer artist; computational art as art of the crowd and not of the individual; laboratory work; software art (presentation and analysis of historical algorithms such as permutation, random, etc.); the appreciation of the human-computer interface (highlighting the importance of the game), which enabled greater public interactivity with the artistic work; the appropriation of the media for artistic purposes; the artistic engagement with social and ecological issues originated by technoscientific advances and the society's computerization policy and propositions related to the future, formulated philosophically in the post-biological era. We sought to develop poetics that resulted from the collaboration between living beings and machines.[ES] El artículo presenta trabajos artísticos desarrollados en el Computational Art Research Laboratorio Media Lab / UnB, realizado en equipo, bajo mi coordinación. La producción artística y teórica buscaba defender la idea de que el arte computacional es una nueva forma de arte apreciado, basado en el supuesto de que contiene muchos de los componentes de una filosofía completa de una forma de arte, que se puede resumir en cuatro referencias básicas: una definición, una ontología, características estéticas y el reconocimiento de su condición de arte. Lo que actualmente se llama arte computacional se basa en la observación de que los experimentos en este dominio implican problemas comunes más generales, in statu nascendi, a los dominios artísticos y tecnocientíficos, que proporcionan los modos de estructuración, la metodología y las técnicas de programación, introducidas en el proceso. El arte computacional no siempre usa la computadora, a veces es basado únicamente en operaciones lógico‐ matemáticas. Sin embargo, las computadoras tenían un profundo impacto en las artes, y con el fin de realizar una síntesis parcial, basada en un teoría de la estética en la actualidad, se seleccionó un conjunto de obras artísticas que engloban los temas siguientes: la computadora como un amplificador de complejidad (métodos computacionales de la creación); lenguaje computacional; el artista desarrollador; arte computacional como arte de la multitud y no del individuo; trabajo de laboratorio; software art (presentación y análisis de algoritmos históricos como permutación, aleatorio, etc.); la apreciación de la interfaz hombre‐computadora (destacando la importancia del juego), que posibilitó una mayor interactividad pública con la obra artística; la apropiación de los medios con fines artísticos; el compromiso artístico con los problemas sociales y ecológicos originados por los avances tecnocientíficos y la política de informatización de la sociedad y proposiciones relacionadas con el futuro, formuladas filosóficamente en la era posbiológica. Buscamos desarrollar poéticas que resultaron de la colaboración entre seres vivos y máquinas.Conselho Nacional de Pesquisa e Desenvolvimento - CNPqVenturelli, S. (2021). Computer art: software art design. ANIAV - Revista de Investigación en Artes Visuales. 0(8):79-91. https://doi.org/10.4995/aniav.2021.14944OJS799108Lemos, A. (2006). Mídias locativas e territórios informacionais: in Arantes, P., Santaella, L. (Orgs) Estéticas Tecnológicas: novos modos de sentir. São Paulo, Educ. ISBN 9788528303742.Schafer, R. M. (1977). The Tuning of the World. Random House Inc. ASIN : 0394409663.Venturelli, S. (2017). Arte Computacional. Brasília: EDUnB. ISBN 9788523011963

Generation ZX(X)

This document discusses the design and development of Generation ZX(X), a hybrid multi-media event which explored how video games and performance can enhance and complement one another and enliven different types of historical data: oral herstories, lived experience, collective memory and audio-video archives.Generation ZX(X) was a hybrid of live and virtual components: an audiowalk, a social play session (3 video games were developed and played in a pop-up arcade), a film projection and a musical performance. For Generation ZX(X), I worked with third year Games and Art students and staff from Abertay University. The event took place on the 4th May 2018, in Camperdown Park, and at the JTC Furniture Group – the former Timex Camperdown factory. The event was developed as part of Mona Bozdog’s SGSAH ARCS (Applied Research Collaborative Studentship) PhD - Playing with Performance/ Performing Play. Creating hybrid experiences at the fringes of video games and performance.The project engaged with the living memory and heritage of the Timex factory in Dundee, and its aim was to reclaim and rewrite the history of the charged site on Harrison Road and to challenge the ‘official’ history of the local games industry. The project explored the hidden figures of the video games industry: the women who assembled the ZX Spectrum computers in the Timex factory in Dundee, and the ramifications that this labour had for the city’s development as one of UK’s leading games development and education centres. <br/

An aesthetics of touch: investigating the language of design relating to form

How well can designers communicate qualities of touch? This paper presents evidence that they have some capability to do so, much of which appears to have been learned, but at present make limited use of such language. Interviews with graduate designer-makers suggest that they are aware of and value the importance of touch and materiality in their work, but lack a vocabulary to fully relate to their detailed explanations of other aspects such as their intent or selection of materials. We believe that more attention should be paid to the verbal dialogue that happens in the design process, particularly as other researchers show that even making-based learning also has a strong verbal element to it. However, verbal language alone does not appear to be adequate for a comprehensive language of touch. Graduate designers-makers’ descriptive practices combined non-verbal manipulation within verbal accounts. We thus argue that haptic vocabularies do not simply describe material qualities, but rather are situated competences that physically demonstrate the presence of haptic qualities. Such competencies are more important than groups of verbal vocabularies in isolation. Design support for developing and extending haptic competences must take this wide range of considerations into account to comprehensively improve designers’ capabilities

On Essences and Spaces - Behrens and Loos*

U članku se iznosi i elaborira teza svojevrsnog reciprociteta između odčitane strukture vremena i primjereno formiranog fizičkog sklopa kao njezina nužnog, prirodnog okvira. Autorica ispituje kako arhitektonski prostor odgovara na specifične, različite interpretacije istih kompleksnih socijalno-povijesnih prilika na prijelazu iz XIX. u XX. st. Teza je razvijena na arhitektonskom i teorijskom opusu dvaju suvremenika - Petera Behrensa i Adolfa Loosa.This paper elaborates the tentatively posed thesis of a specific reciprocity between the perceived structure of the age and adequately constructed physical framework as its necessary, natural setting. It examines how architectural space responded to distinctive readings of the same complex socio-historical condition in the period of transition from the 19th to 20th century. The thesis is developed on the architectural and theoretical work of the two famous contemporaries - Peter Behrens and Adolf Loos

Plays of proximity and distance: Gesture-based interaction and visual music

This thesis presents the relations between gestural interfaces and artworks which deal with real- time and simultaneous performance of dynamic imagery and sound, the so called visual music practices. Those relation extend from a historical, practical and theoretical viewpoint, which this study aims to cover, at least partially, all of them. Such relations are exemplified by two artistic projects developed by the author of this thesis, which work as a starting point for analysing the issues around the two main topics. The principles, patterns, challenges and concepts which struc- tured the two artworks are extracted, analysed and discussed, providing elements for comparison and evaluation, which may be useful for future researches on the topic

The Immersive Media Library @ VCU

Answering the call issued by John Underkoffler in 2010 about the future of UI, I have imagined the Immersive Media Library (IML) as an annex of the main VCU library, offering a concentration of visually immersive spaces to compliment the space the university is already building in the renovated Cabell Library. The design is new in that the emphasis is placed on the collaboration between librarians and visitors in creating new work. Focusing on the interpersonal might be unexpected from program with such an emphasis on new technology - but I see it as vital part of the new computing paradigm