IoT and Wireless Sensor Network for Interactive Waka Structure

Partnership between technologists, engineers and artists often produces new forms of interactive and complex artworks. This paper discusses the role of a smart interactive art structure and reviews the novel ways in which it can serve the intended purpose. The interactive waka project is a multi-disciplinary project which involves in the production of an interactive six-meter-tall COR-TEN plate steel waka (traditional canoe) sculpture informed by Mātauranga Māori (Māori knowledge) about the Matariki star cluster. (Pleiades). This smart interactive structure will be will be located besides the Waikato river in Hamilton, New Zealand. The waka sculpture as a smart structure serves several main interrelating purposes that are centred on its symbolic, architectonic, and interactive functions. The use of human and environmental monitoring will enable co-constitutive real-time interactions, which will themselves be performatively incorporated into the field of relations. All the information gathered from the wireless sensors will be sent to the cloud, where it will be processed to determine how the waka structure's light and sound patterns should behave. The waka structure will be self-contained in terms of power, using sustainable energy sources such as solar, and will not be active unless humans are present. Data collected through the environmental wireless sensors network will be publically available through a website, using an open-source platform and the smart interactive structure will be gifted to the City of Hamilton in New Zealand

Variable 4: A Dynamical Composition for Weather Systems

Variable 4 is a multichannel sound installation that uses meteorological sensors and a multi-layered array of algorithmic processes to transform weather data into musical patterns in real time. This paper describes the work in detail, outlining its historical context, systems infrastructure and installation specifics. The piece is discussed in relation to sonification and environmental installation, and observations are made on the process of siting a complex sound work in the natural world

Beyond Decoding: Art Installations and Mediation of Audiences

This is the final version of the article. Available from the publisher via the link in this record.This article uses case studies of visual art installations to elaborate an alternative view of the way art is experienced by museum and gallery visitors. In particular, it is argued that the orthodox and influential decoding perspective in the sociology of art overlooks the situated and experiential nature of art, especially when art takes the form of installations. In order to study experiences of art installations, this article draws on recent developments in cultural sociology and the sociology of music to reintroduce the idea of mediation into thinking about and with art. A focus on processes of mediation allows me to address the communications and interactions which emerged at the particular art installation under consideration here, a piece called PharmaConcert by Evgeniy Chertoplyasov that was displayed at the Winzavod Art Centre in Moscow in 2011. Detailed analysis of the forms of interactions at this exhibition shows that as audience members perceive artworks, they transform abstract expectations of artworks into a series of specific and situated actions. Simultaneously, other mediation processes reassemble the audiences through shared experience of contested meanings of an artwork. The paper challenges the orthodox sociological notion of what an audience is and instead sees audiences as an emerging form of communication and interaction specific to a particular artwork / installation

Mobile-Based Interactive Music for Public Spaces

With the emergence of modern mobile devices equipped with various types of built-in sensors, interactive art has become easily accessible to everyone, musicians and non-musicians alike. These efficient computers are able to analyze human activity, location, gesture, etc., and based on this information dynamically change, or create an artwork in realtime. This thesis presents an interactive mobile system that solely uses the standard embedded sensors available in current typical smart devices such as phones, and tablets to create an audio-only augmented reality for a singled out public space in order to explore the potential for social-musical interaction, without the need for any significant external infrastructure

ARTree. Designing & evaluating handheld augmented reality art

Augmented reality is a technology combining physical and virtual objects. This study aimes to explore the use of this technology in art. The prototype ARTree was developed through contributions from an artist, and consists of a physical tree and virtual objects representing the four seasons. A qualitative usability test was conducted where users were observed while interacting with ARTree, and expressed their thoughts and actions through the use of the think aloud technique. Findings from the evaluation were that users interact with AR art in an exploring way, experiencing it as a task. Findings also revealed that users find it more comfortable to interact with the paper markers that the 3D objects are connected to, than to move the tree and the branches.INFO390MASV-INF

The kinesfield : a study of movement-based interactive and choreographic art

Merged with duplicate record 10026.1/680 on 14.03.2017 by CS (TIS)Through the exploration of practice and theory, this thesis aims to elucidate the characteristics of movement-based interactive art and the kinesfield, a term developed during the course of the research to describe the publics' body-medium. Movement-based interactive art is based on choreographed movements of the body, media and specialized technologies which facilitate new forms of participatory movement experience. This emergent art form has initiated new methods of experiencing and presenting dance in the public domain. lt is argued that this leads to new artistic developments which may constitute a paradigm shift of the concept of the body-medium in the field of dance. To understand whether the shift is indeed paradigmatic, and to contribute to the development of dance and technology, this study introduces and applies the concept of the kinesfield to extend the theory of the body-medium as kinesphere, first proposed by Laban, and to challenge its characteristics in the context of movement-based interactive art. The concept of the kinesfield is employed to describe the relational dynamic of movement interactions which traverse the body and material forms in unbounded space. By this account, the body-medium is not defined geometrically, as in Laban's theory, but as a temporal and spatial field. The kinesfield accounts for a complexity of movement characteristics which pertain to the dynamic and relational experiences which occur between the biological body and its natural and atmospheric surroundings, natural forces, and its socio-cultural milieu. The argument unfolds as a triangulation of three movement-based interactive artworks (Shifting Ground, trajets, and Raumspielpuzzle) presented during the course of the thesis, my physical and experiential knowledge in the field of dance and an interdisciplinary literature investigation in the fields of dance, physiology/psychology/cognitive science, philosophy and sociology, plastic arts and cinema. This written document is accompanied by a CD-ROM which serves as an electronic appendix including images, videos and diagrams of the works referenced in the written thesis.This thesis is a discussion of the experiential and conceptual characteristics which underpin the choreographic research of three movement-based interactive artworks I, Shifting Ground ( 1999), trajets (2000) and Raumspielpuzzle (2003). 2 In addition to elucidating an emergent mode of choreographic practice,3 this thesis proposes a new term which offers a description of the body-medium4 materialised in choreographic movement-based interactive art, namely the kinesfield

A usabilidade numa instalação interactiva digital

Tese de mestrado. Multimédia. Faculdade de Engenharia. Universidade do Porto. 200

Design Strategies for Adaptive Social Composition: Collaborative Sound Environments

In order to develop successful collaborative music systems a variety of subtle interactions need to be identified and integrated. Gesture capture, motion tracking, real-time synthesis, environmental parameters and ubiquitous technologies can each be effectively used for developing innovative approaches to instrument design, sound installations, interactive music and generative systems. Current solutions tend to prioritise one or more of these approaches, refining a particular interface technology, software design or compositional approach developed for a specific composition, performer or installation environment. Within this diverse field a group of novel controllers, described as ‘Tangible Interfaces’ have been developed. These are intended for use by novices and in many cases follow a simple model of interaction controlling synthesis parameters through simple user actions. Other approaches offer sophisticated compositional frameworks, but many of these are idiosyncratic and highly personalised. As such they are difficult to engage with and ineffective for groups of novices. The objective of this research is to develop effective design strategies for implementing collaborative sound environments using key terms and vocabulary drawn from the available literature. This is articulated by combining an empathic design process with controlled sound perception and interaction experiments. The identified design strategies have been applied to the development of a new collaborative digital instrument. A range of technical and compositional approaches was considered to define this process, which can be described as Adaptive Social Composition. Dan Livingston

Designing performance systems for audience inclusion

Thesis (S.M.)--Massachusetts Institute of Technology, School of Architecture and Planning, Program in Media Arts and Sciences, 2012.Cataloged from PDF version of thesis.Includes bibliographical references (p. 154-168).We define the concept of the Hyperaudience and a unique approach towards designing real-time interactive performance systems: the design of these systems encourages audience participation and augments the experience of audience members through interconnected networks. In doing so, it embraces concepts found in ubiquitous computing, affective computing, interactive arts, music, theatrical tradition, and pervasive gaming. In addition, five new systems are demonstrated to develop a framework for thinking about audience participation and orchestrating social co-presence in and beyond the performance space. Finally, the principles and challenges that shaped the design of these five systems are defined by measuring, comparing, and evaluating their expressiveness and communicability.by Akito Van Troyer.S.M

Augmenting an improvised practice on the viola da gamba

This thesis examines my improvisatory practice on the viola da gamba and its augmentation with mixed-music computer systems. It comprises creative work and an extended written commentary and discussion. My creative work is presented in two albums of music – solo viola da gamba improvisation, and viola da gamba and mixed-music computer systems – and supplementary recorded material. The written commentary looks in depth at the presented creative work. I use the first, solo album to examine my improvisatory practice. To explore augmenting this practice with systems, I look in detail at my performances with gruntCount by Martin Parker, Laminate by myself and derivations by Ben Carey. Examples of these performances are presented in the second album. Scrutiny of these three systems leads to extended discussion of the following topics: 1. Taxonomy: What are these systems? What are the characteristics they display? Do these systems fit into a standard classification scheme? 2. Ontology: Do performances with these systems instantiate musical works? What are the criteria that would help us to decide? How much of my practice is therefore underpinned by musical works? 3. Copyright: Who is responsible for the musical output with these systems? Who is a legal/musical author in such performances? To conclude, I compare my improvisatory practice with and without systems and identify learnings arising from this research