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reconFiguring the CAVE |
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Jeffrey
Shaw with Agnes Hegedues and Bernd Lintermann
1997/2001
An interactive, immersive audio-visual environment
reconFiguring the CAVE was presented at the UNSW Kensington
EXPO DAY 2003 by the iCinema Centre for Interactive Cinema Research.
This work is a paradigmatic example of the research area that the
iCinema Centre is engaged in, and demonstrates the high level synergy
of aesthetic content, computer science, technological innovation,
cultural values and social engagement to which the centre is dedicated.
Small groups of visitors were offered 3D glasses and were able to
view and interact with this work in the basemant of the Scientia Building.
Viewings took approximately 15 minutes and entry was free.
Background
conFiguring the CAVE (1997)
is an internationally acclaimed interactive immersive audio-visual
environment that was commissioned for the permanent collection of
the NTT InterCommunication Centre, Tokyo.
It is one of the first art works to be created using the CAVE™
a unique form of virtual reality environment where high resolution
real time computer generated stereoscopic images are projected onto
the walls and floor of a specially constructed room, creating a totally
immersive three dimensional virtual reality experience for the viewers.
The user interface in conFiguring the CAVE is a near life-size
wooden puppet that has the same appearance as an artist's wooden mannequin.
Fitted with electronic measurement devices that are embedded within
each of its moveable joints, it can be manipulated by the viewers
to control the transformations of both the computer generated imagery
and the sound environment.
reConfiguring the CAVE
reconFiguring the CAVE (2001) is a new version of this previous
work and was developed for the exhibition ‘Vision and Reality’
at the Louisiana Museum of Modern Art in Denmark. In this version
there are two large projection surfaces, one on the floor and the
other adjoining it standing upright. The wooden puppet has been replaced
by a touch screen on which the viewers can manipulate a virtual representation
of the puppet.
The content of the work is constituted by seven differentiated audiovisual
domains that together offer an exploration of the manifold relationships
between body, space and language. The imagery has been created using
algorithmic software tools that offer an emergent complexity of animated
forms and organic abstractions, conjoined with representational and
symbolic images. Visitors dynamically change the behaviour of these
engrossing audio-visual environments, by handling the virtual puppet's
body and limbs. Most significantly it is the action of moving the
virtual puppet's hands, to cover and then uncover its eyes, which
causes the transition from one visual domain to the next.
The composer Les Stuck created the sound compositions for the seven
pictorial domains in this work, which are presented via an eight channel
spatial sound system that augments the three-dimensional qualities
of the stereoscopic visual environment. These sound compositions,
like the imagery, are interactively affected by the viewer's handling
of the interface puppet's body and limbs. The software architecture
underlying this work was developed by Bernd Lintermann using algorithmic
procedures to create a richly textured real time visual experience
that can be dynamically explored by each individual user.
Agnes Hegedues
Bernd Lintermann
Jeffrey Shaw
©1997/2001 Hegedus, Lintermann, Shaw & Stuck
music: Leslie Stuck
motion analysis for music: Jonathan Bachrach
produced at ZKM Institute for Visual Media
production in Tokyo: Boctok, David D’Heilly
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