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Which clippings match 'Dynamic Visual Representation' keyword pg.1 of 1
10 JUNE 2015

PomPom Mirror: a camera-based interaction artwork

"Rozin's anthropomorphic PomPom Mirror features a synchronized array of 928 spherical faux fur puffs. Organized into a three-dimensional grid of beige and black, the sculpture is controlled by hundreds of motors that build silhouettes of viewers using computer-vision. Along its surface, figures appear as fluffy animal-like representations within the picture plane, which is made permeable by a 'push-pull' forward and backward motion of meshed 'pixels'. Ghostly traces fade and emerge, as the motorized composition hums in unified movement, seemingly alive and breathing as a body of its own."

Daniel Rozin, "PomPom Mirror", 2015, 928 faux fur pom poms, 464 motors, control electronics, video camera, custom software, microcontroller, wooden armature, 48 x 48 x 18 in / 121.9 x 121.9 x 45.7 cm




2015aesthetic experienceaesthetic spectacleanalogue correspondenceanthropomorphismartwork • beige and black • Bitforms Gallery • black and whitecamera-based interactioncomputer based interactive artcomputer visionDaniel Rozindynamic visual representationdynamically changing • fade and emerge • faux fur • fur • ghostly traces • image processing • implied tactile experience • implied texture • interactive artinteractive artworkinteractive visualisationkinetic art • mechanical mirror • microcontrollermicrosoft kinect cameramirror • moving tiles • NYCperceptual organisation • physical pixels • pom pom • PomPom Mirror (2015) • puff • push-pull • real-time motion • surface quality • synchronised array • tessellationtexturetransposing materials • unified movement • Victoria Sendra • visual appearance • visual feedback


Simon Perkins
29 APRIL 2012

Boundary Functions: personal space exists only in relation to others and changes without our control

"Boundary Functions shows us that personal space exists only in relation to others and changes without our control. ...

By projecting the diagram, the invisible relationships between individuals and the space between them become visible and dynamic. The intangible notion of personal space and the line that always exists between you and another becomes concrete. The installation doesn't function at all with one person, as it requires a physical relationship to someone else. In this way Boundary Functions is a reversal of the lonely self–reflection of virtual reality, or the frustration of virtual communities: here is a virtual space that can only exist with more than one person, and in physical space.

The title, Boundary Functions, refers to Theodore Kaczynski's 1967 University of Michigan PhD thesis. Better known as the Unabomber, Kaczynski is a pathological example of the conflict between the individual and society: engaging with an imperfect world versus an individual solitude uncompromised by the presence of others. The thesis itself is an example of the implicit antisocial quality of some scientific discourse, mired in language and symbols that are impenetrable to the vast majority of society. In this installation, a mathematical abstraction is made instantly knowable by dynamic visual representation."

(Scott Snibbe, 1998)

Fig.1 Scott Snibbe (1998). "Boundary Functions".



1998art installationboundariesboundary functionsdynamic visual representationdynamically changingfloorgeometryindividualindividual and society • individual solitude • installationinteraction patternsinteractive artinteractive floorinteractive projection • Jonathan Shewchuk • linesmathematical abstractionmathematicspartition of spacepatternpatternspersonal spacephysical interaction • physical relationship • physical spaceprojected from overhead • proxemics • psychology • regions • relationships between individuals • scientific discourse • Scott Snibbesocial interaction • social relationships • Theodore Kaczynski • unabombervideo trackingvirtual spacevoronoiVoronoi diagram


Simon Perkins

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