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Which clippings match 'Interactive Artwork' keyword pg.1 of 2
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

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TAGS

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

CONTRIBUTOR

Simon Perkins
11 FEBRUARY 2015

Squidsoup's Submergence light installation at Mexico Visual Art Week

"'Submergence', work by the Squidsoup collective, will be the only indoor piece in all of the [Mexico City] 2015 VAW festival, envisioned for a closed space. Like the name of the piece suggests, 'Submergence' proposes the audience to be immersed, inviting to stroll through it, which in an interactive process produces changes in the intensity of the lights, colors and sound expressions. With a narrative path composed of 4 parts of approximately 5 minutes each, an abstract story slowly takes shape with great poetic weight and added to the mutations that the audience contributes with their movements. The transition through subtle atmospheres introduces us to a magical and unreal world. Beyond the multiple meanings the spectator can perceive in free interaction with 'Submergence', the experience is key in itself, the possibilities this piece offers to perceive and enjoy all the senses at once."

(Museo Jumex)

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TAGS

2015 • 3D pixel matrix • abstract story • abstract virtual environment • art exhibitionartist collectiveartworkatmospheric • atmospheric effects • closed space • floating in spaceimmersive experienceimmersive worksinteractive artworkinteractive light fieldLED lightingLiam Birtleslight art • light art festival • light fieldlight installationlight sculptureMexico City • Museo Jumex • Ocean of Light (artwork) • otherworldlinesspixel matrixpoints of lightpresenceresponsive light installationresponsive sound installation • spatialised pixels • Squidsoup (collective) • Submergence (2015) • VAW festival • Visual Art Week 2015 • Visual Art Week MX • visual spectacle

CONTRIBUTOR

Simon Perkins
09 NOVEMBER 2014

The Visitor: Living by Numbers (2001)

Luc Courchesne (2001). 'The Visitor : Living by Numbers' immersive experience (reflexive Panoscope) work premièred at Art Gallery of New South Wales (Sydney, Australia), August 2001.

"Interactive video panorama for computer with microphone and hemispheric projection system (Panoscope 360). Created with support from the Daniel Langlois Foundation for Art, Science and Technology, the International Academy for Media Arts and Sciences, the Canada Council for the Arts, Université de Montréal and the Société des arts technologiques (SAT). The original version is in English.

General description: The Visitor: Living by Numbers is inspired by Pier-Paolo Pasolini's 1969 film Theorema and by a dream Courchesne's daughter had when she was 10 years old. In the installation, visitors are planted somewhere in the Japanese countryside. From there they will try to make a life for themselves by saying any number between one and twelve to indicate the direction they want to go or to show interest in people and what they have to say. Exploring the territory, happening upon and entering a shelter, meeting and dealing with the inhabitants and gaining status within the group will define a visitor's experience. Leaving the place and the inhabitants to themselves (as in Pasolini's film) or being forced to escape after an earthquake (as in his daughter's dream) will further characterize the visitor's experience.

The experience starts in daytime, in the middle of rice fields just north of Ogaki-City in central Japan (Gifu Prefecture). In the inner garden of a low building, visitors will happen upon a woman preparing tea. This first encounter may lead to an invitation to diner where a mixed group of people (6) prepare and share a Japanese style stew (nabet). The diner is endless but conversations with dining partners may bring a visitor to spare moments in the intimacy of one's room where he or she is offered the host's mind and thoughts on different topics growing increasingly personal. In the process, a visitor builds a position in the group that either will have him invited to take more place among the group, or gradually ignored and abandoned.

Meanwhile, night has come and the risk of an unforgiving event in this earthquake prone area is more tangible. If such a thing was to happen, destroying the shelter and forcing everyone out, visitors would, depending on their status, be left behind or invited to join in the chaotic and confuse quest for a new place where every aspect of this group’s life will resume in the same way as if nothing had happened."

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TAGS

2001 • Art Gallery of New South Wales Sydney • art installationAustraliaimmersive aesthetic experienceimmersive experienceinteractive artworkintimate interactionsintimate interfaces • Japanese countryside • Luc CourchesneSydney

CONTRIBUTOR

Simon Perkins
29 JUNE 2014

Bernard Pras: the perceptual organisation of found objects

"Bernard Pras is a French painter, photographer and sculptor. He has spent more than 20 years perfecting his craft. One of his more recent body of work feature sculptures of pop icons made entirely out of found objects which, when viewed from a specific angle, transforms into an easily recognizable image. His subjects include Albert Einstein,, Jack Nicholson, Bob Marley, Mao Zedong, Uncle Sam, and Che Guevarra. His inspirations include Salvador Dali, Edvard Munch, Japanese woodcut artist Hiroshige, and Guiseppe Arcimboldo."

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CONTRIBUTOR

Simon Perkins
30 DECEMBER 2013

Honeycomb technique form accordion-like paper sculptures

Works by Li Hongbo, created from paper, glue. Shown in 2012 at the Dominik Mersch Gallery, Australia.

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2012 • accordion-like • artistBeijing • bendable • brilliant artifice • concertina • craft process • craft techniquecraft techniquescrafting • decorations • designer • detailed folding • Dominik Mersch Gallery • Expandable Slinky Art • flexiblegeometric formsgeometry • glue • gluing • honeycomb structure • honeycombed paper • interactive artwork • interlocking pattern • intricacy • Li Hongbo • material effectsmaterial interventionsmaterial modes of engagementpaper • paper design • paper folding • paper gourd • paper sculpture • paper-based form • papercraftrepeating formrevelationsculptural form • slinky • slinky-like sculpture • stacking • stretching honeycomb • structural formtactile experience • uncoiling • visual effect • visual illusionvisual paradoxvisual spectaclevisual transformationwhite paper

CONTRIBUTOR

Simon Perkins
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