credit Courtesy of John Gerrard, Erwin Reitböck, Martin Bruner, Andreas Jalsovec, Christopher Lindinger, Pascal Maresch and Futurelab
From this point of "eye contact," a series of reactions – which depend on the sort of expressions previously created by the user – occur between the portraits in Networked Portrait.
credit Courtesy of Luc Courchesne
Landscape 1 invites the non-virtual visitor to communicate using a touch screen or voice recognition. If this communication is successful, it is possible for the visitor to move forward in the park in the company of the virtual visitors.
credit Courtesy of Jeffrey Shaw
In The Legible City, viewers can ride a stationary bicycle through a simulated representation of a city that is constituted by computer-generated, three-dimensional letters that form words and sentences along the sides of the streets.
credit Courtesy of David Rokeby
In the installation n-cha(n)t, a group of networked computers listen to the conversation of gallery visitors and then create and repeat a sentence formed from random words and phrases picked up from visitors’ talk.
credit Courtesy of Christa Sommerer and Laurent Mignonneau
Interactive Plant Growing contrasts the growth of real and artificial plants.
credit Courtesy of David Rokeby
If the people in the room are quiet, the n-cha(n)t computers slow their chatter until it devolves into a sort of droning chant. Surrounded by a perky and verbal group of people, the computers get excited and babble blithely at each other.
credit Courtesy of Gerfried Stocker, Erwin Reitböck, Horst Hörtner, Dietmar Offenhuber, Christopher Lindinger, Stefan Mittlböck-Jungwirth , Martin Honzik, Futurelab, with consulting artists Golan Levin and Zachary Lieberman (2004)
Interactive Bars is a digital terrarium of colorful computerized blobs that slither happily over to human visitors, who can pick them up, pet them and fling them about the installation.
credit Courtesy of Gerfried Stocker, Erwin Reitböck, Horst Hörtner, Dietmar Offenhuber, Christopher Lindinger, Stefan Mittlböck-Jungwirth , Martin Honzik, Futurelab, with consulting artists Golan Levin and Zachary Lieberman (2004)
The blobs in Interactive Bars also respond to items placed in their enclosure, sliding over to investigate keys, glasses of warm gallery-opening-night wine and whatever else people fish out of their pockets and plonk into the terrarium.
credit Courtesy of Kazuhiko Hachiya
Inter Dis-communication Machine allows two participants to literally see the world through each others’ eyes.
credit Courtesy of John Gerrard, Erwin Reitböck, Martin Bruner, Andreas Jalsovec, Christopher Lindinger, Pascal Maresch and Futurelab
Networked Portrait presents two three-dimensional models of a human face that can be altered by the audience and also "react" to each other.
credit Courtesy of Luc Courchesne
In Landscape 1, the viewer is surrounded by a park, photorealistically represented on a 360-degree projection surface. Virtual visitors to the park move about freely in the landscape.
credit Courtesy of Lynn Hershman
When the trigger is squeezed in America’s Finest, the viewer’s image is captured by a camera and pasted into the gun’s sight. This image is then blended and overlaid with ghostly scenes, a virtual-reality trip through the history of the Colt revolver and the camera, both of which were created in the year 1830. Hershman’s project plays off that historical connection and the idea of "shooting" pictures.
credit Courtesy of Golan Levin, Zachary Lieberman and Christopher Lindinger at Futurelab
Using phoneme-recognition technology and real-time computer animation, Re:mark converts users’ vocalizations into animated letters and shapes that appear to float upward from the shadow of the speakers’ heads. Visitors can also manipulate these forms directly, using the shadows of their own bodies.
credit Courtesy of Peter Kogler, Franz Pomassl, Markus Decker, Markus Greunz, Gerald Schröcker, Dietmar Offenhuber, Horst Hörtner, Pascal Maresch, Jürgen Hagler and Futurelab
Cave is an installation that places users in the middle of a twisting, labyrinthine abstract space.
credit Courtesy of artists in residence Maurice Benayoun, Jean-Baptiste Barrière, Patrick Bouchaud and David Nahon, and Erich Berger and Gilbert Netzer, Futurelab
In World Skin, shown here using the Futurelab’s Ars Box virtual stereoscopic viewing environment, one user drives others through a war-torn landscape composed of media images of demolished buildings, piles of rubble, artillery, armed men and casualties of war.
credit Courtesy of Peter Kogler, Franz Pomassl, Markus Decker, Markus Greunz, Gerald Schröcker, Dietmar Offenhuber, Horst Hörtner, Pascal Maresch, Jürgen Hagler and Futurelab
Visitors can elect to navigate through Cave’s model independently using a 3-D mouse, or they are "sucked" through the model on a preordained path.
credit Courtesy of Tom White and David Small
Visitors to the Poetic Garden sit at the edge of a flowing pool of water, watching as words projected onto the stream flow by and tumble over a waterfall. The words can be rearranged and changed by viewers, who don’t even have to get their hands wet in the process.
credit Courtesy of John Gerrard, Erwin Reitböck, Martin Bruner, Andreas Jalsovec, Christopher Lindinger, Pascal Maresch and Futurelab
With a touch-screen interface, Networked Portrait users can adjust the position and expressions of the portrait subjects in real time.
