Curves and things

First word art is possibly most appropriately matched with the region between the Innovation Trigger and Peak of Inflated Expectations of the GHC. The technology that exists within this middle ground of the curve is fresh, innovative, –  or in Naimark’s words, “new and novel” – and on the rise of reaching the peak. As the media within this region is still novel it would not come as a surprise that people are ‘unsure of how to react to it’, and for that reason this bundle of emerging media would not be at the height of public expectations.

Last word art, on the other hand, seems to best correspond to the Slope of Enlightenment, as it is the region in which previously novel technologies have already been well-established in the society; those who are better acquainted with those technologies are able to create more interesting applications that the public still deems as innovative, but not alien.

I would say that my interests lie in the innovative end of the spectra. While I do not consider my artwork to belong to that particular side of the cycle, I am very much interested in the emerging technologies that are being developed each day because of their potential to grow into something much greater. In a sense, it could be argued that the Trough of Disillusionment is very similar to the Innovation Trigger. Despite how progress is greatly inhibited in the trough, there still exists opportunities for improvement and growth. Thus it is possible that Schulze prefers to work in this part for this very reason, in addition to the fact that it neighbors enlightenment and productivity.

Michelle-LookingOutwards-1

Fluid Vase

In his generative art piece, Fluid Vase,, Fung Kwok Pan allows consumers to interact with a design interface to 3D Print a vase based on simulations of moving fluid. I love how each consumer can order an entirely different vase because they can select any frame they prefer. In addition, it elegantly captures movement in a stationary object. The possibilities of this concept could be pushed even further by capturing the complex movement of fabrics or sand, and be expanded into other enterprises besides vases. Pan definitely got the appeal of his product down because he has turned “action”–an abstract, indistinct concept–into a physical object. According to Kwok Pan, he was inspired greatly by the advantages of 3D Printing. I profoundly admire this about his project because he took the potential of this technology up a notch. Also, as I was investigating Kwok Pan’s previous projects, I realized this designer has very diverse types of interactive art. He has reaches in apps, installations, and product design, and I could not see a recurring theme in his projects. However, he has a distinct style that exudes confidence and a dynamic taste.

Pixelate

The most interesting interactive piece I stumbled upon was by Sures Kumar and Lana Z Porter. They created a Guitar Hero-inspired game called Pixelate, where two people must eat as much food as they can in the correct order within a minute. The correct foods are distinguished through sensors on the forks. I like how the piece takes a creative interactive approach through food. I don’t see that often. I also think the project has a great potential for nutrition education, as that was what originally compelled the artists to make this game. Unfortunately, I think the nature of food is what gets in the way of the installation as well. The installation would require a constant restocking of food. Also, I don’t think it’s too healthy to stand while eating or swallow without chewing. Compared to Kumar’s previous projects, he has definitely maintained his sleek designs and user-friendly interfaces. I think Pixelate, in particular, is most successful in influencing the realm of interactive art.

The Pool

In her installation, Pool, Jen Lewin compels groups of people to play around her arrangement of concentric circles that light up and interact with each step. The piece is inspiring for it becomes more vibrant as more people join in, reflecting how childish playfulness is fun with more people. Investigating further, I found the artist chose the design of concentric circles to reflect how people listen and interact with each other. The circular pads used for the piece, however, look like eyeballs or sunnyside up eggs. I think the artist had the right idea by asking viewers to interact in larger groups, but I think the design could be a little more elegant. Compared to her past installations, I believe the Pool is the most successful in integrating light and interaction. Her other pieces, such as The Paint Torch, are on a smaller scale and don’t require as much active involvement from the viewers. Overall I felt that if her installations were on a much grander scale and had more surprising elements, they would leave a stronger impression.

Critical Engineering

“ The Critical Engineer recognizes that each work of engineering engineers its user, proportional to that user’s dependency upon it.”

A work of technology, machinery, or utility is only as good as its importance and purpose to its user. Just as a piece of equipment serves to aid its user, the full potential of the equipment can only be achieved through the willingness of the user. A device that is often used will display its full power, have an effect on the users, and eventually upgraded or updated to an improved version. However, following this train of thought, also brings up an important and possibly dangerous point, the reliance on a work of engineering. As the Critical Engineer observes, the effect of the work projects a user’s dependency upon it. For example, the cellar phone is one of the most common communication devices of today. As its importance grows, people become more reliant on it,and as more people adopt to it, the more likely it is to be changed for efficiency or convenience. Internet appears on cell phones faster than ever before and the high-speed, high definition video cameras such as the 8-megapixel sensor on the Apple iPhone 5 are proofs that these technologies have driven people to an almost point of insanity to create faster, more efficient machines to fill the appetite of hungry users. The new phones will then in turn attract more customers. It is important for us to recognize the difference between a reliable device and relying on a device so we do not end up becoming machines for our machines.

First Word, Last Word

The concept of “First Word, Last Word” refers to the ability of a work to remain fresh, astounding or impressive to the audience. The Gartner Hype Cycle graphs out this phenomenon through a series of points representing the popularity or usefulness of certain utilities and ideas. The “first word arts” exist as yellow arrows, climbing up the Technology Trigger and heading close to the Peak of Inflated Expectations. They represent new ideas, impressive and innovative displays that have not yet become the popular, hot, mainstream news. The area of the curve between the Peak of Inflated Expectations  and the Trough of Disillusionment embodies the “last word arts”. Only works that remain steadily between these two areas have not fallen into the category of disinterest or the expectation of norm. Yet these works are well known and remain talked about amongst the people. My interests exist somewhere between the Innovation Trigger and the Peak of Inflated Expectations. I wish to create works with found technology but present it in a new way. Instead of working near the Peak of Inflated Expectations where there already exist works I must compare with for ideas, I want to create something new. I think Schulze enjoys working in the “Trough of Disillusionment” because there is something magical about the forgotten common items. They may be found everywhere and blended in with their surroundings, but it does not make them any less curious.

MELANIE-LookingOutwards-1

1) Matt Pyke et al.: Communion

I’ve looked at this artist’s work as a whole and am impressed at how whimsical and lifelike his digital creatures are. The whole process in making the wondrous room is detailed here, but in summary, Communion is a “generative installation” in the walls of a room comprised of panels. Each panel contains a digital creature that evolves from simple structures to complex human-like organisms as they dance their way through development, as a “celebration of life.”

Just by making these creatures dance, the artist is able to make them become endearing and characterize them; the fact alone is astounding. I’m reminded of Thomas Was Alone, a game that only has rectangles as the characters, but by giving each of the rectangles a personality, suddenly the visuals become trivial and the jumping rectangles become personal to the player. Likewise, these creatures become “characters” and the audience becomes free to attach personalities to the creatures; they might even be named. And as if the dancing itself wasn’t dynamic enough, the creatures change–evolve–in front of the audience’s eyes. Although the creatures are confined to the boxes, they become part of the world by their dynamism. A recurring theme in Pyke’s works, after all, is applying human or animal tendencies to an object. According to an interview, he wants to make viewers empathize with technology, a vision of utopia.

It could have been even more effective (but of course more expensive) if each panel had a motion sensor that could allow the creature to react to the close presence of a viewer. It would create more personality for the creature, and allow for more active participation from the audience rather than the passivity I saw in most documentations. (This is the fullest documentation I could find of the piece without the audience)

2) Disney Research Hub: AIREAL 

This one surprised me because I didn’t know research in tactile interaction was going on, let alone significant progression in the field. Basically, the project, made by a small group of researchers, looks much like a webcam that follows your hands around as it shoots off air pressure at appropriate moments to create a sensation not unlike touching something out of thin air.  It is such a silly solution too–it looks hilariously primitive but effective at the same time. It does what it needs to do. Right now it doesn’t seem to be in the distributing stage, but its inspiration and motivation are mainly for games and interactive environments. When it is ready for distribution, I would like it to not be so obstructive in the interaction, however: it’s kind of obnoxious whenever it moves. Will there be a subtler way to push for tactile interaction, in free air?

3) loop.pH: SonUmbra

This project is beautiful, but highly disappointing. It is an audiovisual experience of standing under the umbrella structure, which takes in the surrounding noise and presence to react accordingly with patterns and lights. I was expecting to be mesmerized, and I was, really, but not as much as I wanted to be. I wanted the visual to react strongly to the biggest sounds, the sounds that stand out, but there were many moments (in multiple documentations found online) where I wasn’t even sure if the structure was reacting to the environment. The patterns are beautiful, yes; they look as if branches are growing in thin air. But it is supposed to be an audiovisual experience, and I only found the visual to be profound. Then again, maybe I will absolutely have to be under the umbrella to get the full effect, to understand the work.

The Critical Engineer

0. The Critical Engineer considers Engineering to be the most transformative language of our time, shaping the way we move, communicate and think. It is the work of the Critical Engineer to study and exploit this language, exposing its influence.

The Critical Engineer understands that technology is pervasive and influences the way we interact with each other and ourselves. Therefore, the Engineer realizes that understanding how Engineering works is of utmost importance, because it allows them to manipulate the culture around them and demonstrate to others the amount of influence that it holds over us.

This tenet defines an artist’s intent in engaging their audience and forcing them to critically engage with the world around them, regardless of whether they work with technology or not. We realize that technology controls many people’s lives, and that its interconnectedness with so many different fields and things makes it a central target for commentary. The Facebook game Social Roulette gave Facebook users a 1 in 6 chance of deleting their accounts. Its intention was to force users to reflect on the extent and importance of their digital personas.

Inspiration

The Binding of Isaac trailer: https://www.youtube.com/watch?v=9au_e0im0aM

Steam link: http://store.steampowered.com/app/113200/
This is an indie game designed by Edmund McMillen (art) and Florian Himsl (code). Its meticulous balance, precise controls, complex interaction of numerous mechanics, ridiculous difficulty curve, as well as randomization makes this an engaging, rewarding, as well as endlessly replayable game.
The game boasts a thriving community (http://www.reddit.com/r/bindingofisaac/) and a speedrun league called BoILeR. To see a work so finely crafted and celebrated coming from the efforts of just two people is inspiring. Indie games have been in an upward trend in the recent years, but this is the game that showed that the tools for creating games have advanced to the point that each individual has the ability to impact the medium in a significant way, and those tools are still being improved

RainRoom

Assignment 01-02:

The Rain Room by the Creator’s Project

Unless stated otherwise, all quotations are taken directly from the video on the Creator’s Project official Rain Room video (embedded below) which appears on both the Creator’s Project official YouTube channel and website.

“Rain Room is a 100 square meter area of falling water that uses 3D tracking cameras to sens a person’s presence, allowing visitors to walk through the rain without getting wet.”

If I had to mention one particular computational art project in the world which left a lasting imprint on me, I would have to name the Creator’s Project, the “Rain Room”. It always bothered me how, when the rain started pouring down, people start running around or fumbling for umbrellas and walk around with their heads down and miss the spectacle. I find some people take it for granted that the fact that water falls from the sky in little droplets isn’t weird, unusual, and beautiful. The Rain Room resonated with me because it means that (a) people who are unused to seeing such a natural phenomenon may now do so at their leisure, and (b) people like me who enjoy looking at the rain may do so without getting wet and catching the resulting cold.

“Quite cocooned and protected”

Another aspect I appreciate about the Rain Room is that I don’t feel that one has to be an artist to comprehend or enjoy the experience. For the Museum of Modern Art to offer such a comprehensive installation puts it in good stead with the general public, and I know from talking to many of my non-friends that this is worth the while within and of itself.

“We didn’t intend to trigger memories”

This particular installation was set up by a team of seven artists who collaborate under the title of rAndom International. Three people: Stuart Wood, Florian Ortkrass and Hannes Koch are Founders/Directors. They also function as art directors. The rest of their crew consists of a studio manager, a creative technologist and two designers.

“There was quite a sound element”

The project does boast a considerable lifespan. So far it has been on tour. Interviews picture the creators talking about the adaptable nature of the rain room, particularly in terms of use of space. From a curved wall in one exhibition space to the specially-built housing at the MoMA, these artists have been able to watch their art evolve. They also allowed visitors to take pictured and to upload them — preferably with the hashtag #RainRoom — and would show those images on the MoMA website. These images continue to show the beauty of the rainroom even though the project itself is no longer in existence as of July ’13. The group has now moved on to other projects.

The principal objective of MoMA’s partnership with MoMA PS1 is to promote the enjoyment, appreciation, study, and understanding of contemporary art to a wide and growing audience.

— http://www.moma.org/about/ps1

 

First Word Last Word and GHC

First Word art and Last Word art are comparable to the peak of inflated expectation the slope of enlightenment respectively. The First Word art defines a movement and puts it into the spotlight. What follows is a series of imitators who establishes a set of norms. On the peak of the GHC, the technology similarly becomes extremely popular, but soon becomes commonplace and trite.

Last Word art is a second revolution within the movement where the technology or art form is brought dramatically to new heights. As Naimark’s student pointed out, the Last Word art stands the test of time, and the technologies that came during or after the enlightenment are the ones that will be used by future generations. This is probably why Schulze prefers to work in the trough. He wants the progress he made to be the one that sparked the enlightenment and ends up being the lasting one.

I, too, would prefer to work in the trough, as I would feel more comfortable working within an established set of rules, yet I would also feel adventurous making progress in a technology or art form that hasn’t realized its full potential.

Transitional Technology and Art

The theories behind the Gartner Hype Cycle and “First Word Art / Last Word Art” by Michael Naimark both attempt to address how new creations make an impact on our society.

The Gartner Hype Cycle is an annual, calculated curve that shows how particular inventions trend through five phases of popularity. These stages basically describe how a breakthrough product starts gaining popularity exponentially and reaches its peak with success before consumers start realizing the downfalls of the product. After losing popularity, there is a point where the product is produced very cheaply, but may gain more attention as its applications begin to evolve. From there, the product can reenter the market at a steady rate of productivity.

Source: Gartner August 2013

In the MIT Media Conversations Series, Jack Schulze voiced how he preferred to work in the “Trough of Disillusionment”, where products have lost most of public interest and are mass produced cheaply. He favors this trough because there is interest in the dull, disregarded mechanisms that have the appeal of affordability and quantity. I can side with his point of view because I am more attracted to the hidden potential of an object overlooked rather than a shiny new toy. Then again, that could be my hipster side speaking.

First Word Art / Last Word Art, on the other hand describes how the two most popular types of art tend to be the groundbreaking, new age pieces, or timeless works that are built upon established and accepted form. Personally, I don’t really believe there can truly be a First Word or Last Word Art because artists are constantly inspired by each other in cycles. I recently read the book,
Steal Like an Artist by Austin Kleon, and it basically says great artists draw endlessly from the ideas of other artists. So how can there be a true first and last word art? But I can agree that there are some artists that are constantly pushing for radical, fresh concepts, and others who gradually gain respect through their masterful conquering of an established style. What unifies these two extremes is the fact that these artists are making an identity for themselves that will continue to drive future generations.

Here is a TED Talk by Austin Kleon: