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NMNT 2015
SPACE
NMNT 2015
NewtonNewton LeibnizLeibniz
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From: Points of view: Power of the plane. Nils Gehlenborg & Bang Wong. Nature Methods 9, 935 (2012)
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BETWEEN THE VIRTUAL AND THE REAL
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THE ULTIMATE DISPLAY
To rebuild reality? No. To gain familiarity with concepts
not realizable in the physical world.
It is a looking glass into a mathematical wonderland.
Ivan Sutherland, 1965
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NMNT 2015
‘The ultimate display would, of course, be a room within which the computer can control the existence of matter. A chair displayed in such a room would be good enough to sit in. Handcuffs displayed in such a room would be confining, and a bullet displayed in such a room would be fatal. With appropriate programming such a display could literally be the Wonderland into which Alice walked.’
Ivan Sutherland, 1965
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Aspen Movie MapArchitecture
Machine Group (1979)
Aspen Movie MapArchitecture
Machine Group (1979)
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The Hand from Above
Chris O’Shea
The Hand from Above
Chris O’Shea
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Milgram's Reality-Virtuality Continuum
Steve Mann. Mediated Reality with implementations for everyday life. presenceconnect.com, the on line companion to the MIT Press journal PRESENCE: Teleoperators and Virtual Environments, Date Posted: 2002 August 6
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NMNT Examples
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Donna Piët, Sam Verkoelen & Jules Verdijk (2014)Revisiting a study by Galton from 1881 about number form. We allow visitors to discover their own number form and those of others.
Donna Piët, Sam Verkoelen & Jules Verdijk (2014)Revisiting a study by Galton from 1881 about number form. We allow visitors to discover their own number form and those of others.
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CyclopsChris Heydra (2012)
Is it possible to create a 3D image with a single camera as opposed to the usual set of stereoscopic cameras?
CyclopsChris Heydra (2012)
Is it possible to create a 3D image with a single camera as opposed to the usual set of stereoscopic cameras?
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DesyncapitatorJan Jaap van Assen & Erik Jansen (2011)
Our brain has the capability to process loads of visual data. This data is partly generated by our eyes which let us perceive the world around us. Maybe we can observe more visual aspects of the world if we weren’t limited to only our eyes. Behold The Desyncapitator, a visual extension machine which will try to blow
your mind by feeding a digital remixed version of the surroundings on your retina.
See http://www.janjaapvanassen.com/?p=65
DesyncapitatorJan Jaap van Assen & Erik Jansen (2011)
Our brain has the capability to process loads of visual data. This data is partly generated by our eyes which let us perceive the world around us. Maybe we can observe more visual aspects of the world if we weren’t limited to only our eyes. Behold The Desyncapitator, a visual extension machine which will try to blow
your mind by feeding a digital remixed version of the surroundings on your retina.
See http://www.janjaapvanassen.com/?p=65
NMNT 2015
SpaceLapse Daan Krijnen,
Carolien Teunisse and
Sabrina Verhage (2014)
SpaceLapse Daan Krijnen,
Carolien Teunisse and
Sabrina Verhage (2014)
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Virtual ShadowsMarcello Gómez Maureira, Carolien
Teunisse, Sabrina Verhage
Virtual ShadowsMarcello Gómez Maureira, Carolien
Teunisse, Sabrina Verhage
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I Know Why The Caged Bird SingsAnnika, Wouter & Alice (2013)
I Know Why The Caged Bird SingsAnnika, Wouter & Alice (2013)
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INTERACTIVE SPACES
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Edward T. Hall (1966)
Proxemics
Edward T. Hall (1966)
Proxemics
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ARCHITECTURE = SPACE + INTERACTION
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Filene’s Eco-podsHoweler + Yoon Architecture and
Squared Design Lab
Filene’s Eco-podsHoweler + Yoon Architecture and
Squared Design Lab
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Son-O-HouseLars Spuybroek &
Edwin van der Heide
Son-O-HouseLars Spuybroek &
Edwin van der Heide
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FURL: Soft Pneumatic Pavillion
Francois Mangion, Interactive Architecture Lab, University College
London
FURL: Soft Pneumatic Pavillion
Francois Mangion, Interactive Architecture Lab, University College
London
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SEEK @The Jewish Museum NYC (1970)
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ICONIC INTERACTIVE SPACE EXAMPLE:
MYRON KRUEGER’S RESPONSIVE
ENVIRONMENTS
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Responsive Environments - Myron Krueger (1969-1975)
• Artist as Composer of Responsive Environments – intelligent real time computer mediated spaces
• Response is the medium: focus on experience through interaction
• Immersiveness, audience participation, real time interaction, randomness, computer mediated spaces, ...
Input
State Update
Output
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Glow Flow (1969)
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METAPLAY (1970)
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Psychic Space (1971)
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MAZE
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VIDEOPLACE (1975)
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Response is the medium
Beauty of aural and visual response is secondaryComposing responsive environments at a meta level
Artificial Realities Learning and adaptation
Personal AmplifiersCooperation and frustration – meaningful interaction
PlayCreative Science applications such as psychology
NMNT 2015Modern Responsive Environment Example: Funky
Forest
Funky Forest, Theo Watson: A Modern Responsive Environment
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THE END
