IRIS (2012) Interactive Media Canvas

Expandable Matrix of Transmissive Monochrome LCD (90x90mm), Custom designed Arduino compatible controller board, DMX512, SPI, Kinect /

IRIS is a unique media canvas with matrix of conventional information display technology - a monochrome LCD. Through the phased opening and closing of circular-segmented black Liquid Crystal, IRIS can create various patterns and control the amount (size) of passing lights. IRIS is an interactive medium for visual simplicity which uses the passage of ambient light, not emission of light itself.

It is a selected and supported work of Da Vinci Idea Program(2012) by Seoul Art Space_Geumcheon, KOREA

HYBE


Artists developed low polygon forms from basic primitives and through a series of deformations and replications produced a structure with minimal data. These structures where then developed (made planar) in order for them to be printed two dimensionally.

This enabled the surface to be re-constructed backto its original 3D form. As the object exists in 3D in both digital and analogue form this allows us to project animations and graphic back onto the object from the digital version with relative accuracy. In effect the form exists in digital and analogue spaces simultaneously.

The analogue and digital spaces are converging into what has become known as Augmented Space or Augmented Reality. This convergence will accelerate in the near future as LED architectural surface technology and motor actuators become cheaper. - David Hall

This is the work from David Hall's studio class in IDAS Hongik.
2010.10.29 - 2010.11.11 At the corner gallery, Samchung Dong, Seoul, Korea.

Youngho Lee

A hemisphere of 5,500 white blocks occupies the air, each hanging from above in a pattern which repeats in order and disorder. Pixels play over the physical blocks as an emulsion of digital light within the physical space, producing a habitat for digital forms to exist in our world.



This is “Assembly”, the latest installation by Kimchi and Chips located in Nakdong river cultural centre gallery in Busan, Korea.
A group of external projectors penetrate the volume of cubes with pixel-rays, until every single one of the cubes becomes coated with pixels. By scanning with “structured light“, each pixel receives a set of known information, such as its absolute 3d position within the volume, and the identity of the block that it lives on.



Final systemA camera calibration app written in openFrameworks allows them to determine the intrinsics and extrinsics of the cameras following a chessboard calibration routine. This data can then be used to calibrate the projectors using structured light. They define the calibration tree as a travelling salesman problem, with different calibration routes (e.g. camera A to camera C) being assigned a cost based on the accuracy of the available calibration route, they then evaluate the best calibration tree for each camera and projector, and integrate through the calibration.

Each day a startup script first performs the scan in openFrameworks and then starts the runtime in VVVV.An application first performs the simultaneous capture of structured light on the 5 cameras whilst stepping sequentially through each projector. Following this they triangulate the projector pixels to create a dense mapping between the 2D pixels of the projector and the physical locations of those pixels in 3D space. This map is then stored to disk.

The startup script then loads VVVV which transfers the datamaps to the GPU. They define ‘brushes’ using HLSL shaders which act on the dataset. Different brushes generate different visual effects, for example, some generate density fields which are interpreted as either gradients or isosurfaces. The VVVV graph plays through a script of generative animations and performs systems management.

Kimchi and Chips: Mimi Son and Elliot Woods
Production staff: Minjae Kim and Minjae Park
Mathematicians: Daniel Tang and Chris Coleman-Smith
Videography: MONOCROM, Mimi Son, Elliot Woods | Music by Johnny Ripper
Manufacturing: Star Acrylic, Seoul and Dongik Profile, Bucheon

Kimchi and Chips is Elliot Woods (UK) and Mimi Son (South Korea), a digital media art and design practice based in Seoul which conceives and produces environments, installations and products to enable unexpected and beautiful experiences for people living today.
Their installations focus on the interactions/reactions of people when faced with new media materials, leading them to deconstruct the technical and artistic paradigms of new media techniques and develop them in novel directions.

The result is new ways of merging artificial realities into physical ones in order to create natural interactions between people and the possibilities of the digital world.
Their artistic enquiry focuses on storytelling and the sharing of memories, through which they create private and social experiences through interactions between humans and their artworks.

Kimchi and Chips

2012 Yeosu EXPO HYUNDAI MOTOR GROUP - Hyper-Matrix

Hyper-Matrix is a kinetic landscape installation created for the Hyundai Motor Group Exhibition Pavilion in Korea, the 2012 Yeosu EXPO site. The installation consists of a specially made huge steel construction to support thousands of stepper motors that control 320x320mm cubes that project out of the internal facade of the building.



The foam cubes are mounted to actuators that move them forward and back by the steppers, creating patterns across the three-sided display. Comprised of what at first appear to be three blank white walls, Hyper-Matrix installation quickly comes to life as thousands of individual cubic units forming a field of pixels begin to move, pulsate, and form dynamic images across the room, creating infinite number of possibilities in the vertical, 180 degree, landscape. In addition, as the boxes are arranged at only 5mm narrow intervals, the wall can also be a nice moving screen for the images projected on to it.

Hyundai Motor Group Pavilion (Intergrated Experience Hall), EXPO 2012, YEOSU, KOREA
May 12 ~ Aug 12, 2012



Jonpasang, a Seoul based media arts group, created this installation titled “Hyper-Matrix” for the Hyundai Motor Group Exhibition Pavilion in Korea, the 2012 Yeosu EXPO site.

The installation comprises a specially made steel construction to support thousands of stepper motors that control 300x300mm Lightweight blocks to move in and out of the facade, creating infiniti number of possibilities in the vertical, 180 degree, landscape.

The audience also took part in the installation as thousands of cubes start moving by the audience’s sounds. Pixel waves sweep the space, ripples emit from the centre and just in case this is not enough, projection mapping takes care of the rest.
Jonpasang collective includes Jin-Yo Mok, Sookyun Yang, Earl Park, Jin-Wook Yeo and Sang-Wook Yu.

JonPaSang

This hypothetical device informs your quantum state within innumerable versions of our universe in the quantum state of the universe. The main idea is inspired by an equation, the measurement of existence from the relative quantum mechanics created by physicist, Everett who invented Many-World theory.

Quantum state of the universe:
| Ψ UNIVERSE 〉 = ∑αi | Ψ WORLD i 〉
Measurement of the existence:
μi ≡ 〈 Ψ UNIVERSE | Pi | Ψ UNIVERSE 〉

The theory explains that there are many worlds existing in parallel in the Universe. Although all worlds are of the same physical size (this might not be true if we take quantum gravity into account), and in every world sentient beings feel as "real" as in any other world, in some sense some worlds are larger than others. I describe this property as the measure of existence of a world. "I" also have a measure of existence. It is the sum of measures of existence of all different worlds in which I exist; equally, it can be defined as the measure of existence of my perception world. Note that I do not experience directly the measure of my existence. In the system of the parallel universe, I feel the same weight, see the same brightness, etc. irrespectively of how tiny my measure of existence might be.

The measurement of Existence is an interactive installation that incorporates both an animated graphic and sound. The device shows the simultaneity of innumerable state of a single electron forms the probability wave. As a viewer get closer and observe the ambiguous state of the electron, the device is triggered to show the next stage of the visual information of the viewer’s existence within the system of the parallel universe. In the theories of quantum physics, the acts of observation and measurement play a critical role in creating our physical reality. When it is activated by the power of observation, it examines the sensory mechanism of measurement from the viewer, such as cognition and sight. Then, it visualizes a parallel state of the viewer’s universe, from clustered groups of galaxy to the solar system the earth inhabits.

interaction / ux designer at IDEO

Hyun Ju Yang



Tens of thousands of people are conceived every year using donated sperm. A single sperm donor can anonymously father multiple children, so there's a risk of ‘accidental incest’, where sexual relationships develop between half-siblings who are unaware they’re related. My work explores the role that genetic technology will play in romantic relationships in the near future - for example in the avoidance of accidental incest. I aim to examine how new biotechnologies, and the companies that develop them, might lead to new types of relationships between friends, families and lovers.



'Accidental Incest' show and question the scenario which focus the case of a world where many more people are born using sperm or egg donors and accidental incest in the near future. What if the technology allows us to eliminate danger that a resulting baby could get genetic disease, sibling marriage becomes acceptable in social and cultural context? or not?



The portable devices are designed to capture and analyse the genetic contents of both sexes and allow transfer of their respective DNA sequences into the main device. Through genetic engineering, the main device re-programs both the man and women's gene to become free of a genetic disease. As soon as the main device receives their genetic information, bio-chemical sampling assays using nanotechnology allows creation of the new gene by spreading their body cells and letting them grow on the surface of a gold pendant.



After two weeks of cleansing, the gold pendant containing the new gene may be applied to pregnant women in the form of bio-patch delivery system. The new gene then is permeated slowly into the baby via this delivery system.

Cooperjay Kim

The mechanism that this sentence reaches your retina falls on at least one of the following scenarios. It’s the light reflected by the ink molecules that were absorbed through the capillary fibers of the pulp of the paper that you’re holding. Or it is the visible light which was originally a beam of electrons that was bent and fluoresced by electromagnetic forces. Or it is sum of lights that just passed through the barriers of liquid crystal molecules.



Or it may have come from tiny little light bulbs that illuminates through plasma discharges. One certain fact is that you don’t imagine any of these situations described above when you read a sentence like this one. But that is until you stand in front of the piece “R”.
Like inspecting internal structure of a clock through a magnifying glass, like appreciating delicate micro symphony of tiny little gears and windup springs, when you’re in front of “R”, you’ll find yourself experiencing the elaborate procedures that humankind have invented to make a soulless machine draw a picture for itself.



“R” is a giant wooden kinetic sculpture made of thousands of hand-carved components. It constructs an image with thousands of black and white ping pong balls in respect for humankind’s endless efforts from Altamira cave’s drawings to splendid images on light emitting diode matrix displays.

It is a shelter from the furious competition of high-tech inventions trying to create revolutionary devices worldwide. It makes you turn around and have a time to look back and reminisce about the meaning of creating devices that create images.



The piece works in two modes. In passive mode it constructs ready-made images by stacking up black and white ping pong balls in predefined orders. In interactive mode, the piece detects human activity nearby itself and drops ping pong accordingly. As time goes by, like bones of dinosaurs in stratum, spread dots of black ping pong balls accumulates leaving traces of visitors that passed by.

Everyware







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