| Exhibits |
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| T_Visionarium |
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| T_Visionarium is a fully immersive interactive televisual installation that re-presents TV data so that viewers can explore and actively edit a multitude of stories in a panoramic three dimensional space. It’s database of over 24.000 video clips is segmented from 28 hours of broadcast television, and each of these clips is tagged with metadata that describes its essential narrative properties. Up to 300 of these video clips are simultaneously displayed around a circular 3D projection screen (AVIE) developed at the UNSW iCinema Research Centre, and using a ‘wand’ the viewer can dynamically select, re-arrange and link these video clips at will, composing them into combinations based on relations provided by the metadata. This new kind of spatial connectivity gives rise to a revolutionary way of seeing and reconceptualizing TV in its aesthetic, physical and semantic dimensions, and to an exciting new form of interactive television. |
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| La Dispersion Du Fils |
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| Conceived with and for the AVIE system that offers an active immersion of the audience in a 360 panoramic stereographic video environment, La Dispersion du Fils extends the experiences conducted by Jean Michel Bruyère and LFKs around the Tragedy of Actaeon since 1999. It proposes to enter in the stomach of Harpyia, one of the fifty hounds of Actaeon, just after that the hunter who found naked Diana bathing had been killed, scattered and devoured by his own horde, as he was confounded with the prey. For the audience La Dispersion du Fils is an endless journey in a half- organic, half-cosmic world, perpetually shaken and changing, only constituted by the chaos of the memory-images of Actaeon, as the enraged dog is filled with them and run an errand in the Canicula. Even though La Dispersion du Fils is made only from films and filmed images, there was no shooting, as it exploits almost all the films that Jean Michel Bruyère has conceived and directed for LFKs on the tragedy of Actaeon in the last ten years. A great amount of footage has however been re-edited for the occasion by Delphine Varas with a new soundtrack created by Thierry Arredondo, and here are more than 500 films that constitute the material of La Dispersion du Fils, organized in canine intestines, in sidereal beast, and in asteroid rain by Matthew MacGinity, who was the software engineer of the AVIE system. |
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| PLACE-Hampi |
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| PLACE-Hampi is an embodied theatre of participation in the drama of Hindu mythology focused at the most significant archaeological, historical and sacred locations of the World Heritage site Vijayanagara (Hampi), South India. It is an interactive installation that projects 3D imagery onto a 9-meter diameter circular screen from a rotating platform that is controlled by one of the viewers. Enfolded in this interactive installation, viewers explore a virtual landscape of panoramic locations enlivened by animated mythological events that reveal the folkloric imagination of contemporary pilgrims active at the temple complex. Comprised of high resolution augmented stereoscopic panoramas and surrounded by a rich acoustic field PLACE-Hampi articulates an unprecedented level of viewer co-presence in a narrative re-discovery of a cultural landscape. |
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| UNMAKEABLELOVE |
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| Adapted from Samuel Beckett’s narrative ‘The Lost Ones’, UNMAKEABLELOVE is a virtual reality installation that focuses and makes interactively tangible a state of confrontation and interpolation between our selves and a society of computer generated people who are living in a severe state of physical and psychological entropy. UNMAKEABLOVE presents this community of real time animated figures by means of 3D projections on six screens that are arranged as a 6-meter wide hexagonal room (Re-Actor) that the viewers walk around and peer into. Using physical torches as interfaces, the viewers project virtual light beams into this room to illuminate the elusive order of a confined existence that evokes in post-modern abstraction a space resonating with Dante’s Purgatory. |
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| iTürkiye |
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| iTürkiye is an interactive installation that presents panoramic cinematographic events that were made on location in Turkey on behalf of the artwork YER-Türkiye. These are 360-degree spherical digital video recordings that can be viewed from various points of view within in a 3-meter diameter projection hemisphere (iDOME) developed at the UNSW iCinema Research Centre. iTürkie’s immersive ‘movies-in-the-round’ invoke embodied analogies to the whirling Dervishes, the potter throwing at his wheel, and the circumambulation of visitors inside the 1453 panoramic painting. While circling around these peripatetic locations, performances and narratives, the users of this artwork make a fortuitous voyage of discovery, familiarity and encounter. |
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| Eye of Nagaur |
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| Visualizing the inner life of Ahhichatragarh Fort and Palace complex at Nagaur, Rajasthan (India) is an interactive digital installation made with state of the art ultra-high resolution panoramic spherical photographic and visualization technologies. Visitors make an exceptional journey of discovery of Ahhichatragarh’s magnificent architectural spaces and the artistic decorations found throughout. Looking through the ‘eye’ of its imposing three-metre diameter circular screen, viewers explore a constellation make an exceptional journey of discovery. Eye of Nagaur a prosthetic eye that reveals the beauty of this fort and palace complex, exploring in fine detail the painted ceilings, floors and wall decorations, hydraulic infrastructure and the unique fusion of Mughal-Rajput architectural features. With almost infinite ‘zoom’ reflecting back the rich life of the former inhabitants. |
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| reconfiguring the CAVE |
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| reconfiguring the CAVE is a computer based interactive video installation that creates a paradigmatic conjunction of body and space via 3D contiguous projections on one vertical screen and on the floor on which the viewers stand. The user interface is a life-size wooden puppet that is formed like the prosaic artists' mannequin, and it is handled by the viewers to control real time transformations of both the computer generated imagery and the sound composition. reconFiguring the CAVE presents relationships between corporeal and spatial co-ordinates that are both physical and conceptual, reflecting those cultural and scientific traditions that conjecture the body as the locus and measure of all things. At the same time it shifts that worldview into a post-modern exigency that reveals the fragile covariance of surrogate mediated bodies that are located in a measureless space of virtual forms. |
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| LOOK UP |
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| LOOK UP is an animated photographic installation making use of a suspended hemispherical projection screen (MediaDOME). The work presents fisheye photographs of a range of different ceiling architectures found in public, private, religious and secular buildings all around Kyoto, Lille, Istanbul and Konya. With their straight upwards view angle, these images are digitally processed and animated to create an anamorphic optical experience that gives viewers a strong sense of presence and movement within these buildings. |
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| Celestial Mechanics |
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| Celestial Mechanics is a planetarium artwork of the machines we have placed in the sky. Instead of stars and planets, the ‘night sky’ program reveals many of the aerial technologies hovering, flying, and drifting above us. The project mixes science, statistical display, and contemporary art by interpreting the mechanical patterns and behaviors of these systems as culturally significant poetics. With data secured from government agencies like NASA, the Federal Aviation Administration, the National Weather Service and dozens of military and science organizations, accurate tracking and protocol statistics were used to create 3-D models of over 30,000 manmade objects in the sky. These models were then visualized in a style that reflects the chaos, force, and influence of these technologies and lead to a better understanding of the forces that are shaping our future. |
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