virtual environment « emocao art.ficial

Virtual environment has to be touching

by Ana de Fátima Sousa, augusta 14th 2002

photos by Carol Lambert

On Wednesday’s (14) first floor, the symposium [art.ficial emotion] discussed the process of creating interfaces and immersing environments. All works and proposals presented mainly focus on inserting extremely human elements to generate interactivity, interest, and emotion. Without a human narrative, the virtual environment is only an empty space.

One of the hearty defenders of this line of thought is the artist Elizabeth Vander Zaag (Banff Center/Canada). “Why are soap operas so successful on TV? Because they show new stories daily, and always translate feelings like hatred, love, and surprise. Spectators mirror themselves on the stories and can entirely dive into the plot “, she explained. According to Zaag, it’s the same in cyberspace. “All and any work produced for men has to conquer them, give them the feeling of being able to interact with that world “.

Elizabeth Zaag is the creator of Talk Nice [which is in the exhibit on until October at Itaú Cultural] in which two girls chat with visitors. The piece works on the user’s voice modulation. Depending on vocal intonations, the girls “accept” spectators and establish a more friendly communication.

Another work presented by the Canadian was developed in 1990 and provides hints on how to speak softly to a man. A simple inexpensive piece that – says the creator – uses much healthier interactivity. That is, interactivity that brings interface and “friendly” narratives. You can check on here.

The German Joachim Sauter (ART+COM) presented a series of projects created at the institution he runs. One of the presentation’s most beautiful pieces was Time Traveller, in which the user can browse by landscape images or films shot in different times. One of the options is to take a panoramic look at a vast field in Berlin that, when overlaying the image of the past, goes back to the time in which the Berlin wall solidly stood out in the scenario and divided Germany in two.

If there are possible recipes for the use of this immersing multi-user environment, the also German Wolfgang Strauss (MARS) has one. According to him, there are five steps: 1 – user identifies the structure and rules; 2 – user plays with them (rules and structure) 3 – user reflects on how action takes place; 4 – users notices the presence of other participants; 5 – users try to communicate.

The Brazilian cyberspace was exposed in the lecture of Suzete Ventturelli (UnB). The professor presented her projects, which range from interfaces to multi-users to her recent research on the language of games, and also brought projects from other country artists such as André Parente, Gilbertto Prado, Diana Domingues, Rejane Cantoni, Daniela Kutschat and Tânia Fraga.

Place Ruhr

by Jeffrey Shaw, ZKM Center for Art And Media (Germany, 2000)

 

In this installation a rotating platform allows the viewer to rotate a projected image within a large circular projection screen and explore a three dimensional virtual environment constituted by an emblematic constellation of panoramic locations and cinematic events.

The work presents a virtual landscape containing eleven cylinders that show particular sites in the Ruhr area. The viewer can navigate this 3D space and enter these panoramic cylinders, inside each of which a surrounding cinematic sequence fills the projection screen and presents a 360 degree pre-recorded situation and acted event. 

The identity of each of the eleven sites is defined by its environmental scenography (both actual and composited) conjoined with the time based events that have been staged there. 

On the platform there is a column with an underwater video camera. This device is the interactive user interface, its buttons and handling allow the viewer to control his movement through the virtual scene as well as cause the rotation of the platform and of the projected image around the circular screen. A small monitor within this housing also shows the ground plan of the virtual environment with reference to the user’s location there.

A microphone on top of this interface camera picks up any sound that the viewer makes, and this causes the release of continuously moving three dimensional words and sentences within the projected scene. Originating in the center of the screen, the physical arrangement of these texts in the virtual environment is determined by the path of the viewer movements while they are being generated. These texts have a temporal five-minute life span; becoming more and more transparent until they disappear they constitute traces of the viewer’s presence there.

Learn more about interactivity, a central concept to some breeders of the art technology.

Kogler Cave Piece [Ars Box]

by Peter Kogler, Ars Eletronica FutureLab (Austria)

arsboxArs Box is a portable cave for PCs. For several years the Ars Electronica FutureLab has concentrated on developing systems based on low cost gaming technology. A huge amount of tools and products were tested and requirements were stated in order to develop, use, and improve applications in the fields of art, research, and technology.

One research effort was set into the development of a PC based cave system. The general focus lies in replacing the High End Computers and specialized hardware by a cluster of Linux PCs and commodity hardware components, without losing any of the advantages or performance of the high-end system.

technical consulting, development: Horst Hörtner