‘Borderless Reality,’ an exhibition co-organized by art center nabi, ISMAR 2010 and V2, will allow you to explore a borderless world developed from the point where physical reality and virtual layer become entangled in augmented and mixed reality technologies. The exhibition is comprised of seven works: three entries ‘Augmented Shadow,’ ‘Frame Seductions,’ and ‘Fecundation’ selected from the Art Gallery of 9th ISMAR (IEEE International Symposium on Mixed and Augmented Reality) 2010, and three works – ‘Mirror Scrutinizer,’ ‘RE:,’ ‘Serendipitor’ that are receiving support or being developed by Netherland’s V2 Lab, where augmented reality is one of their main research topics. art center nabi chose the classical piece ‘Telematic Dreaming’ by Paul Sermon, which adopts the augmented reality concept in the early 90’s.
Date 13th October – 12th November, 2010 / 10am ~ 6pm
Opening 13th October, 2010 (Wed.) / 6pm.
Venue art center nabi
Host art center nabi, ISMAR 2010, V2
Contact Youngju Kim 02-2121-0925, firstname.lastname@example.org
3 Selections from ISMAR 2010 Art Gallery
Augmented Shadow (2010) / Joon Moon
‘Augmented Shadow’ is an installation utilizing artificial shadows for tangible augmented
reality on a displayable tabletop interface. Being adapted for interactive storytelling, the
characteristics of the shadow and distortion, provides users with unique amusements provoking their imagination.
Joon Moon is a programmer and designer. After working on motion graphics for several years, his works are mostly related to generative visuals for live performance, sound visualization and interactive narratives. ‘Augmented Shadow’ is his thesis work in M.F.A. Design & Technology in Parsons, New York. Recently, he is experimenting on new visual experiences coming along new technologies such as the spatial dimensions and narrative environments of augmented reality.
Frame Seductions (2010) / Pierre Proske
Frame Seductions is an interactive work that plays with our expectations of the video frame by creating an immersive and surreal space that lies beyond the traditional borders of the screen. The project explores the concept of looking outside of the frame by tracking the movements of people immediately in front of a camera-enabled screen. As people turn their head to the left or to the right the image on the screen will follow their gaze beyond the confines of the frame. Viewers will then be able to access material outside of the initial frame, blurring the boundaries between the frame and the hors champ. Lurking in the sidelines of the original image, various mundane but provocative scenarios are playing themselves out much to the surprise of the viewer.
Pierre Proske is an Australian artist intrigued by the pervasiveness of technology in culture and its relationship to nature. His work involves exposing the unspoken relationships we have with technology and harnessing machines into exploring new aesthetics. Both resisting and exploiting modern techno-utopian trends, he employs humor and the absurd as weapons against the invasion of computer augmented realities.
Fecundation (2010) / Julio Lucio Martin
Fecundation is the cause and reason of every living thing on Earth. In this installation, the smallest “living” thing, the spermatozoid is recreated. 2000 of them are projected on the interactive floor, and they swarm around the installation space trying to impregnate the visitors who cross this area. Using openFrameworks.cc computer vision library, the spermatozoids find people through the IR camera placed on top of the area, so that they can decide where to go, just like individuals.
Julio Lucio Martin
Julio Lucio is an artist who creates projects in art and technology so that people can play, interact and have fun. He uses technology, interaction and interfaces as a means of communication and cultural aesthetics, seeking to respond to the impact that this experience has in virtually all aspects of our daily lives. Along with the technological advances, he creates works of art that seek to show the public how technology works and how it can represent the behavior of matter and the universe. These are meant to enrich the understanding and relationship with the world, immersed in a technologically diverse society, and to show new forms of expression, digital critics and collaborative practices.
1 Selection from art center nabi
Telematic Dreaming (1992) / Paul Sermon
Paul Sermon’s first telematic project “Telematic Dreaming” transforms a bedroom, where the most private exchanges occur, into a telematic space. Two separate locations, each with beds laid out, are connected through a digital network. The participants lying on the beds are at different places but their images exist right next to each other at the same time. What begins between them is ‘eye’ touching instead of hand touching.
Since the early 1990s Paul Sermon’s practice-based research in the field of media arts has centered on the creative use of telecommunication technologies. Through his unique use of videoconference techniques in artistic telepresence applications he has developed a series of celebrated telematic art installations that have received international acclaim. He was awarded the Prix Ars Electronica “Golden Nica”, in the category of interactive art, for the hyper media installation ‘Think About the People Now,’ in 1991. He received the “Sparkey Award” from the Interactive Media Festival in Los Angeles, 1994, for the telepresent video installation ‘Telematic Dreaming.’
3 Selections from V2 Lab
Mirror Scrutinizer (2010) / Marnix de Nijs
The installation detects and scrutinizes the faces of the people looking into the mirror. Rather than trying to identify the person, the software developed for this interactive installation probes for facial features and characteristics that are similar to one of the pre-selected persons in the database: all chosen for their controversial or infamous acts, but at the same time people that contributed to our contemporary culture.
Marnix de Nijs
Marnix de Nijs is a Rotterdam based artist who explores the dynamic clash between bodies, machines and other media. His works include mainly interactive experience machines that play with perception and control of image and sound.
Marnix de Nijs presented his works at several national and international media-festivals; he worked with Edwin van der Heide, Time’s Up_org, Montevideo, V2_lab, ZKM, TU Darmstadt and recently with Tsinghua University.
RE: (2010) / Bram Snijders (Sitd) & Carolien Teunisse
‘RE:’ is a 360 projection-mapping installation that uses mirrors to allow a projector to project on its own surface. The mirrors bounce the projections back onto their source. Virtual pixels become points of augmentation in actual space. ?The reflected projection makes a mixed reality appear and disappear. In most cases the projector has a functional role in a video-installation; the projector in ‘RE:’ functions as a symbol for both sender as receiver of the medium light.
The work is the outcome of the question what could the role of the projector be, explored in an installation presented by Bram Snijders and is inspired by the research Carolien Teunisse has done on Augmented Reality during her internship at V2_ Institute for Unstable Media.
Bram Snijders (Sitd) & Carolien Teunisse
Sitd (Bram Snijders) is a Dutch Media artist. His work mainly consists of augmented video projections, interactive installations and augmented VJ performances. By using augmented video projections, robotics and interactive elements, Sitd tries to create a new physical/digital reality within his installations. In his experiments he explores the possibilities within different media and digital technologies, and the ways in which they are influenced by the physical world, and by the material and external triggers. The elements of the virtual and physical dimension influence each other, and together create the foundation of the work. www.sidt.nl
Carolien Teunisse is a media artist that has always been experimenting with mixing different media like photography, graphic art, video and animation, allowing these different media to tell a story by making them communicate with each other. Helped by video projection, she found out she could mix video and animation with physical reality, and that new interesting dialogues could take place. She is currently fascinated by the new ways in which virtual information and new media can play a role in daily physical realities.
Serendipitor (2010) / Mark Shepard
The Serendipitor is an alternative navigation application developed for the iPhone. It is designed to make you find something by looking for something else. It puts the user in a different relationship with the city. Finding your way from point A to point B is not the problem these days. Instead maintaining consciousness along your way is becoming more difficult. The Serendipitor finds you several ways to reach any destination in the city and gives you step-by-step directions for several actions and movements inspired by Fluxus related artists like Yoke Ono and Vito Acconci. It could ask you for example: “Walk toward the heart of the city. If the city has no heart, give it one.”
Mark Shepard is an artist, architect and researcher whose post-disciplinary practice addresses new social spaces and signifying structures of contemporary network cultures. His current research investigates the implications of mobile and pervasive media, communication and information technologies for architecture and urbanism.
< Borderless Reality > is an exhibition on artistic practices that explore the concepts of mixed and augmented reality, co-organized by art center Nabi, V2_ and ISMAR 2010, the 9th IEEE International Symposium on Mixed and Augmented Reality taking place in Seoul.
< Borderless Reality > presents various artworks that scan the borders between the real and the virtual world. Technology nowadays let us experience digital data as almost tangible elements by unifying the countless information streams, render them into virtual layers and augment them with reality in various ways. Many art forms also create unique experiences by mixing images or sounds with reality as and artistic expression. How could ‘Augmented Reality’, the contemporary definition for enhancing physical space by adding interactive computer-generated content, develop in the future when used as an artistic medium?
While the underlying technologies (tracking, displaying and rendering) that drive ‘Augmented Reality’ focus on a transparent creation, distribution and access of information the artist tends to critically examine their functions and implementations. This artistic research and development could be seen as an important element that introduces specific qualities into the field of technological innovation and realization. Especially in the interdisciplinary collaboration with engineers and computer scientists, the artistic approach is unconventional in connecting different research fields, leaving behind discipline-specific paradigms.
The present accelerated progress of information technologies are inevitably defining new directions of how content will be experienced in the future, going beyond the viewing constellation of today and changing the relation between the creator, his tools and the viewer. Digital media do not represent, they generate. They are software rather than hardware and unlike any other medium we have ever known, ephemeral: transforming and growing systems in itself. The virtual tool becomes a (re-)active actor in the creation of dynamic processes and demands for different approaches to those from the era of mimicking media.
New technology makes possible for us to confront the world that is formed at a point where physical reality and virtual layers are overlapping without borders. The artists explore various kinds of layers of reality that is not only physical or virtual layers but also philosophical, cognitional, or spiritual layers using their own metaphor and narrative. The artists invite us to their constructed stage and into their storytelling through technologies where the world is newly exposed as the various layers are combined over realistic senses. We will naturally experience the world without borders as we create a new reality by assembling the pieces of different layers above familiar surrounding environment. At that moment, there is no need to distinguish whether the piece is from real or virtual world. This might let us sense our dream in reality, similar to sensing both the image of the dream and the sound of reality at the same time as we are in between of dream and reality.
Art Center Nabi selected ‘Augmented Shadow,’ ‘Frame Seductions,’ and ‘Fecundation’ among the submissions for the Art Gallery of ISMAR 2010, and particularly recommending ‘Telematic Dreaming’ by Paul Sermon who has been studying the third space through telematic research since early 90’s. Furthermore, the exhibition includes ‘Mirror Scrutinizer,’ ‘RE,’ and ‘Serendipitor’ which are being either supported or developed at V2_Lab in Netherland where Augmented Reality is one of the three main research topics.
Boris Debackere (V2_), Youngju Kim (art center nabi)