Interactive art...
by Prof. Ståle Stenslie, Khio
He started in the early 90's with interactive installations. Then and now the pc is the base and metaphor for interacive work. Man-machine interfaces, and the dreams of them, goes a long way back. He works in the media art.
A definition of interaction: "A Dialogue".
Ståle says that everything you do triggers a response, even if it is lack of reaction, and that is a dialogue and therefor interaction.
Important differentiation from other art:
The interactive artowrk is not fulfilled unless the viewer is actually engaging the artwork.
Why interactivity:
If you play tetris in your mind only, it takes 700 - 1250 ms to rotate the tetris bricks. Visually (in game) it takes only 150-450 ms to rotate the pieces to the right orientation. (Kirsh and Maglio 1994)
It is also tools to think with. This is why we use computers.
"But what is it good for?"
CyberSM, 1993 (Masters degree project)
Teletactile communication system:
2 bodysuits,
2 computers and
the internet.
You can select different bodies to combine and touch. Based on scanned bodies they make a virtual simulation. When touching the virtual bodies you can touch the person on the other end of the line.
Interaction design and interactive art is on the same level, only differs in how the projects are sold.
Anything that are done is dependent on the development of the industry (hdd's, cpu's etc) But combining and using that one can create something really new.
Inter_Skin 1994 - Sensors for perceiving self touch. The sense of the touch is sent to your opponent. You touch yourself and the receiver can feel that. The body is the only input and output.
Wiring the body:
Digital sensuality; how to add new sensations amd experience, not substituting or replacing, but adding?
Sense:less - Henieonstad - Exhibition.
Inside the near egg shape the user wore goggles and headphones.
Spranget (The leap):
1 mill to realize. The cost went into the simulator hardware.
The system lets you prove that Per did not lie about jumping down the mountain on a raindeer.
Theese projects are wery hard in terms of time spent (and friends/family lost....)
Synasesthetics:
Combinations of several senses. Re routing senses.
He says that if anything can happen, it will be the death of interaction design. So a set of variable parameters is the way to go. But how you limit all those parameters without exposing that limit to the user is difficult, but essential to the success of the interactivity of the installation.
People to lookup:
McLuhan
J.J.Gibson Lee, 1978 - ("Perception itself is interactive")
He started in the early 90's with interactive installations. Then and now the pc is the base and metaphor for interacive work. Man-machine interfaces, and the dreams of them, goes a long way back. He works in the media art.
A definition of interaction: "A Dialogue".
Ståle says that everything you do triggers a response, even if it is lack of reaction, and that is a dialogue and therefor interaction.
"You feel you are the cause, not the effect" Negroponte, MIT.
Important differentiation from other art:
The interactive artowrk is not fulfilled unless the viewer is actually engaging the artwork.
Why interactivity:
If you play tetris in your mind only, it takes 700 - 1250 ms to rotate the tetris bricks. Visually (in game) it takes only 150-450 ms to rotate the pieces to the right orientation. (Kirsh and Maglio 1994)
It is also tools to think with. This is why we use computers.
"But what is it good for?"
CyberSM, 1993 (Masters degree project)
Teletactile communication system:
2 bodysuits,
2 computers and
the internet.
You can select different bodies to combine and touch. Based on scanned bodies they make a virtual simulation. When touching the virtual bodies you can touch the person on the other end of the line.
Interaction design and interactive art is on the same level, only differs in how the projects are sold.
Anything that are done is dependent on the development of the industry (hdd's, cpu's etc) But combining and using that one can create something really new.
Inter_Skin 1994 - Sensors for perceiving self touch. The sense of the touch is sent to your opponent. You touch yourself and the receiver can feel that. The body is the only input and output.
Wiring the body:
Digital sensuality; how to add new sensations amd experience, not substituting or replacing, but adding?
Sense:less - Henieonstad - Exhibition.
Inside the near egg shape the user wore goggles and headphones.
Spranget (The leap):
1 mill to realize. The cost went into the simulator hardware.
The system lets you prove that Per did not lie about jumping down the mountain on a raindeer.
Theese projects are wery hard in terms of time spent (and friends/family lost....)
Synasesthetics:
Combinations of several senses. Re routing senses.
How the experience is staged is very important to build and enhance the experience.
He says that if anything can happen, it will be the death of interaction design. So a set of variable parameters is the way to go. But how you limit all those parameters without exposing that limit to the user is difficult, but essential to the success of the interactivity of the installation.
People to lookup:
McLuhan
J.J.Gibson Lee, 1978 - ("Perception itself is interactive")
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