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Mark Make Mark
Mark Make Mark explores and celebrates the act of mark-making as a non-verbal form of communication across cultures and continents. The cylindrical projection system surrounds the participant's body in physical space, reflecting on the transportation of the body and gestural interaction into virtual space. This physical manifestation of a virtual space is realized, for both the participants and observers, as a tangible abstraction reflecting upon possible futures for expression, communication, and interaction in virtual non-representational spaces.
Mark Make Mark invites participants to interact using digital mark-making with a hand held controller tracked in 3d space. The projected image of the marks can be seen from both inside and out of the 3 meter diameter cylindrical projection screen. Participants nearby or at remote locations around the world can collaborate in the mark-making using a VR headset connected over the network. Every brush stroke is recorded with its time of creation and geographic location. When participants are not directly interacting with the controller, the system plays back the previously recorded marks, with a visual time-stamp and location indicating its origin.Recorded marks by both local and remote participants are played in sequence together, displaying a visual record of interactions between remotely connected sessions.
The gestural marks created are visually interpreted simultaneously as ink brush strokes flowing and spreading across a canvas, and as the creation of a Cartesian grid that spreads out from its intersection points as the cursor passes through space. As new marks pass through previously formed cells of the grid, a logic system fills cells with color based on neighboring cells, developing larger grid-based volumes of color. The result is an overlay of gestural marks freely flowing in space, juxtaposed against a grid-based composition informed by the gestural flow. Marks created as a straight line segment triggers a procedural generation of new marks that grow from points distributed along the length of the line. This creation of branching structures reinterprets the rigidity of straight line segments as organic and more complex visual forms. The combination of visual interpretations of marks and the surrounding cylindrical space for interaction prompts participant to draw in free form gestural motions, using the entire body to navigate and fill the virtual space surrounding them.
Exhibited at
8th Beijing International Art Biennale at the National Art Museum of China, 2019
Of Land and Dreams
A collaborative mapping project engaging land and community-based artistic practices, with a focus on the land, water and people of the Dakotas.
The Dakotas have become the focus and symbol of contemporary debate about land, water and natural resources. How can this conversation be carried forward with an ear to the questions and issues as they arise from the land itself? What dreams might be revealed if we listen to the land?
Of Land and Dreams invites you to participate in the collaboration by contributing images, text, sounds, video - anything that expresses a deeply felt connection to the land in the Dakotas and beyond. Contributions become part of a collaborative mapping in the form of a large digital projection in the Johnson Gallery and online. Each tile in the mapping will hold an image, text, or media element contributed to the project - a tapestry to honor and bear witness to an extraordinary land and people.
The free mobile app allows you to post media and geolocate it to your location, as well as browse contributions made by other participants. Alternatively, you can post media to our FB page and it will become part of the collaborative map.
Collaboration between Alan Price and Teri Rueb
Of Land and Dreams collective:
Special thanks to Thomas Bachand for pipeline mappings, Crystal Harper and Jordan Anderson for creative focus and community outreach, Lara Nelson and Gordon Tree Top for guiding the process from the start, Greg Blair for curatorial vision and Sara Christensen Blair for graphic design. Gratia Brown, Gayantha Wickramarathne, Ioana Hojda, Eleni Aman, Donovan Kopetsky, Justice Swift-Red Hawk, Kirsten Krueger, Nicolas Harrison, Nik Aberle, Susie Ewinger, Jen Jewett Martel, Alicia Dohn, Terry Means, Douglas E. Taylor, Kristine Hill, Cindy Kirschman, Rocky Eaton, Samantha Walder, Brooke Whitney, Carol Diaz, JL Menzel, Cricket Cake, Dave Swain, Dawn Menning
Chief curator:
Greg Blair, Johnson Art Gallery, Northern State University
Sponsors:
Northern State University
Grimpant
Grimpant was created as a collaboration between Alan Price and Teri Rueb commissioned by La Panacée Centre de Culture Contemporaine in Montpellier, France. The work was created between October 2012 and June 2013, with a two-part residency in Montpellier during the months of January and June 2013.
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The gallery installation consists of a high resolution panoramic projection, 35 feet wide by 7 feet high, displaying real time rendering of the origins and growth of the city, incorporating datasets of city plantings and traffic flow, along with tracings of the movement of participants throughout the city using a mobile app designed by the artists. The dynamic map repeats its cycle every twenty-four minutes, representing a 24-hour day in which the contemporary movement of inhabitants of the city takes course. This twenty-four minute cycle simultaneously plays out a timeline of over 500 years, as the oldest recorded tree plantings evolve alongside agricultural change and developent of transportation and technology.
A camera mounted overhead in the gallery tracks the movement of visitors in the space, which is translated into movement of the circles in the animation, each acting as magnifying lenses to reveal detail and alternate visual interpretations of the motion paths and landscape beneath. Visitors to the installation can also use their own smartphone to connect to a browser-based control interface for direct manipulation of the moving lenses.
Inspired by the writings of Francis Hallé as well as the urban history and rhythms of Montpellier, Grimpant seeks to reveal the city as an urban ecology of human and botanical entanglements.
The project connects the spaces of La Panacée with the spaces of the city.
In the gallery the rhythms of Montpellier become visible in a dynamic projection that combines human movement with the movement of botanical, hydrological and transportation networks. The image, a data driven animation, incorporates contemporary and historic data, maps and archival records.
In the city, an accompanying mobile app allows participants to track their movement and contribute these tracings to the overall projection. They may also use the app to listen to and submit recordings about significant botanical encounters they may have as they explore the city with mobile app in hand; these encounters are represented in the projection at the gallery as seeds, from which grow vines that sprout and reveal sound when floating magnifying lenses pass over them.
The project invites participants to engage Montpellier’s long and continued history as a city of unique cultural and biological diversity.
Mobile app development: Nima Vakili
Additional Sound Sample design: Adam McFillin
Commissioned by La Panacée Centre de Culture Contemporaine in Montpellier, France. 2012-2013
ConstructAR
This mobile app is a prototype resulting from research in enabling collaborative design and decision-making in augmented visual computing environments. In its current stage, it serves as a proof of concept for exploring collaborative interaction with building blocks and drawing tools.
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The project goals include the use of two or more mobile devices with integrated cameras. Using fiducial markers for the vision system to track, a computer graphics overlay can be rendered that synchronizes with the surface geometry of the room or environment in which the users are interacting.
Users of the mobile app can collectively build a model on and above the table top space. Each mobile app is a client connected to a server application running on a laptop. In addition to displaying the models being constructed in real time, the server saves models at user-selected intervals and can retrieve the stored models for later use or display. (See the slideshow below of models saved during a four-hour public event on Saturday, Sept 20, 2014.)
Augmented reality applications have appeared in recent years as a novel means for information visualization or entertainment. Some smartphone applications have utilized the device's capabilities to demonstrate AR, but most examples add minimal usefulness to the existing application. Although some simple forms of table-top planning tools have been developed, this proposal incorporates the addition of networked multi-user interaction, with sculpting and creation of virtual geometry as an authoring tool set.
The project proposes to leverage this augmented reality system for the development of a unique authoring tool in which multiple users interact with one another in a process of creating and manipulating virtual objects that appear situated in the physical space. Users will be able to sculpt forms and draw diagrams that appear attached to the physical walls or furnishings, with the ability to move through and around the virtual objects located in the space while simultaneously observing each others actions. Users may be in the same physical space or remote locations. Applications can include scientific visualization, product and architectural design, performance choreography, and expressive communication through shared creation of virtual sculpture.
Project funded by OSU College of Arts and Sciences Creative Research Activities Grant.
As You Are Standing Here
explores
The gestural marks created are visually interpreted simultaneously as ink brush strokes flowing and spreading across a canvas, and as the creation of a cartesian grid that spreads out from its
Exhibited at
8th Beijing International Art Biennale at the National Art Museum of China, 2019
Listening Glass
Listening Glass was presented as part of the conference, Hearing Landscape Critically, Harvard University, January 14-16, 2015. Created in collaboration with artist Teri Rueb.
This interactive sound mapping tool acts as a probe for conference participants to use as they reflect on topics and themes raised throughout the conference.
In counterpart to a looking glass, these reflections resonate as audio sources embedded in windows at specific sites where they act as a sounding board for discourse contributed by participants using the mobile web app.
Specific windows or 'listening glasses' serve as gathering points for conversation encouraging participants to generate dialogue and exchange in more focused ways.
The app can be used by participants to explore the spaces of the symposium, recording their own thoughts and listening to other contributor's recordings placed around campus, acting as geo-located audio traces through which the broader campus environment is perceived.
Original audio essays by John R. Stilgoe, Sever Hall and Carpenter Center (recorded by Ernst Karel).
Acknowledgements: The artists thank the conference organizers Michael Uy, Daniel Grimley, Jonathan Hicks, Carina Venter.
Empire of Sleep
is an interactive virtual environment installation viewed in stereoscopic 3D on a large rear projection screen. Participants interact using a hand-held camera to take photographs of the scene, triggering the virtual camera to move to new points of interest. A group of surreal looking figures clothed in early 20th century bathing suits are scattered about on several isolated sand bars somewhere on an open and calm body of water. They first appear as if there for recreation, but there is a pensive mood, as if some unusual event is taking place unknown to the viewer.
A new mode of interaction now uses a modified Holga camera. Viewers take snapshots of the bathers. A computer camera behind the projection screen detects the region being photographed and moves the virtual camera to the new position. Closing one eye to look through the viewfinder, then opening both eyes with the 3D glasses enhances the sterescopic effect and the sensation of being in the scene, in a voyeuristic kind of way.
Electronics Alive VI, University of Tampa, Jan 21-Feb 24, 2011
SIGGRAPH Art Gallery: Touchpoint: Haptic Exchange Between Digits, July 2010
Urban Arts Space, Columbus Ohio, July 6 - Oct 2, 2010
Squeaky Wheel, Buffalo New York, November 9, 2009
Ars Electronica, Linz Austria, January 2, 2009 - permanent exhibit
The Cone Sisters’ Marlborough Apartments
This project meticulously reconstructs the early 20th century apartments
as they were and gives a glimpse of how the sisters incorporated their
collection into their everyday life. This virtual rendition of these original
apartments allows viewers to “walk-through” the collection as the Cone
sisters did daily and certain objects such as a cabinet in Claribel’s Print
Room, a grouping of travel books, and letters from Matisse may be opened
and their contents revealed.
Etta and Claribel Cone were two sisters, who over a period of 30 years, amassed one of the world’s most acclaimed collections of early 20th century French art. This “Cone Collection,” with its incomparable holdings of work by Henri Matisse and major examples of Picasso, Cezanne, van Gogh, and Renoir, was donated to The Baltimore Museum of Art (BMA) along with most of the sisters’ possessions and furniture in 1950. During their lives, however, the Cone sisters lived with, and displayed their collection in their apartments. They were passionate about collecting, and their apartments were full of items.
Reconstructing the Cone sisters’ apartments was difficult, because there are few remaining records of the original building. After locating floor plans of the original apartments, the Imaging Research Center (IRC) started the complex process of creating a computer-generated, real-time, 3-D reconstruction of the apartments, building wall by wall and room by room. Using measurements taken of the existing building, the IRC was able to accurately place 34 of the 37 existing photographs from the 1930s and 40s that document the Cone sisters’ apartments. Each of 600+ objects and artwork has been painstakingly modeled and textured to appear threedimensional in the virtual home of the Cone sisters.
Spatialized audio is also used to represent the apartments. In one room where the sisters hung a group of Matisse drawings in tribute to their friendship with Gertrude Stein, an excerpt of Stein’s “cubist” essay of the two sisters, entitled “Two Women” is heard.
The Virtual Tour of the Cone Sisters’ Apartments is presented at the Baltimore Museum of Art as a real time interactive simulation. Viewers navigate through the corridors and rooms of the Cone Sisters’ apartments, immersed in the environment in which the sisters exhibited their extensive collection of then contemporary masterworks. Two versions were developed simultaneously. First, a touch plasma screen version was developed for permanent display in the Cone Wing of the Museum. Viewers explore and move about the apartments by intuitively touching objects, doors, and artworks. In some instances, certain pieces of furniture can be opened and their contents explored. An interactive floorplan of the building is available as a means to quickly move to a specific room, and a 3D view of early 20th century Baltimore helps viewers situate the model with time and place.
A second version was developed to give viewers an immersive experience and was installed at the Museum for two weeks in April of 2001. Driven by multiple CPUs networked together, the apartments are presented on a large rear-screen multiple projection screen in polarized passive stereoscopic vision. Gallery visitors navigated through the apartments by using a joystick fashioned after a door knob from the original apartments.
Project Title: Virtual Tour of the Cone Sisters’ Apartment
Project Directors: Alan Price, Dan Bailey
Scene Layout, Modeling and Texturing: Brinton Jaecks
Scene Layout / Audio: Christian Valiente
Lead Modeling and Checking: Ethan Berner
Archival Research: Mina Cheon,
Digital Photography Coordinator: Meg Flynn,
Image and Data Management: Sala Wong,
Reading of “Two Women”: Wendy Salkind
Documentation: Christina Hung
Computer Systems Assistance: Tim Craig
Modeling and Texturing: Zena Al-Dellmey, Ryan Craun, Carl Gehrman, Charles
Hudson, Adam Levine, Mark Levy, Jason Lubawski, Laurie Lutz, Dan Marsh, Christos
Palios, Shawn Stringfield, Shelley Taylor, Gideon Webster, Chris Wood
The Baltimore Museum of Art Project Directors:
Jay Fisher, Allison Perkins, Katy Rothkopf
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