Twitter Bedroom Monitor

Uncategorized — claire_gustavson @ 6:51 am

BEDROOM OBSERVED – Twitter Account

 

A twitter account which uploads an image of my bedroom to flickr any time anyone tweets the word ‘bedroom.’ The link to my flickr stream is then tweeted at the person who’s tweet (‘bedroom’) sparked the process. The picture is labeled with the name of the twitter user and content of the tweet.

I am interested in the way that media such as twitter shift notions of personal space and privacy. I am also interested in the idea of taking a word, which exists initially in an autonomous zone (the context of the original tweet), and shifting the context to force an interaction between the otherwise disparate elements (myself, other people tweeting the same word, etc).

flickr

First Twitter Account (Claiirreeeee)

 

Responses, before the accounts were suspended:

I did attempt to alleviate some of people’s concern by declaring my intentions. I was hoping, after the initial suspension, that this would give me a broader window of time and maybe allow my system to continue to function.
Sadly, the opposite was true. The Claiirreeeee account ran the program for 2.5 hours before suspension. BedroomObserved was banned in 15 minutes.

claire’s ideas

Uncategorized — claire_gustavson @ 12:41 pm

Something that tweets my dogs thoughts based on certain brain outputs.

 

Tweeting my feelings (a predecided message) based on my own physical output (heartrate, brain activity, etc.)

 

Tweeting to people- (using @) based on certain key words which indicate sadness- cute animal pictures.

Looking Outwards

Uncategorized — claire_gustavson @ 9:41 pm

 

Auto Ink -Chris Eckert

 

 

 

 

 

 

 

Chris Eckert’s piece ‘Auto Ink’ uses a tattooing machine to explore the way that the truth (or religion) is randomly applied to people at birth. “Auto Ink is a three axis numerically controlled sculpture. Once the main switch is triggered, the operator is assigned a religion and its corresponding symbol is tattooed onto the persons arm. The operator does not have control over the assigned symbol. It is assigned either randomly or through divine intervention, depending on your personal beliefs.” (chriseckert.com)

Says Eckert “this public face of religion is always so certain, self-confident, even arrogant. That anyone could possibly know the “truth” when that truth is randomly assigned at birth is just funny.” I am not sure that this is entirely successful-I have a hard time believing that people would be willing to actually engage with the piece- however I do think that the concept and execution are compelling, and I am interested in the more physical manifestation of the code.

 

 

Sonic Body-Harry Neve, Thomas Michalak and Anna Orliac

 

 

 

 

 

 

 

“The Sonic Body is an audio-installation that uses interactive technology to create an orchestra of the human body. Developed as a collaboration between four interdisciplinary artists and a heart surgeon, the installation brings together art and medical-science to reveal the unheard sounds of the body.” (sonicbody.co.uk) They created a chamber full of sculptural forms which depict parts of the human internal structure. When the viewer interacts with the forms, a series of noises recorded within the human body are sparked and created a sound installation.

The goal of the piece is steeped in the medical tradition of examining the internal structure of the body. The noises that it makes are of interest to both artists and medical professionals. I found the sound aspect of this work very interesting, and while I was initially dubious about the technical execution of the sculpture, I actually really liked the physical forms and the interactions.

 

V-Fabien Zucco

 

 

 

 

 

Fabien Zucco’s installation uses 2 fans prepared programs on Arduino and cardboard. “‘V’ consists of both a generator based on the combinatorial partition of various structural elements music (rhythm, melody …) within the programmed models, as well as a delivery system made ​​up of fans of computers electronically modified. The play is as a hybrid, both material object that writing process open to the variability.” (fabienzucco.net)

For me, the visual simplicity of the fans on the boxes combined with the sound installation really makes this work strong. The repetition of simple, recognizable forms make a compelling abstraction.

 

 

Claire Gustavson- Arduino 1

Uncategorized — claire_gustavson @ 5:52 pm

 

 

 

 

Looking Outwards

Uncategorized — claire_gustavson @ 7:17 pm

Takehito Etani-  Masticator

 

 

 

 

 

 

 

The masticator is part of Takehito Etani’s (apparently a former CMU grad!) spiritual prosthetics series. “Masticator is a headgear with custommade electronics that gives audio visual feedback of chewing during meals. At each chew the device beeps and counts the chewing on the LED digital display. The number loops between 0 to 9 and does not add up.”(takehitoetani.com) He used a technology developed specifically for the project called the MAST-I system. It connects a button to the masseter muscle which then presses the button when the teeth bite.

For me, this piece is interesting in that it uses the body and the natural mechanisms of the body to interact with an engineered system. Also, I think it is very interesting astetically. However, I wish the artist provided more insight into why he chose to create this particular system- why mastication? Still, it is a beautiful form.

 

 

Stephanie Sandstrom- EPA Dress

 

 

 

 

 

 

In this piece, Stephanie Sandstrom created a dress which responds to the pollution in the air. When there is a higher air pollution content, the dress wrinkles. ” Stephanie Sandstrom’s EPA Dress is currently on view in the San Francisco Exploratorium responds to bad air – and that’s not all, it cleverly creates the wrinkles to prove it! Looking crumpled and tired may no longer be an indicator of a late night out, but rather an intelligent way of interpreting your surroundings as well as detecting lurking health hazards.” (inhabitat.com)

I found the simplicity of this piece nice, it is both a valid way of shifting a person’s experience of the space (their air) and a clear streamlined execution.

 

 

 

Mika Satomi and Hannah Perner-Wilson- Massage Me

 

 

 

 

 

 

 

In this collaborative piece made by Mika Satomi and Hannah Perner Wilson, a hacked Playstation Controller is used to create a vest which allows the players to control a video game. By giving a person wearing the vest a massage, the second player is able to interact with the screen. “Playing Massage me requires two people, one who wears the jacket to receive the massage and one who massages the person wearing the jacket. Soft flexible buttons are embedded in back of the jacket so that wearing it turns your back into a gamepad. All you need to do is to sit or lay down in front of a video game player and you will be able to enjoy a back massage while the game lasts.” (www.massage-me.at)

I was interested in this project due to the tactile quality of the interaction and the subverting of the notion of a video game which is usually entirely screen-based interaction between people to forcing a physical interaction.

 

 

Looking Outwards 3, Claire

LookingOutwards — claire_gustavson @ 1:27 am

Soak, Dye in Light, everyware

“’Soak, Dye in light.’ by everyware (2011) is an empty canvas but when you touch it, its elastic surface stretches and gets suffused with projected vivid colors mimicking fabric absorbing dye. Poking and rubbing with hands or resting their body on this spandex canvas allows visitors to soak this canvas in virtual dye and create own patterns.

Dying fabric is a time-honored tradition of humankind. Local materials such as herbs, flowers, rocks, juice of animals or shells have been used through the dying process. Especially in Korea, people have deep affection toward the unique colors and textures of fabric dyed with traditional materials. Now in the age of new media, we tried a whole new way of coloring fabrics with the essential materials of new media, ‘light’ and ‘interactivity’. Also, as a meta-creative interactive installation, ‘Soak’ can be expanded for creating garments with personalized patterns or textile productions using today’s digital fabric printing technologies.”

I found the integration of old-time aesthetics with new-age technology to be particularly relevant. While the progress of visual discourse is of course interesting, there is something very tactile about this work. The combination of contemporary practice with historical style is seamlessly fused in this work, and, to me, it is this balance that creates interest.

 

 

One Perfect Cube, Florian Jenett

 

 

 

 

 

In this piece, Florian Jenett has created a series of three clocks which “form a sign every 12 hours for exactly one second.” (florianjenett.de) It is a complex system which aligns all the clocks and allows the cube moment to occur. “To be able to try different symbols and texts to embed into “One Perfect Cube” a custom layout software was built in Processing. It allows one to freely place, scale and adjust time on a multitude of clocks. Every time a clock is added or changed the software would check for possible collisions between the clocks and would arrange the clocks on different yet as few as possible layers to allow the hands of two clocks to pass one another. A virtual master clock can be used to test the sculpture at different times.”

While this piece is quite simple aesthetically, I think it is an elegant concept and an interesting application of processing outside of purely web-based work.

 

One Hundred and Eight, Nils Völker

 

 

 

 

 

 

Controlled by an Arduino and Processing, Nils Völker created an installation with wall-mounted plastic bags which respond to the location of the viewer. Each of the bags is selectively inflated and deflated in turn by cooling fans, creating a fluid organic motion. When the viewer enters the space, the bags draw back and respond more tentatively to his or her motions.

The simplicity an elegance of this piece is perhaps the most interesting element. The way that something a simple as application of a fan can transform something like a plastic bag into an organic element is compelling. Furthermore, I have become more interested in real-world applications of processing and other methods of programming that we will learn in this class. I am not particularly interested in purely computer-based work, however the application of the skillset that we are learning into interactive installation feel like something that could potentially become a part of my practice.

 

 

 

 

 

Looking Outwards 2_Claire

LookingOutwards — claire_gustavson @ 7:37 pm

The  Sheep Market, Aaron Koblin

In this 2006 work, Aaron Koblin explores the communal potential of the internet. For 40 days, he collected drawings of sheep by random internet users; “the sheep market is a collection of 10,o00 sheep created by workers on Amazon’s Mechanical Turk. Each worker was paid $.02 *US) to ‘draw a sheep facing left.'”(thesheepmarket.com) While this piece doesn’t take itself too seriously, -they are just sheep, after all- the variety and mass of sheep is quite interesting. The variation and uniformity of people’s interpretation of a simple instruction highlights the way that we collectively understand ‘sheep’ while reasserting a sort of subtly individuality.

Average time4 spent drawing each sheep:105 seconds

Average Wage: $0.69/hr

Rejected Sheep: 662

Collection Rate: 11 sheep/hr

Unique IP addresses: 7599

 

 

Universe, Jonathan Harris

In this piece, Jonathan Harris has created a program which creates the ‘universe’ of any input. Through this work he questions “If we were to make new constellations today, what would they be? If we were to paint new pictures in the sky, what would they depict? These questions form the inspiration for Universe, which explores the notions of modern mythology and contemporary constellations. It is easy to think that the world today is devoid of mythology… In many ways, what we have today are personal mythologies, practiced by a world of individuals.” (universe.daylife.com/statement) What interests me most is the personal specificity of the project; you define your own universe. Universe allows for the creation of these personal mythologies, defining new constellations and locating and organizing the information that contributes to that universe. “Whereas news is often presented as a series of unrelated static events, Universe strives to show the broader narrative that contains those events.”(universe.daylife.com/statement)

 

Midimals, Georg Reil

 

Through Processing, Georg Reil created a water basin which is used as a multitouch table for music application. A fairly simple interface, the user touches the top of the water and corresponding lights and noise is played. Pulsing lights follow the trajectories of the lines that the user has traced. The duration of the sound is controlled by touch as well, the movement of the lights indicates something about the corresponding noise. Primarily, this is an aesthetic exploration; I find the elegance of the form to be very compelling. However, I am interested in the tactility. Does it function beyond the simple tapping on the surface of the water? What happens if the hand is plunged below the meniscus? Could a program be written which correlates sound to that movement as well?

 

 

 

 

 

 

Project 1X_13_ClaireGustavson

Uncategorized — claire_gustavson @ 6:06 pm

http://cmuems.com/2011/a/wp-content/uploads/2011/09/claires-code.pdf

Looking outwards_Claire

LookingOutwards — claire_gustavson @ 6:50 pm

 

 

Mud Tub, Tom Gerhardt

In this work, Tom Gerhardt stresses the organic quality of mud as a medium for user interaction.”By sloshing, squishing, pulling, punching, etc, in a tub of mud (yes, wet dirt), users control games, simulators, and expressive tools; interacting with a computer in a new, completely organic, way. Born out of a motivation to close the gap between our bodies and the digital world, the Mud Tub frees the traditional computer interaction model of it’s rigidity, allowing humans to use their highly developed sense of touch, and creative thinking skills in a more natural way.” (tomgerhardt.com) He claims that mud is inherently adaptable, that it’s tactical qualities force the user to relate more closely with the interface.

I think that there is something quite funny but relevant about the mashup of the digital world with something as analog as dirt. I feel that in a world that is increasingly focused on the virtual, it is pertinent to address the tactical as well.

 

Body Navigation, Ole Kristensen

In this piece, Ole Kristensen has created an interaction between the program and the body in the form of a dance performance/installation. “Two dancers and their digital reproduction are the scenographic frame of this humorous and emotional portrait of human relations. based on rules and structured in a game like manner, the installation makes way for a playful dialog between the man, woman and the digital “footprints” they leave behind.” (3xw.ole.kristensen.name) Processing was used to track the dancers so that their realtime movements directly correlated to the graphics generated.

While I am not sure if this particular piece was the most successful overall, I do think that the idea of a duet between the human and the computer is a powerful idea and that there are many other potential works that could develop in this vein.

 

Interactive Robot Painting Machine, Benjamin Grosser

Benjamin Grosser created an installation featuring (as titled) an Interactive Robot Painting Machine. It uses artificial intelligence  and listens to its surroundings to make artistic decisions; the machine creates its own body of work. “In the absence of someone or something else making sound in its presence, the machine, like many artists, listens to itself. But when it does hear others, it changes what it does just as we subtly (or not so subtly) are influenced by what others tell us.” (bengrosser.com)

Primarily, this is an exploration about intelligence. Grosser questions, “as these systems grow in complexity, or intelligence, how does that intelligence change what passes through them? Further, how does that intelligence evolve to make its own work for its own needs?(bengrosser.com) I am more interested in the motivation behind the work, and the process of making the individual paintings then the final paintings themselves. The conversation about the validity of critique that the interactivity of the robot brings up is especially interesting to me.

 

 

 

 

 

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