Events

Investigation of spatial learning: 3D Modeling Theory applied to Real-time Systems

Sonia Cillari, a digital architect currently based in the Netherlands, presented her electronic environments and discussed theoretical investigations into human perception, non-linear movement and participatory architecture. At the same time, FoAM influenced the sensory perception of the lecture, by subtly stimulating the visitors' taste buds.

A lecture on Media Choreography and responsive architectures at the Topological Media Lab in Atlanta and Montreal.

Learning what it means to make a dynamic and immersive responsive environment was the goal that this workshop attempted to achieve. The workshop took place in a lab setting, working with small groups of artists. The participants learned how to use and modify FoAM's responsive media systems (built with Max/MSP and PD), thereby developing their own responsive objects or environments. Particular attention was devoted to the translation between real-world input (acquired through sensing technologies) and the audiovisual media output.

Learning what it means to make a dynamic and immersive responsive environment was the goal that this workshop attempted to achieve. The workshop took place in a lab setting, working with small groups of artists. The participants learned how to use and modify FoAM's responsive media systems (built with Max/MSP and PD), thereby developing their own responsive objects or environments. Particular attention was devoted to the translation between real-world input (acquired through sensing technologies) and the audiovisual media output.

Learning what it means to make a dynamic and immersive responsive environment was the goal that this workshop attempted to achieve. The workshop took place in a lab setting, working with small groups of artists. The participants learned how to use and modify FoAM's responsive media systems (built with Max/MSP and PD), thereby developing their own responsive objects or environments. Particular attention was devoted to the translation between real-world input (acquired through sensing technologies) and the audiovisual media output.

Learning what it means to make a dynamic and immersive responsive environment was the goal that this workshop attempted to achieve. The workshop took place in a lab setting, working with small groups of artists. The participants learned how to use and modify FoAM's responsive media systems (built with Max/MSP and PD), thereby developing their own responsive objects or environments. Particular attention was devoted to the translation between real-world input (acquired through sensing technologies) and the audiovisual media output.

Learning what it means to make a dynamic and immersive responsive environment was the goal that this workshop attempted to achieve. The workshop took place in a lab setting, working with small groups of artists. The participants learned how to use and modify FoAM's responsive media systems (built with Max/MSP and PD), thereby developing their own responsive objects or environments. Particular attention was devoted to the translation between real-world input (acquired through sensing technologies) and the audiovisual media output.

Learning what it means to make a dynamic and immersive responsive environment was the goal that this workshop attempted to achieve. The workshop took place in a lab setting, working with small groups of artists. The participants learned how to use and modify FoAM's responsive media systems (built with Max/MSP and PD), thereby developing their own responsive objects or environments. Particular attention was devoted to the translation between real-world input (acquired through sensing technologies) and the audiovisual media output.

Learning what it means to make a dynamic and immersive responsive environment was the goal that this workshop attempted to achieve. The workshop took place in a lab setting, working with small groups of artists. The participants learned how to use and modify FoAM's responsive media systems (built with Max/MSP and PD), thereby developing their own responsive objects or environments. Particular attention was devoted to the translation between real-world input (acquired through sensing technologies) and the audiovisual media output.

Joost Rekveld (1970) has been making abstract films and kinetic installations since 1991, originally inspired by the idea of a music for the eye. Through his invention of various animation techniques he became interested in the prehistory of moving image media, especially the technological history of perspective, optics, motion capture and scanning. These themes became the basis for a number of films and installations. His recent work is moving away from film towards more architectural and theatrical forms of articulated light.