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Digital Interactive Installations: Inhaltsangabe:Abstract:The arts have always been influenced by new evolving technologies. A certain aesthetic turning point was brought about by the silent ¿algorithmic revolution¿ we have not hardly noticed, as the curators of the Centre of Art and Media (ZKM) in Karlsruhe, Germany, propose with their current exhibition. At present, barely any part of social life is not influenced by these decision-making processes (algorithms) habitually executed by our computer devices.The radical changes this revolution causes for all of us are incalculable. However, we should not forget that algorithms, a well-defined set of technical instructions with a finite number of rules designed to solve a specific problem, have been incorporated as a creative instrument in the work of Albrecht D¿urer and other artists since the late middle ages. The strict application of algorithms in art ultimately led to works explicitly integrating the recipient into the creative process, eventually culminating in the new media arts. Today¿s art practices transform observers into users.Emerging with the changing paradigm is a new type of creator of cultural artefacts. This has been accompanied now for more than two decades by a fruitful collaborative atmosphere between the formerly strictly separated traditions of art and science. More often than not artists like such as the pioneers Christa Sommerer, Laurent Mignonneau, and Jeffrey Shaw are at the same time scientific researchers found in institutional laboratories as heads of larger teams which include programmers, engineers and scientists of various different disciplines. They develop new hard- and software technologies themselves. All in all this development places not only an inestimable number of creative tools in the hands of the artist, but a highly dynamic and hybrid field that forms new areas like telepresence art, biocybernetic art, robotics, Net art, space art, experiments in nanotechnology, artificial or A-life art, creating virtual agents and avatars, datamining, mixed realities and database- supported art, which all explore the technologies of tomorrow.Not long ago, artists sought to explore software coding as the foundation of their expression and as a ¿material¿ with specific properties. Like Max/MSP and others, new alternative programming environments based on a graphical interface concept facilitate bridging the gap between art and technology, and bring the artists back more control over the creative process. In particular, Max¿s main strengths lie in a more intuitive programming approach, its real-time multimedia capabilities and the insertion of interactivity. However, not only artists want to make use of interactivity. Designers and engineers increasingly will also be confronted in their daily practice with immersive interactive media environments due to the wishes of the entertainment market and development of information technologies.In regard to these ongoing trends in our media culture, the reason for this thesis is the need for research into the specific capabilities of the graphical programming language Max/MSP, and its extension for image processing called Jitter, as a programming environment for multimedia-based digital interactive installations. The paper consists of two parts: The first part deals with the question what the so-called Cyber Arts are, primarily focusing on interactive installations.The present thesis describes the recent development of digital interactive installation art and the usage of the graphical programming environment Max/MSP/Jitter. In the beginning, a brief overview of the present scientific discourse on the key issues interactivity and interface design are given. Furthermore, it portrays exceptional examples of digital art within the past five years, focusing on the main themes of digital installations and software art. This is followed by a description of Max¿s main features and programming methods, its extensibility with the most important control devices and micro controllers currently available on the market, as well as differences to the main alternative graphical programming environments.The second part of this thesis documents the whole process of creating an interactive installation using Max/MSP and its graphics extension Jitter. This includes a description of the creative concept, the different parts of the soft- and hardware as well as some of their important key techniques. Finally, a summary of user feedback and a personal reflection on the project is given.Table of Contents:1.Introduction1I.Cyber Arts42.Recent Development of Digital Interactive Art52.1Interactivity52.2Interfaces72.3Categories of Interaction in Digital Art82.4Digital Interactive Art102.4.1Main Themes in Digital Interactive Art103.Max/MSP/Jitter183.1Max History183.2Main Technical Aspects203.2.1Programming Concept203.2.2Max Objects213.2.3Messages223.2.4Programming Rules233.2.5Data Types233.2.6Programming JavaScript Externals243.2.7Programming Java Externals243.2.8Networking with OpenSound Control253.2.9Documentation263.3Hardware Interfaces for Interactive Installations273.3.1Special Use of conventional Devices273.3.2Hardware Interfaces for Transducers293.4Alternative Programming Concepts313.4.1PD (Pure Data)313.4.2vvvv323.4.3Isadora33II.Project Documentation344.Project: Make a change354.1Project Introduction364.2Main Concept404.2.1Concept of the Software Development414.2.2Video Recorder414.2.3Main Patch424.2.4Sensing the Microphone444.2.5The Synalizer454.2.6The Cellular Automaton484.2.7Automatical Recurring Movie Playback484.2.8Programming Style504.2.9Hardware Requirements514.3Experiences534.3.1User Feedback534.3.2Personal Reflection545.Conclusion and Future Work55A.Figures58A.1Patches60A.2Sketches64A.3Bibliographie66Inhaltsverzeichnis:Table of Contents:1.Introduction1I.Cyber Arts42.Recent Development of Digital Interactive Art52.1Interactivity52.2Interfaces72.3Categories of Interaction in Digital Art82.4Digital Interactive Art102.4.1Main Themes in Digital Interactive Art103.Max/MSP/Jitter183.1Max History183.2Main Technical Aspects203.2.1Programming Concept203.2.2Max Objects213.2.3Messages223.2.4Programming Rules233.2.5Data Types233.2.6Programming JavaScript Externals243.2.7Programming Java Externals243.2.8Networking with OpenSound Control253.2.9Documentation263.3Hardware Interfaces for Interactive Installations273.3.1Special Use of conventional Devices273.3.2Hardware Interfaces for Transducers293.4Alternative Programming Concepts313.4.1PD (Pure Data)313.4.2vvvv323.4.3Isadora33II.Project Documentation344.Project: Make a change354.1Project Introduction364.2Main Concept404.2.1Concept of the Software Development414.2.2Video Recorder414.2.3Main Patch424.2.4Sensing the Microphone444.2.5The Synalizer454.2.6The Cellular Automaton484.2.7Automatical Recurring Movie Playback484.2.8Programming Style504.2.9Hardware Requirements514.3Experiences534.3.1User Feedback534.3.2Personal Reflection545.Conclusion and Future Work55A.Figures58A.1Patches60A.2Sketches64A.3Bibliographie66 Textprobe:Text Sample:Chapter 2.4., Digital Interactive Art:The term ¿Digital Art¿, similar to interactivity, has a rather watery outline. It stands for a broad range of artistic practices from interactive installations to installations with network components to software or purely Internet-based art. Therefore, an attempt to categorize interaction in this hybrid field must again integrate certain viewpoints. In this thesis we want to focus on new developments of interactive installations, as one important part of contemporary digital art.We follow Christine Paul, Curator of New Media Arts Whitney Museum (New York), who highlights today¿s main themes or narratives as: ¿telepresence, artificial life and intelligence, mapping and data visualisation, as well as multi-user- environments incorporating visuals and sounds.¿ This year¿s Prix Ars Electronica jury statement22 confirms Paul¿s view about interactive installations: Although we agree that the interactive arts are still evolving into a huge range of applications, we would like to point out three important streams.-Firstly, they are heading deeper into basic research related to natural and artificial living systems.-Secondly, they are focused on participatory local and global communication systems and their social and political applications.-Thirdly, the interactive arts are increasingly engaged with the critical approach concerning the ideological pattern of programming and the relationship between code, language, and behavior. In this context, the interactive arts have also reconnected to their origins in performing arts and environments.Chapter 2.4.1., Main Themes in Digital Interactive Art: The following selection consists of recent examples of outstanding art pieces, giving at least an impression of the multiple manifestations of this highly dynamic emerging art culture.Telepresence: ACCESS is a permanent installation at the ZKM Museum in Karlsruhe, Germany, by French artist Marie Sester, currently based in New York. She first studied architecture in Strasbourg and after her master¿s degree she started focusing on how architecture and ideology affect our understanding of the world. As a public art installation it combines surveillance technology, a website, and an especially designed combination of robotic spotlight with an accoustic beam system.26 Anonymous individuals entering the installation space can be tracked by users over an internet connection through a Flash interface showing a real-time video of the installation space, and can then trigger a special tracking software for automatically following these individuals with a spotlight.Additionally, an acoustic beam projects sound with an directional audio spot that only the targets are able to hear clearly. ¿The tracked individuals do not know who is tracking them or why they are being tracked, nor are they aware of being the only persons among the public hearing the sound. The web users do not know that their actions trigger sound towards the target.The project combines real-time video analysis and motion tracking algorithms using Intel¿s Computer Vision Libraries (OpenCV), and a custom video tracking application together with Microsoft¿s DirectShow API. The ACCESS client application combines two streams and displays them in the browser using a flash MX plugin.28 One stream contains the live video feed from a Flash MX Communication Server also handling the queuing of passive vs. active clients.The second stream contains control and feedback data from the tracking application. Altogether, ACCESS¿ web application provides an almost real-time control and feedback mechanism together with an acceptable streaming video quality the spotlight is controlled via serial communication employing the DMX protocol usually used for stage lighting.In terms of interactivity here we can see how internet technologies are applied to enhance the user¿s awareness of mediated environments (Telepresence) moreover, it creates a certain kind of communicative situation by giving people the possibility to alter other¿s nearer surrounding area. ACCESS can be described as an interactive system that lets participants influence which individual should be tracked by the spot over great distances, while the system with the surveillance camera gives an immediate visual feedback which effects the lighting and audio projection causes. Its recursive structure also offers a cognitive approach when the user is intervening into the work process.Hypermedia: CAVE The ARSBOX from Ars Electronica Futurelab in Linz, Austria, is an immersive virtual reality environment based on several standard Linux-PCs connected together without loosing performance or other advantages of commercially available million dollar high end systems. For the so-called CAVE, projectors are directed onto four to six walls of a room-sized cube. The walls are made of rear-projection screens and in order to achieve active stereo effects two video projectors with polarized lens have to be used per display the audience wear stereo glasses to get the immersive impression. In addition, Palmist, a special hand-held device equipped with tracker software allows the user to interact with the content on screen. Futurelab¿s CAVE system is an example of a very strong virtual synergetic 3D experience, sometimes even causing bodily effects like dizziness or head aches. It changes its appearance exactly according to the position and movements of the user¿s head, or according to interaction through the Palmist interface.Therefore, we have a highly reactive system with real-time reaction to the user¿s behaviour. The content is a custom-designed environment, hence can¿t be altered by the user, and ranges from artistic projects over architectural visualisations to industrial applications.Augmented Reality In the year 2002, Sound artist Gerhard Eckel and his partners in Berlin presented their project Grenzenlose Freiheit, which is an interactive sound installation that aims to be a performance, a musical instrument and a game at the same time. Up to three wireless PDA¿s with simple user interface together control the system in real-time. The floor plan of the installation space is programmed onto the handheld 35 on display the visitor gets information about the position of 24 speakers inside three rooms, chooses where to put the ¿sound item¿ and additionally can influence its characteristics. A wireless network between the PDA¿s and a host computer enables free mobility of the audience, who are put in charge of creating collectively their own desired sound atmosphere through exploring the possibilities and their spatial configuration with the control devices. Englisch, Ebook.

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Inhaltsangabe:Abstract: The arts have always been influenced by new evolving technologies. A certain aesthetic turning point was brought about by the silent algorithmic revolution we have not hardly noticed, as the curators of the Centre of Art and Media (ZKM) in Karlsruhe, Germany, propose with their current exhibition. At present, barely ... Inhaltsangabe:Abstract: The arts have always been influenced by new evolving technologies. A certain aesthetic turning point was brought about by the silent algorithmic revolution we have not hardly noticed, as the curators of the Centre of Art and Media (ZKM) in Karlsruhe, Germany, propose with their current exhibition. At present, barely any part of social life is not influenced by these decision-making processes (algorithms) habitually executed by our computer devices. The radical changes this revolution causes for all of us are incalculable. However, we should not forget that algorithms, a well-defined set of technical instructions with a finite number of rules designed to solve a specific problem, have been incorporated as a creative instrument in the work of Albrecht D¨urer and other artists since the late middle ages. The strict application of algorithms in art ultimately led to works explicitly integrating the recipient into the creative process, eventually culminating in the new media arts. Todays art practices transform observers into users. Emerging with the changing paradigm is a new type of creator of cultural artefacts. This has been accompanied now for more than two decades by a fruitful collaborative atmosphere between the formerly strictly separated traditions of art and science. More often than not artists like such as the pioneers Christa Sommerer, Laurent Mignonneau, and Jeffrey Shaw are at the same time scientific researchers found in institutional laboratories as heads of larger teams which include programmers, engineers and scientists of various different disciplines. They develop new hard- and software technologies themselves. All in all this development places not only an inestimable number of creative tools in the hands of the artist, but a highly dynamic and hybrid field that forms new areas like telepresence art, biocybernetic art, robotics, Net art, space art, experiments in nanotechnology, artificial or A-life art, creating virtual agents and avatars, datamining, mixed realities and database- supported art, which all explore the technologies of tomorrow. Not long ago, artists sought to explore software coding as the foundation of their expression and as a material with specific properties. Like Max/MSP and others, new alternative programming environments based on a graphical interface concept facilitate bridging the gap between art and technology, and bring the artists back more control over the creative [], PDF, 20.04.2007.

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Inhaltsangabe:Abstract: The arts have always been influenced by new evolving technologies. A certain aesthetic turning point was brought about by the silent algorithmic revolution we have not hardly noticed, as the curators of the Centre of Art and Media (ZKM) in Karlsruhe, Germany, propose with their current exhibition. At present, barely ... Inhaltsangabe:Abstract: The arts have always been influenced by new evolving technologies. A certain aesthetic turning point was brought about by the silent ¿algorithmic revolution¿ we have not hardly noticed, as the curators of the Centre of Art and Media (ZKM) in Karlsruhe, Germany, propose with their current exhibition. At present, barely any part of social life is not influenced by these decision-making processes (algorithms) habitually executed by our computer devices. The radical changes this revolution causes for all of us are incalculable. However, we should not forget that algorithms, a well-defined set of technical instructions with a finite number of rules designed to solve a specific problem, have been incorporated as a creative instrument in the work of Albrecht D¿urer and other artists since the late middle ages. The strict application of algorithms in art ultimately led to works explicitly integrating the recipient into the creative process, eventually culminating in the new media arts. Today¿s art practices transform observers into users. Emerging with the changing paradigm is a new type of creator of cultural artefacts. This has been accompanied now for more than two decades by a fruitful collaborative atmosphere between the formerly strictly separated traditions of art and science. More often than not artists like such as the pioneers Christa Sommerer, Laurent Mignonneau, and Jeffrey Shaw are at the same time scientific researchers found in institutional laboratories as heads of larger teams which include programmers, engineers and scientists of various different disciplines. They develop new hard- and software technologies themselves. All in all this development places not only an inestimable number of creative tools in the hands of the artist, but a highly dynamic and hybrid field that forms new areas like telepresence art, biocybernetic art, robotics, Net art, space art, experiments in nanotechnology, artificial or A-life art, creating virtual agents and avatars, datamining, mixed realities and database- supported art, which all explore the technologies of tomorrow. Not long ago, artists sought to explore software coding as the foundation of their expression and as a ¿material¿ with specific properties. Like Max/MSP and others, new alternative programming environments based on a graphical interface concept facilitate bridging the gap between art and technology, and bring the artists back more control over the creative process. In particular, Max¿s main strengths lie in a more intuitive programming approach, its real-time multimedia capabilities and the insertion of interactivity. However, not only artists want to make use of interactivity. Designers and engineers increasingly will also be confronted in their daily practice with immersive interactive media environments due to the wishes of the entertainment market and development of information technologies. In regard to these ongoing trends in our media culture, the reason for this thesis is the need for research into the specific capabilities of the graphical programming language Max/MSP, and its extension for image processing called Jitter, as a programming environment for multimedia-based digital interactive installations. The paper consists of two parts: The first part deals with the question what the so-called Cyber Arts are, primarily focusing on interactive installations. The present thesis describes the recent development of digital interactive installation art and the usage of the graphical programming environment Max/MSP/Jitter. In the beginning, a brief overview of the present scientific discourse on the key issues interactivity and interface design are given. Furthermore, it portrays exceptional examples of digital art within the past five years, focusing on the main themes of digital installations and software art. This is followed by a description of Max¿s main features and programming methods, its extensibility with the most important control devices and micro controllers currently available on the market, as well as differences to the main alternative graphical programming environments. The second part of this thesis documents the whole process of creating an interactive installation using Max/MSP and its graphics, PDF, 20.04.2007.

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Diplomarbeit aus dem Jahr 2006 im Fachbereich Medien / Kommunikation - Technische Kommunikation, Note: 1,3, Fachhochschule Köln (Medientechnik, Medien- und Phototechnik), Sprache: Englisch, Inhaltsangabe:Abstract:The arts have always been influenced by new evolving technologies. A certain aesthetic turning point was brought about by the silent `algorithmic revolution´ we have not hardly noticed, as the curators of the Centre of Art and Media (ZKM) in Karlsruhe, Germany, propose with their current exhibition. At present, barely any part of social life is not influenced by these decision-making processes (algorithms) habitually executed by our computer devices.The radical changes this revolution causes for all of us are incalculable. However, we should not forget that algorithms, a well-defined set of technical instructions with a finite number of rules designed to solve a specific problem, have been incorporated as a creative instrument in the work of Albrecht D¨urer and other artists since the late middle ages. The strict application of algorithms in art ultimately led to works explicitly integrating the recipient into the creative process, eventually culminating in the new media arts. Today´s art practices transform observers into users.Emerging with the changing paradigm is a new type of creator of cultural artefacts. This has been accompanied now for more than two decades by a fruitful collaborative atmosphere between the formerly strictly separated traditions of art and science. More often than not artists like such as the pioneers Christa Sommerer, Laurent Mignonneau, and Jeffrey Shaw are at the same time scientific researchers found in institutional laboratories as heads of larger teams which include programmers, engineers and scientists of various different disciplines. They develop new hard- and software technologies themselves. All in all this development places not only an inestimable number of creative tools in the hands of the artist, but a highly dynamic and hybrid field that forms new areas like telepresence art, biocybernetic art, robotics, Net art, space art, experiments in nanotechnology, artificial or A-life art, creating virtual agents and avatars, datamining, mixed realities and database- supported art, which all explore the technologies of tomorrow.Not long ago, artists sought to explore software coding as the foundation of their expression and as a `material´ with specific properties. Like Max/MSP and others, new alternative programming environments based on a graphical interface concept facilitate bridging the gap between art and technology, and bring the artists back more control over the creative process. In particular, Max´s main strengths lie in a more intuitive programming approach, its real-time multimedia capabilities and the insertion of interactivity. However, not only artists want to make use of interactivity. Designers and engineers increasingly will also be confronted in their daily practice with immersive interactive media environments due to the wishes of the entertainment market and development of information technologies.In regard to these ongoing trends in our media culture, the reason for this thesis is the need for research into the specific capabilities of the graphical programming language Max/MSP, and its extension for image processing called Jitter, as a programming environment for multimedia-based digital interactive installations. The paper consists of two parts: The first part deals with the question what the so-called Cyber Arts are, primarily focusing on interactive installations.The present thesis describes the recent development of digital interactive installation art and the usage of the graphical programming environment Max/MSP/Jitter. In the beginning, a brief overview of the present scientific discourse on the key issues interactivity and interface design are given. Furthermore, it portrays exceptional examples of digital art within the past five years, focusing on the main themes of digital installations and software art. This is followed by a description of Max´s main features and programming methods, its extensibility with the most important control devices and micro controllers currently available on the.

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Diplomarbeit aus dem Jahr 2006 im Fachbereich Medien / Kommunikation - Technische Kommunikation, Note: 1,3, Fachhochschule Köln (Medientechnik, Medien- und Phototechnik), Sprache: Englisch, Inhaltsangabe:Abstract:The arts have always been influenced by new evolving technologies. A certain aesthetic turning point was brought about by the silent `algorithmic revolution´ we have not hardly noticed, as the curators of the Centre of Art and Media (ZKM) in Karlsruhe, Germany, propose with their current exhibition. At present, barely any part of social life is not influenced by these decision-making processes (algorithms) habitually executed by our computer devices.The radical changes this revolution causes for all of us are incalculable. However, we should not forget that algorithms, a well-defined set of technical instructions with a finite number of rules designed to solve a specific problem, have been incorporated as a creative instrument in the work of Albrecht D¨urer and other artists since the late middle ages. The strict application of algorithms in art ultimately led to works explicitly integrating the recipient into the creative process, eventually culminating in the new media arts. Today´s art practices transform observers into users.Emerging with the changing paradigm is a new type of creator of cultural artefacts. This has been accompanied now for more than two decades by a fruitful collaborative atmosphere between the formerly strictly separated traditions of art and science. More often than not artists like such as the pioneers Christa Sommerer, Laurent Mignonneau, and Jeffrey Shaw are at the same time scientific researchers found in institutional laboratories as heads of larger teams which include programmers, engineers and scientists of various different disciplines. They develop new hard- and software technologies themselves. All in all this development places not only an inestimable number of creative tools in the hands of the artist, but a highly dynamic and hybrid field that forms new areas like telepresence art, biocybernetic art, robotics, Net art, space art, experiments in nanotechnology, artificial or A-life art, creating virtual agents and avatars, datamining, mixed realities and database- supported art, which all explore the technologies of tomorrow.Not long ago, artists sought to explore software coding as the foundation of their expression and as a `material´ with specific properties. Like Max/MSP and others, new alternative programming environments based on a graphical interface concept facilitate bridging the gap between art and technology, and bring the artists back more control over the creative process. In particular, Max´s main strengths lie in a more intuitive programming approach, its real-time multimedia capabilities and the insertion of interactivity. However, not only artists want to make use of interactivity. Designers and engineers increasingly will also be confronted in their daily practice with immersive interactive media environments due to the wishes of the entertainment market and development of information technologies.In regard to these ongoing trends in our media culture, the reason for this thesis is the need for research into the specific capabilities of the graphical programming language Max/MSP, and its extension for image processing called Jitter, as a programming environment for multimedia-based digital interactive installations. The paper consists of two parts: The first part deals with the question what the so-called Cyber Arts are, primarily focusing on interactive installations.The present thesis describes the recent development of digital interactive installation art and the usage of the graphical programming environment Max/MSP/Jitter. In the beginning, a brief overview of the present scientific discourse on the key issues interactivity and interface design are given. Furthermore, it portrays exceptional examples of digital art within the past five years, focusing on the main themes of digital installations and software art. This is followed by a description of Max´s main features and programming methods, its extensibility with the most important control devices and micro controllers currently available on the.

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This item is printed on demand - Print on Demand Titel. Neuware - 84 pp. Englisch.