Some Interesting Digital Art
Charles Csuri, ‘GOSSIP’, 1989.
A painting of stripes was scanned and mapped onto three dimensional models, which were then broken up through a function for fragmentation.
Warren Neidich, ‘Conversation Map (I worked on my film today. Are you dating someone now?)’, 2002.
The image represents an everyday conversation that was conducted in sign language. Lights were attached to a persons fingers and arms. Neidich photographed the conversations with very long exposures. The black and white images were then digitised and coloured using imaging software.
Carl Fudge, ‘Rhapsody Spray 1’, 2000.
Fudge digitally manipulated the scanned image of the Japanese anime character Sailor Chibi-Moon, which were then produced as a series of screen prints.
Rafael Lozano-Hemmer, ‘Body Movies: Relational Architecture # 6′, 2001.
The interactive portraits are revealed by viewers. Portraits of people are projected onto the walls and are faded out by powerful spotlights placed on the floor. When someone walked past a spotlight their shadow would reveal the images on the wall. The shadow varied in size depending on the distance between the person and the spot light.
Golan Levin, ‘Levin’s Scribble’, 2000.
A concert performed live with Audiovisual Environment Suite software. The interactive software allows for the creation and manipulation of simultaneous visuals and sound in real time.
John Klima, ‘Glasbead’, 1999.
Glasbead is a multi-user musical interface. It allows users to import sound files and create different soundscapes. The interface is a rotating circular structure with stem that look like hammers and bells. Sound file are imported into the bell and are triggered by hitting the bells with the hammers. Twenty users can be involve at the same time.
Toshio Iwai, ‘Piano – as image media’, 1995.
In Iwai’s interactive audio-visual installation, a virtual score is used to trigger the keys of the piano, which also produce computer generated images on a screen.
The score is created by viewers who can position dots on a moving grin in front of the piano.
Monika Fleischmann, Wolfgang Strauss and Christian A. Bohn, ‘Liquid Views’, 1993.
On the screen in the pedestal a virtual pool is created. When viewers look at it they see their reflection and when they touch the screen wave-shaped forms are created using an algorithm that distorts the image.
Camille Utterback and Romy Achituv, ‘Text Rain’, 1999.
Users stand and move in front of a large projection which shows their shadow image and a colour animation of letters that fall like raindrops. The letters are stopped by the darker colour, so they and on the peoples’ shadows, they can be caught, lifted or fall through spaces between the movements of the users.