October 1, 2009

History of the Interface


1) Describe an example of the role of story or the narrative in the history of the interface?
In the history of the interface based on this article we see the story evolve from being a more centralized aspect of the interface to becoming less and inherent. Early computer games being a text that you interact with, then you get into side scrollers which still carry some story. The interface seems to follow with this pattern. As the technology improved throughout the years the crutch of the story to support this art has become less and less a necessity. I would say the lack of a story in most interactive pieces, or in art in general is what makes it art. A picture book for children is a story. A painting in a museum can tell a story, but it isn't necessarily a story on its own. I think the same goes for the interface.

3) What future modes of interaction can you imagine?
I didnt think anything of this until today, but I was at the airport this summer and projected onto the wall was an advertisement that had leaves, and when someone would move around the person. I was actually amazed by how many people didnt seem to notice, or didn't care. I see commercial media adopting these technologies. The modes of interaction that art will adopt is just going to have to be more provocative. I could see things that people have to punch, scream, kick to activate. Maybe installations that have very different reactions for different people. Some might be able to recognize certain individuals after 5 years when they come back to see it. Maybe crying would be an interaction. There are so many possibilities open to the future.

The History of the Interface in Interactive Art Reflection - Alec Rippberger

2.) The senses and interface, as pertaining to interactive art, share a symbiotic relationship. One cannot exist without the other. The interface allows a subject (read: viewer, audience member) to interact with the artwork, in turn stimulating the senses. This stimulation then prompts the subject to further interact with the art, creating new senses and influencing upcoming interactions. This creates a feedback loop which continues until the subjects senses become numbed to the reoccurring product of the artwork or some other outlying factor comes into play.
3.) My imagination produces unlimited modes of future interaction. At the extreme, future modes of interaction will cooperate with our biology. We will become what is known today as a "cyborg". Technology will be seamlessly integrated with ourselves. It is difficult to specifically say how this will be done, but I imagine a chip implanted within one's brain. One's thoughts will be translated to computer code allowing for interaction and information gathering from the electronic realm. This will present humanity with unknown and unfathomable costs and benefits. Already MIT is developing a tactile computer system which projects an image on a service and allows a user to manipulate that image with his or her hands. The possibilities for art in this new medium will be endless.

September 26, 2009

The history of the interface in interactive art - reflection

2) The relationship between our senses and the interface is that we choose how to use them in relation to how the interface interacts with us. If you think about how virtual reality works, it's essentially the user interacting with the environment created through the VR experience. It's not the VR experience telling us what to do and we mimic it. To me, that's participation; taking part in the experience but within certain confines or regulations. Interaction is a free response interaction with the interface.

3) Future modes of interaction will be a sea of endless possibilities. At the rate that technology is advancing right now, there's no telling how interactive things will be in the future. In one of my other classes we watched a video where this woman unveiled this prototype of a device that could basically interact with anything in front of you. In the prototype that she had (obviously the final design would need to be streamlined and designed to be smaller and more compact) it was essentially a necklace with a camera, projector and phone attached to it. The user could walk up to a wall and pull up a map of some country on the wall and zoom in and out and view different locations on it. Also, the user could simply hold their wrist in front of them, as if to check the time on their watch, draw a circle with their finger (using some sort of colored finger caps) and draw a watch on their wrist, which would tell the exact time at that location. Another exampled showed someone at a bookstore. He held a book in front of him and the display projected the rating of the book on the cover. Then when he opened it, it projected a list of reviews from about the book on the inside cover. Based on this, and in my opinion, interaction can go just about anywhere.

-Nick Gentle

September 22, 2009

Elisa Berry - Interface History Reflections

Question #2:

Some of my favorite pieces were by Christa Sommerer and Laurent Mignonneau. As in most of the works described in this article, the narratives that develop in their work are influenced by viewers interacting with the work, and are partly determined randomly through the autonomous activity of the interactive elements. When certain actions are performed by the viewers, certain outcomes happen. While the viewer can always control his or her motions and learn which actions will cause which reactions, the actions themselves are prescribed and fall within a certain range. Thus, in A-Volve, viewers design the characters in the narrative that plays itself out in an interactive environment, and can make them move and interact. The interface is a table covered with water over an interactive screen. Viewers can make their characters move with their hands. At the same time, the characters have some of their own autonomy. So, the narrative of the piece remains unfixed as well as uncontrolled.

I love the pieces by Sommerer and Mignonneau in which the viewer becomes a part of the projection in front of her, changing and interacting with it through her movement.

Question #3:

A few ideas:
A sculpture, of a tree, for example, which moves in imitation of the movements of the viewer. Or it could simply interact with the viewer as if it, too, were an autonomous agent interacting with the world. Many different trees have many different responses to many different people.

The viewer makes the sculpture of the tree move and the video in front of it moves in response.

Interactive Art Reflection - Carl Ostlund

2) What is the relationship between our senses and the interface

We have mental maps for nearly all of our experiences, at least those that are familiar. I believe the greatest potential for interactivity is for us to challenge and allow our mental maps to evolve. Interaction is a word that is so broad and vague, that it can hypothetically be applied to anything in the world. With modern physics we are learning about fractals, string theory, and the deep energy flows that influence the lives of us and all organisms. Humans are extremely complex and we can interact with our environment in infinite ways, if the opportunities and mental maps are available.

Robin Schwartzman

1. By using picture sequences and text, Lynn Hershman utilizes a type of narrative in her work. Weinbren and Freidman push this idea even more in their work "The Erlking." By using their first image as a reoccurring theme and other images that loosely narrate the saga, they artists extend the storyline in a nonlinear way, thus mimicking pictorial memory.

3. It is difficult to imagine what interface will be able to do in even just 20 years from now. I'm sure there are capabilities that exist in the present that most people aren't even aware of. Hollywood has gone so far as to envision some of the possibilities for us, in movies such as I Robot or The Matrix. I do however feel that interface will have the ability to connect humans even more closely to each other, but this will be done strictly through the internet and the machine. Social networking, such as Facebook, has been somewhat of a revolution. I think that at some point we will be able to use information from sites like this to learn everything about a person by just a few clicks.

The History of the Interface in Interactive Art

Söke Dinkla's essay,The History of the Interface in Interactive Art , written in1994, provides a historical trace of the idea of the interface in interactive at.

This is a historical view, I am sure that you can imagine all of the interfaces that you currently interact with - few if any of these are addressed in this essay. As you read you will encounter references to artists and art venues that I encourage you to google in order to glean a bit more about them and their role in the emergence of interactive art.

We relate this reading to our process as we use sensors to develop our first interactive art works.

Post your responses to 2 of the 3 questions as described below and post the category 09/22 interface history within the Reflections

CHOOSE to respond to #1 or #2 EVERYONE please respond to #3 as well

1) Describe an example of the role of story or the narrative in the history of the interface?


2) What is the relationship between our senses and the interface?


3) What future modes of interaction can you imagine?

elizabeth furani + history of interface 9/22

2) What is the relationship between our senses and the interface?

Power and Play
Participation versus Interaction
Proximity and Manipulation
Strategies of Seduction
Remembering, Forgetting, and Reconstructing

these were the various themes brought up in dinkla's article. play is used as a multi-sensory experience where we have to strategize. participation with much of the interactive art listed throughout history have involved not only our sight but our hearing and touch. these allow us to explore our surroundings and communicate with one another. participatory experiences we have because we recall them in our memory through mementos of sight and sound or taste. one artist that i wanted to bring up in example of this was A-Volve by Christa Sommerer and Laurent Mignonneau. they used hand movements and touch to create interaction between the viewer and the sea creatures. each one had specific aspects or characteristics and each viewer could have more control of the outcome. in a lot of ways the interface is purely multisensory because it is creative. and the creative process involves awareness of psychological, emotional, sensations, and experience.

#3 What future modes of interaction can you imagine?

i can imagine video cameras projecting people's bodies onto a sculpture that has no gender or real definition to it, and having sound involved in this the person/sculpture could interact with others and people could have conversations with this sort of living thing. that is one mode of interaction i can envision, where we are not just talking to computers but we are talking to humans through computers in real time not just from computer to computer but from video to person to person.