Brendan Walker’s amazing new artwork Oscillate is now on display at Sheffield international Documentary Festival as of today. In Brendan’s words, oscillate is:
“An immersive interactive artwork based on two popular entertainment technologies: the multi millennia-old swing and the 21st century Oculus Rift – the former designed to excite the vestibular system, the latter designed to excite the visual cortex”.
My involvement was to try and make the technology keep up with Brendan’s vision. In the end it was a wonderful thing, that surprisingly induced less sickness than you might expect. I put this down to your motion being similar to what you’re experiencing in the VR – which is of course unlike most VR experiences.
The work appeared in the Guardian an on Radio 4’s Film Program.
For most of the past year I’ve been supporting artist Di Wiltshire in the development of her latest artwork “Sentiment”. Today she was showing it at East Side Projects in birmingham, where I had the great pleasure of also giving a talk about the technology behind the project. In Di’s words:
“Sentiment Art is a interactive soundscape with a wearable sensation device. Created from the voices and emotional response of fifty people, a chorus of humanity through sound and haptics.Existence is intrinsically a holistic system. We are connected through our senses, emotions, sexuality, spirituality our bodies. We are wellbeing and illbeing. We are part and absorbed by the way we inhabit space.Humans need spiritual spaces and thinking places, alternative realities, quirks of nature to create glitches in self absorbed projects. The everyday illusion of meaning in narrative we have life spaces not life stories.Our perceptions shape our reality and in turn our motives. Our everyday is formed through our interactions.Everybody worries about the same things. The insignificant to the catastrophic. How we think is what we live by. Our choices have brought us to a place where we exist. Sentiment Art is an intrinsically multi-modal experience, comprising rich dynamic audio narratives from multiple speakers with related biodata delivered through a wearable haptic interface. The audio of the interviews, and the haptic biodata is dynamically shifted based on the attention of the viewer, and this has been enabled through the use of the performing data toolkit. The data, whether audio recordings or biodata – heard or felt – or the captured attention of the viewer is at the heart of the experience.”
After quite a significant lead time, we’ve finally published some of the results from the Vicarious project in the ACM Transactions on Computer-Human Interaction (TOCHI), in a paper called The Challenges of Using Biodata in Promotional Filmmaking. This paper draws on a lot of the work already seen here in this blog to unpack what is interesting and challenging about trying to apply the use of recorded biodata to film making – particularly to advertisements or promotional films. If you’d like to read the paper, you can find it here.