We installed the project in various spots across the 2nd floor of Heimbold. Printed the photos and price tags, we stuck them onto the wall with double-sided tape. We installed five different groups of juxtapositions: We took photos of different commodities in Stop & Shop near our campus. Afterwards, we put them into Adobe Illustrator to posterize them, in order to make it look less like actual photos. When printing these images out, we faced the problem of finding appropriate printing paper that works with the school’s printer, but that was easily solved, just a matter of time. The photos were then framed with photo mattes to signify the integrity of the projects. Our idea did go through many transitions and changed a lot over time. We are glad our project turned out the way it did. Kadie Roberts and Yuci Zhou
In a typical urban setting, you never know who have set foot on the brick you just stepped on, or how crowded the place have been. These are the invisible trails of urban activities, and a public domain successfully makes people feel secure in disguising themselves among the public. Catchers can not only catch the visible things, but also invisible ones. We need catchers in an urban setting to visualize the organic movement of the public – not necessarily by snatching away the secure feeling of selves in public, but only by showing the beauty of the city’s liveliness. Furthermore, such beauty would also spark individuals’ interest. Reversely, by playing around with the interactive visualization, they engage back into trivial urban activities and movements. In this project, I attempt to visualize the invisible sound and movements in a public space by creating an interactive raining wall. This public activity catcher combines active and passive interactions. While increasing the playfulness of the public space, it also comments on the current situation of it.The rain will dodge the outline of the person, making the interaction more playful. This catches one aspect of people’s activity around the wall: their proximity to the wall. The density of the rain depends on the noise level of the public space where the wall is located since noise is also invisible in a public space.
Finally, this is how it looks like…Whenever the user next to the computer claps or make a detectable huge sound relative to the environment, the first can on the rack will be randomly colored on top of its original red. Initially I only wanted to challenge the idea of having a interaction where the input is visible and touchable, whether its the traditional keyboard or mouse, or what we have experimented with, webcam. Sound, however, is linear and cannot go back once initiated. How can I visualize sound, make it touchable via another form of perception? In Hertzian Tales, we talked about radiogeneric objects, which visualize electromagnetic signals. So, how about having soundgeneric objects that visualize sound? I decided to use microphone to detect its volume. I learned about sound libraries and how to get live sound input from the book Learning Processing by Daniel Shiffman. I wished to do an arcade game in the beginning, something like whack-a-mole. Then I realized that I only have one variable to manipulate the whole interaction: the volume. Thus, I cannot even get full control over the canvas, let alone precise coordinate to hit the mole. Then the question becomes: what action, or interaction, only involves one kind of input? I thought about an assembly line. Then I had my rough build, an assembly line of “shapes” that could be colored by user clapping around the laptop microphone. I used shapes because I wanted it to be more abstract (and also partly due to me not having an idea of the element I wanted to incorporate.) Afterwards, I wanted to put some aesthetic elements into this work. I started by making a shelf, and then I thought about the Andy Warhol exhibition held at MoMA and how the museum installed the Campbell Soup Cans (1962.) Instead of hanging every picture on the wall, the museum put those pictures on racks, which according to its introduction, best imitated the style of supermarket shelfs, where the cans would usually be in real life. The idea of coloring the can is a challenge to consumerism. While the age of mechanization makes people on both ends of the world able to get identical products, difference becomes strangely valuable and in another way essential to the characteristic of being interesting. What if we can color the can to make them slightly different? Would it make them not identical to each other? Would it do anything to add some playfulness to this assembly line? What about other assembly lines and the endless supermarket shelves? Anyway, we are still living in a world where every(affordable)thing comes out of an assembly line.
Commercials are annoying. Especially when you have to watch them before your favorite songs or videos. Yes. I’m talking to you, Spotify and YouTube. For me, Spotify is a great place to get some new music and have a fresh taste. However, as a Spotify Free member who has yet not upgraded to Premium, commercials regularly turn up in the stream feed. Once, the feed said something like this:
Want a break from the ads? Watch this short video…Then I closed the app. Nowadays, we are immersed in the context of materialism and endless advertisements. Internet services (e.g. Google, Facebook, YouTube) use ads to gain revenue, and users pay to get rid of the annoying ads. Users always want to find a break from the ads, otherwise they would not pay to get rid of them. Ads are stress-builders. They keep us constantly want things. Such desire, and even consumption, does not necessarily make us happier. And yet they exist for the endlessly growing economy, for the materialism culture and those few who benefit from it. I want to provide a way to relieve this kind of stress. Destruction can be a outlet for stress, especially virtual ones with no consequence or damage. Because “break” can have the double meaning of “getaway” or “destruction,” such as breaking the glass, I decide to take this sentence into this project. The project is comprised of several videos that play simultaneously, and at the surface is a virtual glass-breaking interaction with mouse click. Of course, for a better simulation of breaking the glass, the click would be accompanied with a sound of cracking. I do not know how people would interact with it in a public space nor whether it would create a magic circle. What I wish to do is to challenge the existing network established by markets and materialism. Ads are something stressful and we need a break from them. Yet they are around us anytime and everywhere: from cell phone screens to giant LED installations in Time Square, from magazine pages to film shots of certain products. We are not happier because of them. I think we need a constant reminder of the stress in order for the audiences to have greater incentive to look into new solutions in the market to make us happier.
Jenny Holzer’s works, which all have simple typography designs but are really powerful. Besides, her uses of projection in installations make me feel the contrast between light and dark as well as the distortable nature of projection on objects. Her quotes are concise but powerful, which I think might have larger impact on audiences under the way she installs the quotes. In my opinion, this project represents de Wall’s ideology of urban flaneurs. My project is hugely different from promotional materials that always appear on the walls of Heimbold. I try to address to the importance of serendipity and curiosity in a city in correspondence to the concept’s criticism of commercial applications of urban media, so that flaneurs (solitary and thoughtful strollers) can experience wonder, surprise, confusion, or dislocation (de Waal 9-10). I would be grateful if someone could stop to think about the best people they met in their lives, or whether they are free themselves. …And I would be more than grateful if someone knows where this line comes from.First of all, many thanks to Taylor Swift’s amazing lyric in the song New Romantics. I love her. This project is a public interactive text installation. The text will be projected on the wall of a hallway or any places that people might walk by, presumably in Heimbold. As people walk by, the word “free” would appear with a floral filling and neon tint. When they pass the installation, the word “free” will disappear again, unless someone constantly makes movement in front of the installation or someone else passes by. I expect people to notice the importance of “free” in this sentence, since it opens to multiple interpretations. I also expect them to be curious when they see the dormant state of the installation: a unfinished sentence. They might try and fill in the blanks in their mind (or they just know this song). As they walk by, they would know the answer, which changes color to attract their attention. What they think after the word shows up is what this artwork left them with. The behind-the-scene code for this installation is the webcam motion detector. I set up a threshold to determine whether something is moving in front the webcam. The motion detector also determines the word’s neon tint by using the average of movement as a parameter for the tint color. I was inspired by many of
setup()function to set up the background, and the
draw()function will contain a timer, a random target generator, and a function to determine if the user has hit the target properly or not. A custom function will monitor the volume change of the surroundings with a proper threshold.
When you walk into Heimbold a circle underneath your feet will appear and visually connect your personal circle to the other circles (people standing) in the room. Our program will do this by displaying lines between people. The longer you stand somewhere the larger your circle gets. When you have a conversation with someone your two circles will grow and become one circle. If there is two groups of people talking eventually their individual group circles will merge into one big circle. When someone moves away from a conversation circle their individual circle comes back, separate from the group, and the connecting lines reappear. Displaying networks to people can disrupt the networks themselves. If one’s current situation is displayed, one may intend to change the situation in order to change the display just for the sake of having fun or curiosity. Hence, when people play with the circles and the lines, they naturally disrupt their networks. Castell would like this because… It displays network. It shows you how many people you’re connected to by being in the same room and how many people you could interact with. It also includes everyone in the room, not just a selective, elite, group. He would also like this because when you are actually interacting with someone your circle merges and displays that connection. In addition, it forces people to step outside their usual network by creating a space to play and explore, as opposed to how they usually socialize under certain rules of the network. This program would end up creating conversations that wouldn’t usually happen. For example, if your group’s circle and other group’s circle combined then you would probably have a moment of interaction with them. By Kadie Roberts, Yun Mi Koh, and Yuci Zhou.