Obrazový materiál k přednášce umění nových médií - interaktivita a imersivita
- 001 Myron-Krueger.jpg
- 002 Mark Hansen, Bodies in Code Interfaces with Digital Media, Routledge, New York 2006, Myron Kruger.png
- 003 Myron Krueger, Metaplay, 1970.jpg
- 004 Myron Krueger, Metaplay - two rooms connected by a closed-circuit video feed. Krueger sat in one room as the artist, and when participants entered the gallery he interact with them.jpg
- 005 Krueger, Metaplay, 1970, Krueger could see participants on his screen and interact with them by drawing on a tablet.gif
- 006 Myron Krueger - Videoplace, Responsive Environment, 1972-1990s.gif
- 007 V polovině 70. let založil Myron Krueger laboratoř umělé reality s názvem Videoplace.jpg
- 008 Videoplace. Umělá realita, která obklopila uživatele a reagovala na jejich pohyby a akce, aniž by bylo třeba používat brýle nebo rukavice.gif
- 009 Myron Krueger, Metaplay.jpg
- 010 Myron Krueger - Videoplace, Responsive Environment, 1972-1990s, Critter.gif
- 011 Myron Krueger - Videoplace, Responsive Environment, 1972-1990s.jpg
- 012 Myron Krueger - Videoplace, Responsive Environment, 1972-1990s.jpg
- 013 Myron Krueger - Videoplace, Responsive Environment, 1972-1990s.jpg
- 014 Myron Krueger, Small Planet, at Mediartech 98, Florence, Italy.jpg
- 015 Myron Krueger - Videoplace, Responsive Environment, 1972-1990s.jpg
- 016 Myron Krueger - Videoplace, Responsive Environment, 1972-1990s.jpg
- 017 Myron Krueger - Videoplace, Responsive Environment, 1972-1990s.jpg
- 018 Myron Krueger - Videoplace, Responsive Environment, 1972-1990s.jpg
- 019 Myron Krueger - Videoplace, Responsive Environment, 1972-1990s.jpg
- 020 Myron Krueger - Videoplace, Responsive Environment, 1972-1990s.jpg
- 021 Myron Krueger - Videoplace, Responsive Environment, 1972-1990s.jpg
- 022 Myron Krueger - Videoplace, Responsive Environment, 1990, finger painting.jpg
- 023 Myron Krueger - Videoplace, Responsive Environment, 1990.jpg
- 024 Myron Krueger - Videoplace, Responsive Environment, 1972-1990s.jpg
- 025 Myron Krueger - Videoplace, Responsive Environment, 1972-1990s.jpg
- 026 Rafael Lozano-Hemmer, Sustained Coincidence, výstava ICI Phantasmagoria Specters of Absence,Bogota 2007, an interactive installation activated by the spatial relationships of visitors.jpg
- 027 Rafael Lozano-Hemmer, Sustained Coincidence, The piece consists of a series of incandescent light bulbs that light up in reaction to the participants positions,.jpg
- 028 Rafael Lozano-Hemmer, Sustained Coincidence, the shadows cast on the opposing wall are always overlapping.jpg
- 029 Rafael Lozano-Hemmer, Sustained Coincidence, The piece is inspired by phantasmagoria on the one hand and surveillance and digital analysis on the other.jpg
- 030 Samuel Van Hoogstraten (1627 - 1678), The Shadow Dance, 1675. This work was created in Rotterdam and served as an inspiration for Lozano-Hemmers Body Movies, 2001.jpg
- 031 LozanoHemmerBodyMovies, 2001images of people in the streets of Rotterdam, Madrid, Mexico and Montreal were projected onto the side of the Pathé cinema (90m long x 20m tall), Rotterdam.jpg
- 032 When viewers play this art game according to the rules laid down by artist the resulting interaction is not especially creative.But the apparatus unintentionally allows more creativel.jpg
- 033 Rafael Lozano-Hemmer, Body Movies, 2001.jpg
- 034 Lozano-Hemmer, Under Scan, 2007.As visitors enter, they are detected by a sophisticated camera and sensor tracking-system, animated video portraits suddenly appear, projected in shadow.jpg
- 035 In the installation, the portraits appear at random locations. They wake-up and establish eye contact with a viewer as soon as his or her shadow reveals them..jpg
- 036 Lozano-Hemmer_Subtitled Public,2005 As the audience enters the room-size installation they will be tracked by an infrared surveillance system, which projects texts onto their bodies..jpg
- 037 publico-subtituladoThe only way to lose the subtitle is to transfer it to another person by touching them.Encouraged to communicate through physical interaction.jpg
- 038 Lozano-Hemmer, Pulse Room, 2006, a sensor records the pulse of the public and converts it into light flashes incandescent light bulbs. At any given time the room shows the heartbeat of the 100 most recent participants.JPG
- 039 Rafael Lozano-Hemmer, Pulse Room (2006), Mexican Pavilion, 52 Biennale di Venezia, 2007.jpg
- 040 Rafael Lozano-Hemmer, Wavefunction (2007). Mexican Pavilion, 52 Biennale di Venezia, Italy.Charles and Ray Eames moulded chairs (designed in 1948).jpg
- 041 Rafael Lozano-Hemmer, Wavefunction (2007)..jpg
- 042 Homographies, Zones of Contact, Biennale of Sydney, Art Gallery of New South Wales, Sydney, Australia, 2006.jpg
- 043 Homographies, interactive installation, 144 robotic fluorescent light controlled by 7 computerized surveillance systems. As people walk under the piece, the light tubes rotate to create labyrinthine patterns.JPG
- 044 Lozano-Hemmer, Vectorial Elevation - an interactive art project to celebrate the arrival of the year 2000 in Mexico City’s Zócalo Square. The website www.alzado.net enabled any Internet user to design light sculpture.JPG
- 045 Lozano-Hemmer, Vectorial Elevation.jpg
- 046 Jeffrey Shaw, The Legible City, 1988–1991.jpg
- 047 Jeffrey Shaw, The Legible City, 1988–1991.jpg
- 048 Jeffrey Shaw, The Legible City, 1988–1991.jpg
- 049 Jeffrey Shaw, The Legible City, 1988–1991.jpg
- 050 Jeffrey Shaw, Golden Calf, 1994.jpg
- 051 Jeffrey Shaw, Place Ruhr, 2000.jpg
- 052 Jeffrey Shaw, Place Ruhr, 2000.jpg
- 053 Jeffrey Shaw, Place Ruhr, 2000.jpg
- 054 CAVE virtual reality. Exploring a temple in a virtual reality CAVE at Iowa State University. The people standing in the room see the projected computer generated images.jpg
- 055 Dan Sandin - Image Processor, 1973.bmp
- 056 Dan Sandin - 5 Minute Romp Through the IP, 1973.gif
- 057 Image Processor, 1973.jpg
- 058 Sandin Image Processor, exhibited at School of the Art Institute of Chicago (SAIC), 1973.jpg
- 059 Dan Sandin, Cave System, 1992.jpg
- 060 Dan Sandin, Cave System, 1992.jpg
- 061 Sandin, From Deaths Door to the Garden Peninsula, CAVE at Ars Electronica, 1999.jpg
- 062 Luc Courchesne, Landscape One, Biennale, Tokyo, 1997, Uživatelé jsou v parku v Montrealu přicházejí cyklisté, feťák prosí o peníze, milenci se procházejí, rodinný piknik..jpg
- 063 Luc Courchesne, Landscape One, Biennale, Tokyo, 1997, Pokud nic neděláte, den plyne. Ale pokud kliknete na jednu z vět, v různých bodech, můžete zasáhnout do toho, co se děje.jpg
- 064 Luc Courchesne, Landscape One - Modell.jpg
- 065 Luc Courchesne, Panoscop, 2000.jpg
- 067 Luc Courchesne, The Visitor; Living by Numbers, 2001, The computer that sits on a pedestal near the installation displays what the visitor sees inside the dome..jpg
- 068 Luc Courchesne, Panoscop 360, Where are you, 2010.jpg
- 069 Luc Courchesne, Panoscop 360, Where are you, 2010.jpg
- 070 Luc Courchesne, Panoscop 360, Where are you, 2010.jpg
- 071 Luc Courchesne, Panoscop 360, Where are you, 2010.jpg
- 072 Monika Fleischmann, Wolfgang Strauss, Balance, 1995-1997.jpg
- 073 Monika Fleischmann, Wolfgang Strauss, Energie-Passagen, 2004, eine partizipative Installation im öffentlichen Raum, untersucht Fragen der Wissenserschließung und nutzt eigens entwickelte Werkzeuge zur Erfahrung von Informationen.JPG
- 074 Mark Hansen and Ben Rubin Listening Post, Real-Time Data Responsive Environment 2001,it is an art installation that culls text fragments in real time from thousand Internet chat rooms.jpg
- 075 The texts are read (or sung) by a voice synthesizer, and simultaneously displayed across a suspended grid of more than two hundred small electronic screens..jpg
- 076 Mark Hansen and Ben Rubin Listening Post, Real-Time Data Responsive Environment 2001,it is a visual and sonic response to the content, magnitude, and immediacy of virtual communication.jpg
- 078 Seiko Mikami + Sota Ichikawa, Gravicells, 2004.jpg
- 079 Seiko Mikami + Sota Ichikawa, Gravicells, 2004, gravity and resistance project, S.jpg
- 080 Seiko Mikami (JP) Sota Ichikawa (JP), 2005.jpg
- 081 Seiko Mikami, World, Membrane and the Dismembered Body, an anechoic (echo-free) room. In silence, hear the sounds inside of your body (heart and lung sounds), and then their amplified versions from audio speakers.JPE
- 082 Seiko Mikami, World, Membrane and the Dismembered Body, 1998. In an echoless room a computer and various measuring devices are used to amplify the sound of a bodys internal organs..jpg
- 083 Christian Moeller, Virtual Cage, 1993, a completely darkened room, a pneumatically suspended glass surface platform, moving under the weight of the visitor when walked on. The visitor stands in a lake of light .JPG
- 084 Christian Moeller, Light Blaster Immaterial Membrane, 1993, this installation allows the visitor to control a membrane of light with the frequency of her heartbeat, resulting in an almost overwhelming physical experience.JPG
- 085 Head Mounted Display (HMD) VR.jpg
- 086 Breathing and balance interface for Osmose and Ephémère, 1998.jpg
- 087 Charlotte Davies with Georges Mauro in the projection room of the Montreal Museum of Contemporary Art, 1995 (2).jpg
- 088 Char Davies, Osmose, 1995, Installation.jpg
- 089 Char Davies, Osmose, 1995, Immersant.jpg
- 090 Char Davies, Osmose, 1995, Diagram.gif
- 091 Char Davies, Tree real-time frame capture from Osmose, 1995.jpg
- 092 Char Davies, Osmose, 1995, Tree_Pond.jpg
- 093 bild.jpg
- 094 Char Davies, Rocks and Roots real-time frame capture from Osmose, 1995.jpg
- 095 Char Davies, Osmose, 1995, Forest Grid.jpg
- 096 Char Davies, Osmose, 1995, Words.jpg
- 097 Char Davies, Osmose, 1995, Words.gif
- 098 Char Davies, Ephémère, 1998, Winter Stream.jpg
- 099 Char Davies, Ephémère, 1998, Winter Swamp.jpg
- 100 Char Davies, Ephémère, 1998, Diagram.gif
- 101 Char Davies, Ephémère, 1998, Seeds.jpg
- 102 Char Davies, Ephémère, 1998, Seed, Bloom.jpg
- 103 Char Davies, Ephémère, 1998, Forest Stream.jpg
- 104 Char Davies, Ephémère, 1998, Summer Landscape.jpg
- 105 Char Davies, Ephémère, 1998, Autumn Flux II.jpg
- 106 Char Davies, Ephémère, 1998, Autumn Flux I.jpg
- 107 Char Davies, Ephémère, 1998, Bones.jpg
- 108 Char Davies, Ephémère, 1998, Root.jpg
- 109 James Turrell, perceptual cell.gif
- 110 James Turrell, Perceptual Cell, 1991.jpg
- 111 James Turrell, Meeting, 1980-86-2016, at MoMA PS1.jpg
- 112 James Turrell, Skyspace (One Accord), the “convertible roof”of the Live Oak Friends Meeting House, a Quaker meeting house in Houston, Texas, 2000.jpg
- 113 James Turrell, immersive light installation.jpg
- 114 James Turrell, Acton, 1976, Albright-Knox Art Gallery Indianapolis.jpg
- 115 James Turrell, Yorkshire Sculpture Park.jpg
- 116 James Turrell sculpt-1996.jpg
- 117 Ann Veronica Janssens Cube Blue, Red, and Yellow originally created by Janssens for the Neue Nationalgalerie in Berlin in June 2001.jpg
- 118 Janssens Purple Mist, Ann Veronica Janssens, Blue, Red and Yellow (2001), Neue National Galerie, Berlin.jpg