Moon Theater is an interactive shadow-play installation exhibited during the Glow festival in Santa Monica. The festival took place against an unique backdrop of the historic Santa Monica pier and the Pacific ocean. An estimated number of 200,000 people attended the event. We conceived the project with the unique opportunities offered by a large scale public festival in mind.
Moon Theater is designed to address issues of scale and social performance in a public setting. In the context of Glow, it is realized as an opportunity for communication and expression between members of a large crowd. Moon Theater aims to empower the participants with a broadened capacity for visual communication. The moon is defined as an urban screen. It is perceived as a unifying element; a common symbol for people across great distances. The piece successfully sustained a community around itself throughout the night, transforming strangers into collaborative performers.
The software component of this project is written in Processing. It uses custom hand tracking code by Andres Colubri.
Creators: Michael Kontopoulos and Nova Jiang
An interactive shadow installation where a participants shadow is augmented by the slow growth of trees and shrubs. In this installation, the audience's patience is rewarded by growth. The longer you stand still the more growth you get. Movement makes the growth disappear.
Film editor Walter Murch, who edited many of Francis Ford Copolla’s films, developed a theory about edits while working on The Conversation (1974) He noticed that in many cases, the best place to make a cut was when he blinked. Subsequently, Murch wrote about the human blink as a sort of mental punctuation mark: a signifier of a viewer’s comfort with visual material and therefore, a good place to separate two ideas with a cut.
This sculpture is a physical test of Murch’s principle. I watched The Conversation while wearing a custom device that recorded the pattern of my blinks during the film. Using this information, I created a display in which the left mallet taps out the paattern of my blinks, while the right mallet taps out the pattern of Murch’s edits. When the two match up, the cymbal chimes for success.