Creative Technology

  1. Making of Interspace - The Estonian exhibition at the 14th International Architecture Exhibition La Biennale di Venezia, 7.06. - 23.11.2014.
    Developed in Rīga, tested in Tallinn, delivered in Venezia.

    Some technical notes:
    All users in the pavilion alter both floor and wall information. While the floor acts as a path (big data/behaviour) saver in octree form, showing both immediate interaction and overall history levels, the walls contain information about Tallinn, that users can flip due to they movement.
    The installation is connected in real time to webpage. Big brother. Users activity in the webpage is visible for other webpage users as well as on the floor and the walls of the Estonian exhibition in Venice. And vice versa - webpage displays all the users in the pavilion. Interaction is bidirectional (human in pavilion - cursor in webpage), both sides, due to their (in)activity, can affect and introduce glitches in other medium.
    The system is autonomous.

    About pavilion:
    Interspace (in Estonian Vaba ruum) explores new tendencies in public placemaking. In an information society, the fundamental communicative role of architecture is being challenged by networked technologies that produce a multitude of personalised understandings of the public sphere.
    To explain how this links to the general theme phrased by Rem Koolhaas, the curators of the Estonian exhibition say that in an information age, the elements that constitute public space need to be redefined.
    "While speaking about public space, the most topical issues no longer concern its traditional fundamentals that different central power structures have historically used to shape the public, but their relation to their digital counterparts that allow architects to base their work on the shape of the participatory public. This transformation is something architects shouldn't leave unnoticed, while designing for the inhabitants of a data society." There is no distinction between the virtual and real life anymore. Recent revelations on control achieved by digital means have made us aware of global policymaking concerning digital surveillance. The correspondence of physical and digital is evident on each of us and the spaces we occupy – from cyber warfare to personalised location-based services.
    Interspace is exploring the shift from central control to participatory shaping of the public. In the last century, the former defence ring around the old town of Tallinn has progressed from a former military no-man’s-land to a collective space. From bastions to an urban condition of parks, public buildings and squares of national importance – the intent of which has always been to address and formulate the public sphere. By looking into the way this collective space has been designed throughout the past one hundred years by radically different political regimes, the aim of the exhibition is to provide a reading of prevailing conditions of placemaking. The examples serve as underlying knowledge for future placemaking in E-stonia – a nation state with a strong belief in digital technology.

    Video edit: Kaspars Kursišs

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  2. Project by ECAL/Simon de Diesbach
    Tutors: Alain Bellet, Gael Hugo, Christophe Guignard
    Assistants : Karian Foehr, Matthieu Minguet, Mathieu Rivier, Sylvain Meltz
    ECAL / University of Art and Design, Lausanne Switzerland
    Bachelor Media & Interaction Design + ECAL — Bachelor Media & Interaction Design

    OccultUs is an installation that exploits the potential of the Occulus Rift technology and offers an absorbing virtual reality display. It immerses the user in a sensory experience that mixes two distinct realities: the palpable, steady and concrete world, overlapping another virtual reality, simulated in three dimensions like a video game.
    At the beginning of the experience, users are individually invited to sit among a set of strange and abstract machines and to take hold of the Occulus Rift. At that point, the participant may feel uncomfortable: surrounded by machines and facing the opening screen of the Occulus Rift, he or she sits in the middle of an intriguing installation.
    To proceed with the experience, users are invited to follow on-screen instructions. As they may have forgotten about the machines, one of them suddenly launches. We are now at the heart of the OccultUs interactive installation.
    The virtual landscape projected in the Occulus Rift is constituted of a series of rooms of minimalistic design. Inside of these, a strange machinery comes to life, activated by the user's gaze.
    The interest of the experience lies in this dynamic interplay between the virtual and the surrounding physical animations.

    OccultUs is an innovative installation. Users find themselves at the core of a hybrid space, where images and sound, though originating in heterogeneous realities, coincide. Stuck between two worlds, their perception is challenged.
    The OccultUs experience requests users' participation in a double way: as the leading actor of the piece, but also as an integral part of it by becoming the object of other spectators' attention.

    OccultUs is a young project. The number of machines is limited for now. However, the objective is to increase their number and hence the diversity of sounds, in order to give a larger dimension to the experience.

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  3. Filming, editing & Direction | Richard Johnston |

    Mapping the choreography of a pre-programmed Hexacopter performing a dance to "weightless" by Marconi Union.

    Watch on JustmusicTV:

    Buy the album Weightless (Ambient Transmissions Vol 2):
    + iTunes:
    + Just Music Store

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  4. Play House is an automata that generates slow hypnotic acid house through mechanisms built from LEGO Technic. This piece was made for AudioGraft 2014 with a commission from Oxford Contemporary Music.

    Thanks to Danny Chapman and Gareth Ardron for cameras, and Vic Bosher & the OCM team for support!

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Creative Technology

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