Creative Technology

  1. Permanent projection installation for the Volgograd State Panoramic Museum.
    3D modeled, mapped and blended simultaneously in a hardcore way - directly within projection on the object, without any source sketches or layout drawings.
    18x4m size model, 8+4 full HD projectors, 15Mpix content resolution, OSC-controlled playback.

    PM and content: RL Design
    Projectors setup and installation: Focusnik production
    Projection calibration, server setup, 3D rendering: in[visible] studio

    nov-dec 2014

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    Audiovisual Installation
    2 HD Projectors and 2.1 Stereo Sound
    8min11sec Video Loop

    Visual Artists: Liu Chang,Miao Jing
    Sound Design: Gan Jian

    Curator for Infinite 115: Sirui Zhang

    Created by Liu Chang & Miao Jing

    Opening Reception: 6pm Saturday April 26th, 2014
    On View: 6pm Saturday April 26th, 2014- 6pm Sunday April 27th
    Address: Room 115, Avery Hall, Columbia University

    Special Thanks to Graduate School of Architecture, Planning and Preservation
    Xizhe Wang/Cheney/Li Zan/Lu Su/ Shiyu Zhu/Qiu Yun/Wang Mi/Tianyao Wei

    Organized by Sirui Zhang

    “Infinite 115” is an exhibition experiment. In this experiment, a team of emerging artists will install their audiovisual installation “Infinite” in Avery Room 115. “115” is not only the room number but also the serial number of the experiment, which is the first attempt of a series of ongoing debugging activities that will take place in different venues.

    “Infinite 115” is also a spatial replacement. It replaces two seemingly structural walls and the corner they enclose in Room 115 by projecting moving, non-structural, opened geometric shapes, thus questioning the existence and the formation of the space.


    Observations on “Infinite” by LIU Chang

    The idea of this work first came to my mind when I was visiting Dia:Beacon at upstate one year ago, where I encountered Sol Lewitt’s wall drawing series. When I saw those huge linear elements traced on the wall deliberately in graphite, I felt the weight but in a contradictory lightness. The linear elements are light, while the heaviness of the wall gives a pressure upon the viewer. The heaviness of the wall is overwhelming. Especially when I stood in front of a huge black wall with two transformed cubes, I felt a mysterious force which motivated me to go to this enigmatic shape. This contradiction continues in Lewitt’s Open Cube series, in which there are two walls that enclose a spatial corner, and a cube that belongs to both sides. The combination of the cube and the wall give me a driving force to be willing to be absorbed by the corner, but it exists in reality and would not allow me to enter.

    When I talked about this experience to Miao Jing, he was very excited to discuss the topic of “Cube”. As a fundamental shape in geometry, it composed of six faces and 12 edges. It became more complex when we tried to locate a cube in a real interior space; the components of the cube would rise to 24 2-D right angles and 8 3-D right angular vertices. Meanwhile, the logic of the cube will extend to the shape of viewer. The 90° right angle does not welcome anybody nor resist. It is depressed, extended and infinite.

    The experience is an encounter with a marvelous spectacle. Then the projection and the sound add up within the space interleaving. Infinite is a unique experience, or an atmosphere, like when one is immersed in a mountain, a waterfall or a cliff in infusive perceptions.

    The geometric visual shapes and synthesized sounds express the same velocity and tactility. Then tension and force generated by the vision and sound deploy permanently. We compute the incomputable universe with couter and time. Artificial codes embody the universe and make it connected with us. Time, codes and the 81 Open Cubes of Lewitt compose the visual part of Infinite. There is neither end nor beginning to be found. Universe, time, code of machine and perception are all our concerns and are been pursuing infinitely.

    Miao Jing |

    Chang Liu

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  5. CLOUDS is an interactive documentary that presents a conversation among 40 artists, designers, and hackers who use code, and collaborate on open source tool kits. It explores themes of creativity and invention, interactive art, simulation, computational design, data visualization, and the future of storytelling.

    The Simulation mini trailer features
    Jen Lowe
    Daniel Shiffman
    Casey Reas
    Kevin Slavin

    Production Credits
    Jonathan Minard
    James George

    Executive Producer
    Golan Levin

    Winslow Porter

    Design Director
    Bradley Munkowitz

    R Luke DuBois

    Lead Visual Systems Designer
    Lars Berg

    Lead Interaction Developer
    Elie Zananiri

    Systems Engineer
    Surya Mattu

    Visual Systems Development
    Patricio González Vivo
    Reza Ali
    Gal Sasson
    Omer Shapira
    Michael Allison
    Jeff Crouse
    Quin Kennedy

    Interface Developer
    Luisa Pereira
    Charlie Whitney
    Jack Kalish

    Interface Design
    Sarah Hallacher
    Erica Gorochow

    Commissioned Artists
    Shantell Martin
    Zach Lieberman
    Nervous System
    Marius Watz
    Karolina Sobecka
    Casey Reas
    Satoru Higa
    Josh Nimoy

    Additional Music
    Julian LaPlace
    Tony Lim

    Sound Mixing
    Brett Murphy

    Foreign Language Translation
    Keiko Uenishi

    User Experience Consulting
    Jason Walters
    Mike Ballard
    Web Development
    Mike Heavers

    Additional Footage Provided by
    Future of Storytelling Conference

    Support received from
    Frank Ratchye STUDIO for Creative Inquiry
    Eyebeam Art + Technology Center
    Yamaguchi Center for Arts and Media
    NYU Interactive Telecommunications Program

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Creative Technology

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