Soft Architecture
Remedios' Terrarium PDF Print

Remedios’ Terrarium is a responsive environment, a group show, and a conversation made public. It’s a set of diverse responses to the fable of autopoiesis, imagining living systems as palimpsests of organic plants, woven textile, filament, air, projected video, sound, sensor data, and occasionally, people. It’s a group show in which individual creators and collectives affiliated with the Topological Media Lab (TML) have responded to a call about the themes of a terrarium and delicate life, of the Gallery as a vessel made porous mixing outside and inside, of matter in constant alchemical transformation.

Our goal is not to make objects or even particular pieces of media, but events. Certainly in the course of making an event, we produce objects and media and, most importantly, some latent behavior, but all as elements conditioning an event. Its continuously evolving responsive environment changes weather and behavior according to the hour and the day, and according to what’s happening inside or outside its porous boundaries. We arrange our objects in a physical space to leverage the unbounded corporeal intuition that visitors bring with them, so the Remedios’ Terrarium is an architectural experiment as well as an event.

The Remedios’ Terrarium is also a set of conversations, articulated in things and events. It’s a philosophical investigation carried out in the form of material experiments made of experimental modes of matter. We create things, media instruments, and kinetic plants, “spoken” from diverse perspectives. We can be noisy, divergent, and even contentious, but making and exhibiting Remedios’ Terrarium — the 100 day long event — requires us to create a common boundary object together. As you walk about the Gallery, you’ll encounter individual and collective echoes of questions and speculations reaching ten years back: How can we make compelling events without convention? What makes some events dead and others live? What is a gesture when we do not assume bodies a priori? How do conventions and bodies come into being or dissolve in the continuously flowing world?

Topological Media Lab
Sha Xin Wei – Artistic Direction, State Engine, State Composition
Timothy Sutton – Sound Field, Black Box Sound, Touch2 Sound, Roundtable Documentation
Jean-Sébastien Rousseau - Realtime Caligraphic Video, Camera Tracking, Cell Design and Production, Networking, Vitrine Display and Design, Touch2 Calligraphic Video
Elena Frantova – Suitcase, Vitrine Display & Design, Web Design and Promotion,
Harry Smoak – Dynamic Lighting, Networking, Technical Design & Consultation, Roundtable Documentation
Josée-Anne Drolet – Promotion, Print Design, Project & Event Coordination, Touch2 Set & Costume Design, Touch2 Set Construction, Roundtable Event Production, Documentation (Video)
Morgan Sutherland – State Engine, Camera Tracking, Documentation (Photo)
David Jhave Johnston - Web Design and Promotion, Documentation (photo), Roundtable Documentation, Vernissage Sub-Event Design
Lenka Novak – Glass Cones
Michael Fortin – Graphics Programming
Flower Lunn – Plant Systems, Vitrine Display & Design
JC Nesci – Cell Design and Production, Promotion, Print Design, Vitrine Display & Design
Soo-Yeon Cho – Touch2 dancer, choreographer
Kiani del Valle – Touch2 dancer
Jae Ok Lee – Touch2 Calligraphic Video, Touch2 Set & Costume Design, Touch2 Set Construction
Marine Antony – Touch2 Set Construction
Jerome Delapierre – Touch2 Set Construction
Ludwig Manahan – Documentation (Video), Vitrine Design Technical Assistance
Desh Fernando – Documentation (Video), Touch Video
Valérie Lamontagne – Print Design
Emmanuel Thivierge – State Engine, Documentation (Photo)
Nadia Frantova – Vitrine Display & Design

Dedale Studio, University of Manitoba
Patrick Harrop – Cell Concept and Design
Peter Hasdell – Cell Concept and Design
Gregory Beck Rubin – Cell Design and Production
Candace Fempel – Cell Design and Production
Evan Marnoch – Cell Design and Production
Dirk Blouw – Cell Design and Production

McGill University
Doug van Nort – Sensate Tapestry Sound
Elliot Sinyor – Sensate Tapestry Sound and Electronics
Marguerite Bromley, XS Lbs – Sensate Tapestry

Concordia University
Mark Sussman – Sebald Puppet Theatre Concept and Design
Ayesha Hameed – Sebald Puppet Theatre Concept and Design
Lynn Beavis – Promotion

 
WYSIWYG PDF Print

Prof. Sha Xin Wei — PI
Prof. Marcelo Wanderley — PI
David Gauthier — mechatronics & feature extraction programming
Freida Abtan   — sound instrument creator (software)
David Birnbaum — sound instrument creator
Elliot Sinyor  — sound instrument creator
Harry Smoak — assistant project technical coordinator
Doug van Nort   — gesture/sound feature extraction, mapping
Rodolphe Koehly  — physical materials advisor 

As an extension of the research work conducted with the Topological Media Lab (TML), Sha Xin Wei and his team are creating textile objects such as wall hangings, blankets, scarves, and jewelry that create sound as they are approached or manipulated. These sonic blankets can be used for improvised play.  A phonetic pun on the old acronym for What You See is What You Get from the era of the Graphical User Interface, WYSIWYG (for wearable, sonic instrument, with gesture) draws on music technology, dance, children’s group games, textile arts, and fashion. Created first and foremost to sustain social play for people of all ages, WYSIWYG allows players to express themselves whether enjoying time in a park, dancing at a club, passing the time during a long car trip, or just playing at home. The research is being carried out in collaboration with Marcelo Wanderley, an associate professor at the McGill University Schulich School of Music in Montreal, and draws on Wanderley’s research into the gestural control of sound synthesis and new interfaces for musical expression.  wysiwyg

The custom-designed digital instruments embedded in the cloth sample movement to transform ambient body movement and freehand gestures into new sounds or “voices” associated with a player or transmitted to other players in the vicinity. These devices can also be embedded into furnishings or other types of objects. In addition, they can store and re-synthesize sounds by nuancing them using data transmitted by nearby sensors. The research project therefore targets the creation of a series of devices – some made from soft material – that will react in different ways to proximity and contact, movements, noise characteristics, and the progress of the game itself. The sonic behavior of the devices are designed in the spirit of games such as hide-and-seek and blind-man’s buff and also work well with a variable number of players in both ad hoc and rehearsed situations.

When the project was launched in November 2006, the WYSIWYG team experimented with a prototype ”blanket” able to sense how it is handled. During the presentation, eight people manipulated this photo-sensitive blanket to produce a spatial sonic landscape. In July 2007, dancers performed a semi-choreographed movement improvisation around a 20’ suspended “tapestry”and a 6’ “tablecloth” woven with conductive thread on a Jacquard loom by Joey Berzowska’s XS Labs.
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With WYSIWYG, Sha and his team intend to develop other architectural-scale sensate cloths that function as agents co-performing with dancers and as image-bearing, kinetic surfaces in other performance contexts.

Dancer Marie Laurier with 20’ sounding cloth woven by Marguerite Bromley during Ouija workshop. © 2007 Topological Media Lab.

Custom electronics by Elliot Sinyor, McGill University. © 2007 Topological Media Lab.

David Gauthier with capacitive proximity sensor in the form of a bird woven from conductive fiber. © 2007 Topological Media Lab.

 
Performance Research PDF Print

Critical studies of performance in responsive media spaces, based on installation-events designed as phenomenological experiments.

Livia Daza-Paris

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Wet Petal
Visible Silence

Wolfgang Reitberger
Affective Dynamics in Responsive Media Spaces

Harry Smoak

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Thick/N responsive space

Sha Xin Wei

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A TGarden As a Phenomenological Experiment



 
Hubbub PDF Print

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Hubbub is an investigation of how accidental and non-accidental conversations can by catalyzed in urban spaces by means of speech projected onto public surfaces. Hubbub installations may be built into a bench, in a bus stop, a bar, a cafe, a school courtyard, a plaza, a park. As you walk by a Hubbub installation, some of the words you speak will dance in projection across the surfaces according to the energy and prosody of your voice. We'll capitalize on recognition errors to give a playful character to the space.

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Hubbub is one application of TML research treating speech as a computational substance for architectural construction, complementary to its role as a medium of communication.

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Success will be measured by the extent to which strangers who revisit a hubbub space begin to interact with one another socially in ways they otherwise would not. Hubbub is a part of a larger cycle called URBAN EARS, which explores how cities conduct conversations via the architecture of physical and computational matter.

Sample Videos:

to come

 

Links:

ArtsAlliance Images

Active Text Concordia

 
TGarden PDF Print

TGarden is an investigation of how people make sense of and navigate in rich and dynamically evolving media spaces. Given the rise of ubiquitous computing and realtime media synthesis, we're anticipating the need for coherent yet supple ways for designers to create such complex interactive media spaces and for people to inhabit them.

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In a TGarden space, visitors wearing instrumented clothing creates and modulate video and sound based on their gesture and movement. In effect, visitors write video and sound by their movement.

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For 2001-2002, we concentrate on using wireless sensors on the body to track gesture. We have built a state evolution system that responds continuously to sensor statistics, synthesizes and marshalls media in realtime.

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In TGarden spaces, we use a combination of costumes outfitted with sensors, video tracking, realtime sound and video processing, and gestural pattern tracking.

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Research concerns include the design of continuously varying narrative spaces, how people improvise meaningful gesture, and factors of tangibility and coherence such as latency, temporal (musical) texture and rhythm. Our goal is to come up principles of design that should be useful for creating and inhabiting responsive media spaces. This research thread parallels a series of international productions in Europe and the United States.

Links:

SIGGRAPH2000 - New Orleans

http://sponge.org

http://www.f0.am/tgarden