- Credits of the work (production, music, software,
collaborators, hardware, etc).
Author: Franz Fischnaller with the technical collaboration
of Marco Monzani. Music. F.A.B.R.I.CATORS and Manuel
Gallardo. Produced: by F.A.B.R.I.CATORS for Kali was
produced for the exhibition of the Millennium of the
city of Berlin: “Seven Hills... Images and Signs
of the 21st Century.” The show was open to the
public from May 14 through October 29, 2000 at the Martin
Gropius-Bau exposition building and coordinated by the
- Author´s text up to 300 words.
Kali is an intense, user-driven, multileveled virtual-reality
piece that incorporates advanced technology to create
a major interactive art installation. It is a comprehensive
experience in the new language of interactive design,
aesthetic interpretation of digital information and
use of visual design in the virtual environment. Through
Kali, the author explores a fusion of digital media,
culture, the arts, literature, myth, and cinema.A passage
between the real and the imaginary, a bridge between
antiquity and the present, and an integration of form
and content of mythical elements and ancestral memories,
integrated into the digital era of our times.
The first version of Kali was produced for a three-screen
virtual-reality projection system and included an interactive
sculpture. The second version was adapted to the CAVE®
virtual-reality theater. Adaptation to other commercially
available display systems is planned.
SOUND SPACE, PLANET SRAM.
Virtual Reality application for a multiple-user,
Title of the work: Planet Sram, Sound Space two VR
aplication produced for the platform Tracking the Net.
Credits: Franz Fischnaller with the technical collaboration
of Marco Monzani. Produced by F.A.B.R.I.CATORS, Milan,
'Sound Space' is a musical, creative environment that
allows the visitors to create music on various levels,
individually as well as within an interactive team articulated
by up to seven participants. The music played by the
visitors can turn into images, effects, sounds and voiceovers.
'Sound Space' appears in front of the visitors like
a musical satellite floating in space and surrounded
in an angle of 360 degrees by musical chords, a sort
of a virtual harp. The visitors can interact and navigate
through this cyber harp, generating like this collisions
and therefore sounds and visual effects in a 3D VR environment.
The more synchronized and intense the collaboration
among the visitors, the more astonishing is the response.
A gateway conducts inside the building of Sound Space.
The visitor can enter into a sort of a musical palace
with transparent corridors, musical elevators and sonorous
stairways, in which all the objects, the angles, are
interactive and become instruments.
The visitor is able to play the virtual piano, enter
in contact with the cyber-jumpy, small, melodic, digital
creatures that coexist in a digital space, ready to
play and interact with the public. Each sensor is attached
to an instrument, a specific chord, and depends upon
the reciprocal collaboration among the visitors…
It is the beginning of a production related to a social
discourse, referred to the human condition.
To get into Planet SRAM it is necessary to go through
a premonitory tunnel. A sort of cyber creature parades
through the tunnel controlling, step by step, the inhabitants
of Planet SRAM. The creature repeats his steps over
and over, delimiting the space… The planet is
a giant open space enclosed by high walls, which float
in space, like an abandoned pyramid. There is one entrance
(the tunnel) and apparently, no exit from Planet SRAM.
The visitor will encounter inhabitants devoid of identity
and individuality producing the same movements, actions
and gesticulations, over and over, with their individuality
nullified, programmed as pseudo-artificial beings, executing
very monotonous and mechanical movements, one is identical
to the other, one moves identically like the other.