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FABRICATORS

http://www.fabricat.com
Milán, Italia.

 

 

FRANZ FISCHNALLER

Italian /Lives and work in Chicago

- Professor at the University of Illinois at Chicago, USA, School of Art and Design. And the Electronic Visualization Laboratory .

- Professor, Master in Multimedia, University of Florence, Italy

- Art Director and production coordinator for FABRICATORS. An interdisciplinary group concerned with the integration of technology + communication + art + design. The group carries out research activities in the artistic and technological fields.

With the incorporation of Franz Fischnaller, additional strength is given to the integration of art, design and technology. The school has already made interesting integration of these major fields but now they are intensifying the program, production, researches and events related to this trinomial.

For two year consecutively 1999 and 2000 he was Director and Curator of "Virtuality and Interactivity", the International Exhibit of Multi Media Art and Applied Research of Mediartech (Digital Renaissance). Mediartech is a yearly international multimedia show dedicated to cultural heritage, the arts and performing arts. Promoted by the region of Tuscany/Italy and organized by the Tuscany Hi Tech Network

Between 1998 and 1999 he was the principal designer and project developer of the new Interactive Art Center, Cordoba, Spain, CICOV, (Centro Interactivo Cordoba Virtual)

F.F. has been involved with art + design + technology, in both, theory and practice. In the last five years he had performed different roles such us author, producer, curator, designer, professor and project coordinator. He had the opportunity to work within diverse fields and cover different experiences, which allowed me to have a broader view on the issue of production, organization, creation, and development.

In 1995 he had received for Lautriv Chromagnon Medusa, an Interactive Art Mention Prize Prix Ars Electronica, Ars Electronic Center, Linz, Austria. In 1997 he had had received for "Multi Mega Book in the CAVE", the Foreign Title Award in the Theater and Exhibition Multimedia Grand Prix'97, Japan. In 1999 he had received for "Robots Avatars Dealing with Virtual Illusions", an Interactive Art Mention Prize for Prix Ars Electronica, Ars Electronic Center, Linz, Austria

Among other places his work has been exhibited in October 2000 in the Martin-Gropius-Bau in Berlin/Germany, Siggraph 95, 96 & 97, 99 (USA), Imaginà'95,'98, 2000; Robotix '97,(UK); ArtFutura Madrid, Sevilla '98,99; Salon B.I.T. Torino; Virtuality&Interactivity, Mediartech '97, 98, 99, (Florence, Italy), Isea 97; Ars Electronica Festival '97,99 ( Austria), Palazzo delle Esposizioni (Rome-Italy), Museo Nazionale della Scienza e della Tecnica "Leonardo da Vinci" Milan/Italy; Ontario Science Center, Canada; Mediartech- Florence/Italy, and diverse Art-galleries in Europe and USA.

Among others Franz Fischnaller is the author of: Multi Mega Book in the Cave: "The shift from the printed+book to the electronic text+digital skin". Lautriv Chromagnon Medusa, Interactive Cyber Necktie, "Renaissance Interactive Painting" "Robots avatars dreaming with virtual illussions", Nem's City,Tracking the Net; KALI the "Goddess of the Millennium", Gutenberg-Printing-Press, Pinocchio Interactive Sound Space, Planet Sram, Lautriv's mirror,The Soul of the Network Lautriv's Karma, Lautriv's City, Medusa's Myth, Verdi Virtuale, Amazonas interactive...etc

SOUND SPACE, PLANET SRAM.
VIRTUAL REALITY APPLICATION FOR A MULTIPLE USER, INTERACTIVE PLATFORM.

 

 

 

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, Italy www.fabricat.com

 

Sound Space

'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…

 

Planet SRAM

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.

The DNA is hanging at the center of the pyramid. The inhabitants move always around it. Here the DNA represents the common memory of that civilization. It is a common DNA, which, lives outside the skin of this human-like community that inhabits the Planet SRAM.

The inhabitants are a sort of unique clone, of a unique memory… of a unique way of thinking, the only difference is that each one possesses an individual body nevertheless, identical to the other. The visitors can "play" with the inhabitants as if they were not human beings … but toys. They can interact with them, eliminate them or substitute them with other, human-like creatures, which at the same time generate other, distinct movements.

It is a narrative pathway in which, virtual reality is associated with animation and videos. Perhaps this virtual world can recall a sort of "Kafkian vision" or can bring to the memory, a vision of a passage of "A Brave New World" by Aldus Huxley... The collective mechanization, the loss of our identity and individuality, the mechanization of the desires, the lack of intellectual liberty, all conditioned by an implacable system… which system? The real? The virtual? Or is this simply just … virtual realism?

KALI

 

 

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 Berliner Festspiele.

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.

The Installation integrates an interactive sculpture and three screen projection systems. Two 3x2.2-meter retro-projection screens are placed on Kali’s right and left sides, separated by a 2.25-meter glass wall angled at 90 degrees. A third 2x1.5-meter retro-projection screen is placed exactly below Kali’s right foot, where the visitor also stands to interact with Kali.

Special displays are fixed in the inner part of Kali’s head. Liquid Crystal Eyes were placed inside her eye sockets, which allow the visitor to see in VR stereoscopic through her eyes. The virtual world is seen through Kali’s eyes, while the multimedia world is seen through the three-screen projection system that surrounds Kali’s interactive sculpture.

Kali’s content is articulated in two main parts: The virtual-reality application and The multimedia world composed of videos, sound and interactive animation. The virtual-reality application, visible by looking through Kali’s eyes, represents Kali’s inner world, the world of causes and their effects, or decision-making. The visitor can generate situations within the virtual world and see the corresponding consequences (effects) in real time, whether in the virtual world or in the multimedia world, projected on the three external screens integrated in Kali’s installation.

320 analog video clips, digital images and animated effects were produced for Kali. Emphasis was given to the antique imagery of Hindu Cosmology, for example, the Sanskrit alphabet. Each individual letter was modeled and animated.

Kali’s virtual world goes beyond a traditional VR production in both length and narrative. It involves several models, texture maps, and audio clips. It is a large-scale environment, punctuated by an extended virtual space with multiple scenes, from a jungle to the cosmos…from cosmos to war…from war to idyllic gardens ... from the Amazon to India, etc.

As to the use of Hindu iconography, we placed special importance on Kali’s Yantra. The Kali Yantra is the Supreme Generative Energy emanating from a central point, enclosed by three pentagons (actually five inverted concentric triangles), a circle and an eight-petal lotus. While a triangle within a female deity’s Yantra points downward, it points upward in a male deity’s Yantra.

 

 



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