Italian /Lives and work in Chicago
- Professor at the University of Illinois at Chicago,
USA, School of Art and Design. And the Electronic Visualization
- Professor, Master in Multimedia, University of Florence,
- 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
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
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' 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.
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?
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
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.
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
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