#interactive systems

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The restaurant, bar or club philanderer dynamically profit and advertise its exact deals and offerings to customers sol interactive animations, graphics and audio-visuals.<\p>

Interactive menu systems are now taking the hospitality half circle by storm. Bars, clubs, restaurants, hotels - clever multi-touch surfaces are being used everywhere.<\p>

The mensal and garden party industry players in different parts of the created universe are now deploying interactive touch screen menu systems to provide appealing interfaces towards their customers to not only entertain them but also maximize their revenues. <\p>

With a touch make safe menu, customers can group their orders without having to refer to to a waiter. Customers can easily browse round about the table of getatable items and even check how a nice food item (when served) looks ask. A well customized system allows customers so as to see how their full-meal would look like before they naturellement make up their mind on what to eat.<\p>

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[Scene from "Seventh Sense", featured below] BODY NAVIGATION "Two dancers and their digital reproduction is the scenograph­ic frame of this humorous and emotional portrait of human re­lations. Based on rules and structured in a game like manner, the per­formance makes way for a playful dialogue between man, woman and the digital “footprints” they leave behind".

By Tina Tarpgaard (Choreography), Ole Kristensen and Jonas Jongejan (interactive system and visuals), Hilary Briggs & Luca Marazia and Laura Lohi & Nelson Smith (Dancers). More info here. 3D [EMBODIED] "3D [Embodied] is a mixed reality performance involving a virtual world as a platform to explore 3D immersive spatial virtual and physical displays. Combining real time geometry perspective transformation of the peripheral projected space and skeleton tracking from the dance performer, 3D [Embodied] experiences spatial augmented reality."

[Final performance, Austin, 2013]

[Skeleton tracking and perspective test] By Joao Beira,  Choreography by Yacov Sharir, sound design by Bruce Pennycook and technical support by Sebastian Kox, Yago de Quay and Marta Ferraz. More detailed info : Beira, J., Carvalho R., Kox S. (2013). "Mixed reality immersive design: a study in interactive dance". in "ImmersiveMe '13" Proceedings of the 2013 ACM international workshop on Immersive media experiences. SEVENTH SENSE Immersive environment where the performers are in the middle of a box with projection on three walls and the floor. Their position is being constantly tracked by a computer vision system on the top, and every motion has repercussions in a 3D mesh geometry.

By Anarchy Dance and Ultra Combo. More info here. TRINITY "Trinity is an audiovisual interactive dance piece which tells the journey of a body going through different states of perception of the space. Through movement, the body is immersed in an environment of textures and audiovisual landscapes that not only accompany but will push to a transformation process."

Essential Performance

Chunky Move is a modern dance company and the first to employ tracking technologies that enabled the movements of the dances to control the shape, color, and dynamics of the theatrical lights. This is a compilation of clips from their first performance: Mortal Engine (2010)

http://www.stagewhispers.com.au/reviews/mortal-engine-chunky-move

// Image from the 16x16 pixels camera tracking Rokeby movements REFLEXIONS [1983] "Reflexions was my first interactive sound installation. I constructed some very bulky 8 x 8 pixel video cameras (the large black box over the monitor in the image), connected then to a wire-wrapped card in the Apple ][ which digitized the images, and wrote a program in 6502 assembly code for the Apple ][ which controlled a Korg MS-20 Analog synthesizer to make sounds in response to the movements seen by the cameras. Movement also controlled the volume of two tape loops of water sounds. The synthesizer and water sounds were mixed individually to 4 speakers in a tetrahedron (one on the ceiling and three in a triangle on the floor. The sounds would move around you in addition to responding to your movement." (Rokeby )

More info on Reflexions here. VERY NERVOUS SYSTEM [1986] Very Nervous System was an evolution of the Rokeby's previous interactive sound installations (Reflexions and Body Language).  Human gestures and movements are captured through a video camera, and translated in real time into an improvised music system that reflects and reacts to the qualities of the movements.

//Interactive system  scheme (left). Audience interacting with V.N.S. (right)

"I use video cameras, image processors, computers, synthesisers and a sound system to create a space in which the movements of one's body create sound and/or music. It has been primarily presented as an installation in galleries but has also been installed in public outdoor spaces, and has been used in a number of performances." (Rokeby)

// Rokeby interacting with Very Nervous System in 1991 "The installation is a complex but quick feedback loop. The feedback is not simply 'negative' or 'positive', inhibitory or reinforcing; the loop is subject to constant transformation as the elements, human and computer, change in response to each other. The two interpenetrate, until the notion of control is lost and the relationship becomes encounter and involvement. The diffuse, parallel nature of the interaction and the intensity of the interactive feedback loop can produce a state that is almost shamanistic. The self expands (and loses itself) to fill the installation environment, and by implication the world. After 15 minutes in the installation people often feel an after image of the experience, feeling directly involved in the random actions of the street." (Rokeby).

// One of the 3 cameras used to track the interactive space (left), Rokeby performing with Very Nervous System in Dam Street ,1993. (right) More info on Very Nervous System here. INTERNATIONAL FEEL (2011) "International Feel" was an interactive sound installation made for Strategic Arts Initiative 2.0 (2011) exhibition, and it was an update of "Body Language", made for the same exhibition in 1986. "International Feel" is a telematic version of Very Nervous System. Two systems are installed in two different physical locations, the visitors of both systems meet in cyberspace and interact together to create a collaborative soundscape.

// A visitor interacting with the installation in Toronto (left), and Robert Rokeby in Rotterdam (right). "For "International Feel" I created identical 2.8 x 2.8 meter spaces in Toronto at Inter/Access and in Rotterdam at V2. The kinect sensor in each space captured the depth image of whoever was in this space, and translated it into a "bubble-body", a set of spheres that built up an approximate representation of that body in space. This body data was transmitted over the internet to the other location, allowing each installation to place both virtual bubble- bodies into an imaginary shared space. The spaces where outfitted with directional sound, and this was used to give a sense of the location of the other person in your shared space. If there was no contact between the bodies, there was the sound of breathing, coming from the exact direction of your invisible partner. By moving toward the sound of breathing, you could attempt to touch the other virtual body. On contact, other sounds emerged, with the sounds changing to indicate how much of your body was in contact with the remote body, and the directionality of the sound intensified to give precise cues as to the direction to move to maximize contact. The sense of physical engagement was very powerful. One found oneself almost bouncing off the remote person's body on contact." (Rokeby).

// Kurenniemi explaining how it works. Stills from DIMI-O BALLET showcase, watch it bellow In the early 70's he created an electronic instrument, a video organ,  called DIMI-O. It was an electronic organ, a 32-step sequencer memory unit. It had a video screen where the notes were visualised as a score in a optical interface, and from which the player could play and manipulate the notes sequences in the memory . Through some control bottoms he could loop the sequence, stretch it, reverse, duplicate it, speed up/down, … The instrument could be played with a keyboard as notes input or via a video camera. The picture captured by the camera was converted into black and white, and then used as signal to control de notes in the memory unit.

// Dancer triggering sounds. Stills from DIMI-O BALLET showcase, watch it bellow

// DIMI-O funtional diagram Kurenniemi imagined and listed some uses for DIMI-O, like : - a studio instrument, to read graphic music, and record sounds through the video input. - as a live instrument to perform with orchestras  - as an instrument for dance/ballet performances where the body movements would manipulate the music; - in experimental films, where the pictures would be transformed into music *[Source] OJANEN, Mikki, SOUMINEN, Jari, KALLIO, Titti, LASSFOLK, Kay. (2007)."Design Principles and User Interfaces of Erkki Kurenniemi’s Electronic Musical Instruments of the 1960’s and 1970’s", in "Proceedings of the 2007 Conference on New Interfaces for Musical Expression (NIME07)" New York, NY, USA. DIMI BALLET (1971) was a performance made to demonstrate the use of this instrument with video input. This video documentation is part of the DVD "The Dawn of DIMI" (by Mika Taanila ), it contains the documentary film about Erkki Kurennimemi "Future Is Not What Is Used To Be" (by Mika Taanila ) and some extra tracks like the DIMI-Ballet, six experimental films and some "Basic II" computer Animations.

// The "DIMI-Ballet" video. First Kurenniemi explains how the instrument works, then at 2:30 the performer start to dance an generating sound sequences. In 2002, the Avanto Festival in Helsinki, payed an homage to Kurenniemi and among other activities they reconstructed the performance DEAL (1971) and performed live dance with a DIMI-O video synthetizer.