mw2011: s. kenderdine, cultural data sculpting

C U L T U R A L D A T A

S C U L P T I N G

T_Visionarium 2008Neil Brown, Dennis Del Favero, Matthew Macginity, Jeffrey Shaw, Peter Weibel

iTurkiye 2010Sarah Kenderdine, Jeffrey Shaw, Ben Healley, Cedic Maridet, Paul Bourke

UNMAKEABLELOVE 2008Sarah Kenderdine, Jeffrey Shaw, Conor O'Kane, Scott Ashton, Yossi Landesrocha

Reconfiguring THE CAVE 1997/2001Agnes Hegedus, Bernd Lintermann, Jeffrey Shaw, Leslie Stuck

PLACE-Hampi 2006Sarah Kenderdine, Jeffrey Shaw, John Gollings, Paprikaas Animation Studios, Paul Doornbusch, Dr L. Subramanian

CUPOLA 2005Bernd Lintermann, Jeffrey Shaw

PLACE-Hampi 2006Motion capture: Shiva as Nataraja

PLACE-Hampi 2006Composited animation: Shiva as Nataraja

YER-Turkiye 2010Roundshot VR panoramic camera

WILD Exhibition 2009Panoramic Navigators, Museum Victoria

DATA SCULPTURE MUSEUMS

DATA SCULPTURE MUSEUMS ALIVE ANALYTICS

DATA SCULPTURE MUSEUMS ALIVE ANALYTICS CO-EVOLUTIONARY NARRATIVES

DATA SCULPTURE MUSEUMS ALIVE ANALYTICS CO-EVOLUTIONARY NARRATIVES CULTURAL ATLASES

T H E L U X U R Y O F

U N L I M I T E DS C R E E N

R E A L - E S T A T E

D ATA S C U L P T U R E M U S E U M S

Interface design for image-based data browsing3D NAVIGATION ZONE 3

Zone 1, 2 and 3, perspective view

Interface design for image-based data browsing3D NAVIGATION MULTI USER

Several user can share the same space while interacting with the system. The number of user is only restricted by the size of the individual workspaces. Additional features allow the users to exchange images and collaborate.

Top view

The narrative reformulation of multiple forms of databases using a recombinatory model of cinematic interactivity

• Applied Laboratory of Interactive Visualization and Embodiment, CityU• UNSW iCinema Research Centre• Museum Victoria (mass heterogeneous collections data)• ZKM Karlsruhe (world’s largest media art database)

Omni-Spatial Visualization Technologies for Analysis of Multilingual Corpora

• Applied Laboratory of Interactive Visualization and Embodiment, CityU • Dept of Chinese Translation and Linguistics, CityU• Electronic Cultural Atlas Initiative (ECAI)• University of California, Berkeley, USA

A L i V EA N A L Y T I C S

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B L U E D O T S A V I E

Immersive text exploringBUDDHIST CANON NAVIGATION DEVICE

The user interaction should be as directly as possible. Thus, the navigation device al-lows direct on-screen interaction. The HID in the form of a stylus, provides two differ-ent ways of interaction.

1. Projection wall interaction (long distance)If the HID is used for interacting with the projection wall, it becomes a kind of (virtual) laser pointer. A beam enables interactions in a wide radius and distance, which makes

1. Table interaction (short distance)If the HID is used at one of the additional screen-tables, the HID becomes a writing device. The accuracy of the HID and DPI resolution of the screens are much higher here. Thus the screen tables are optimal for precise input actions like text writing.

Scroll wheel, rotatable and pressure sensitive

Secondary button

Pen used as pointing and selection devicePen used as writing device

Long distance interaction

Close interaction

C O - E V O L V I N GN A R R A T I V E

H A M P I - L I V E

C U L T U R A L A T L A S E S

The Rhizome of the Western Han

• ALiVE, CityU• University of California, Merced, USA• Electronic Cultural Atlas Initiative (ECAI)• Xi'an Jiaotong University• Xi'an Municipal Cultural Relics Conservation and Archaeological Research Institute (China)• CNR‐ITABC, Italian National Research Council (Italy)

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Five Phases: this path is identifiable on the ceiling where the red bird, green dragon, black snake, white tiger represent symbols of cardinal points

N Ascension to Heaven (Yuren): the Yuren stands waiting for the deceased for the trip towards the immortal life

N Traditional linear/sequential path of the iconography

Inside Dunhuang

• ALiVE, CityU• Friends of Dunhuang, Hong Kong• Dunhuang Academy