worksarea v5

Productions Processing-Plant / Louis-Philippe Demers © 1989-2010

The Tillers' Girls2009-2010

Robotic Performance


The Tiller Girls is a group of 12 small autonomous robots. These robots were developed in Artificial Intelligence for the study of gaits given minimal free-dom of movements. The robots can only balance their torsos and shoulders but they can yet achieve a large variety of expressions and behaviors.

Performers in the traditional performing arts such as music, dance and the-atre are generally thought to have both technical skills and interpretive skills, where the latter skills are regarded as specific human skills. This piece walks along this thin line.

Auslander highlights the ‘grey’ area between these with examples from the famous early 20th-century Tiller Girls’ synchronized chorus-line dance, in which human performers are ‘called upon to exercise their technical skills but not their interpretive skills’.

Exhibits

Vida 12.0 - Artificial Life Mention

Cyberlabor (Austria)Bain Numeriques (France)Lille 3000 (France)

Area V52009

Interactive Robotic Installation


Recent developments in the field of Social Robotics and Artificial Intelligence call for the prominent role of eye movements in establishing meaningful dia-logue between humans and machine.

Area V5, the brain area thought to perceive motion, is an artistic comment on the social robots hypothesis. The installation will invite the viewer to experi-ment the enigmatic gaze of disembodied eyes in an out-of-context surveil-lance from impotent machines.

Exhibits

2009 Museum of Civilization (Quebec)


Wind Tunnel2009-2010

Interactive Public Installation


The Wind Tunnel is a long corridor where passengers in transit can experi-ence the created turbulences of aeronautical test chambers.

The corridor is lenght is of an arbitrary dimension where the longest span would give the outmost vanishing point.

The tunnel could namely be deployed in parrallel to moving escalators and in long transit spaces.

The sensing surface is retrofitted into the floor (using propriertary multi-touch ruggedized capacitive matrix) while the visuals are displayed from the top via an array of video projectors. The visuals will vary from time to time and will marry the architecture of this long corridor.

Exhibits

Japan Media Arts Festival 2010


Prayers' Drum2009-2010



The Prayer's Drums is an interactive multi-touch installation. The visitors are invited to touch and spin a large-scale array of virtual drums.

Each of the drums possess a sound scape that react accordingly to the spin-ning amplitude.

The lenght of the wall is of arbitrary lenght. The soundscape will be rein-forced by an array of directional speakers. The sensors are retrofitted into the wall using propriertary multi-touch ruggedized capacitive arrays.

The visual representation of the drums will be abstract. However, upon spin-ning a drum, the revolving surface will reveal light and/or real-time video of activities happening "beyond" the wall.

Exhibits

Remoteness, Frankston Art Centre (Melbourne)

Prix Ars Electronica 2010,Honourable Mention,Digital Musics.


The Beat Table2009-2010

Interactive Multi-Touch Installation


The Beat Table is a multi-user musical instrument.

The table presents to the participants a visual interface of the typical beat box machines. There are four tracks with sixteen time divisions. The volume of each sound sample is depicted by a three-dimensional volume.

Predefined arrangement of sounds is provided so that the table enables to construct grooves of various styles.

The table is scalable and utilizes custom made capacitive sensing tiles.

Exhibits


The Sonic Bugs2009-2010

Interactive Ambisonic Multi-Touch Installation


The Sonic Bugs explores interface perception of sonic shared environments.

An optical multi-touch table is augmented with 3D ambisonic sound space.

Sonic Bugs travel along a virtual water surface while spatially shifting their respective sound in the room.

Sonic bugs travel paths can be altered by the participants. They create points that attract, repulse, deviate and even entrap the sonic bugs.

Exhibits


Panorama2009-2010


Proposal


Airports are transient areas out of time and space. To recreate a sensation of location, Panorama will present a 360 degrees view of the sourrounding of the termimal (or key area of the city).

By utilizing real-time video stitching and by deploying a large array of wire-less cameras around the terminal, this outside membrane will recreate an outstanding panorama of the surroundings.

Exhibits


Mechanical Pixels2009-2010


Proposal


Light pixels emanating from usual videowalls or projectors are replaced with physical entities.

The proposal aims at utilizing known icons of the aeronautical industry.

The intensity of a pixel could be reproduced by high spinning air instruments (see below right) or by utilizing their directionality.

As well, pixels could be incarnated by pan&tilt small rods that would augment the display in a 3d space. Such rendering are used in visualization of phe-nomena (above right).

Exhibits

Natural Teratology2009-2010

Interactive Robotic nstallationCollaboration with Brandon Ballengee

Proposal


Biologist and Artist Brandon Ballengee is working on finding the causes of these malformed frogs.

Together with Louis-Philippe Demers, the project is to manufacture robotic renderings of these frogs. In nature, these frogs are very small, approx. 2cm.

The robotic incarnation will be the size of a human todler.

The process is creating 3D modeling of these frogs and synthesize them with rapid-prototyping while adding pneumatic muscles to the skeletons.

Investigations to use biological elements instead of polymers are also being explore.

Exhibits

Kinetic Toys2009-2010


Proposal


Deployable structures, in perticular Bricard geometries, generate a vast constellation of patterns and intricate movements.

These kinetic toys displace the original architectural intent into mechanomorphic locomotion gaits.

Exhibits

Devolution2006

Robotic and Dance PerformanceCollaboration with Garry Stewart &

Australian Dance Theatre


"In Devolution we are acknowledging the robots as machines and in doing so we are also exploring the mechanical, machine-like function of the human body. This, as well as the zoomorphic potential of bodies. By distorting the body away from an upright pedestrian orientation and challenging the Cartesian view of the body, I’ve been trying to posit humans as animals, which of course we are. There is also something very creature-like about Louis-Philippe’s previous robotic work, so it really provided the cue for me to head in this direction. I’ve been working with the dancers on exploring cho-reographic relationships that respond to ecosystem processes: territoriality, parasitism, predation, symbiosis, senescence, birth, death and growth, which has included a series of discussions with a local biologist, Steve Griffiths."

- Garry Stewart

Exhibits

2006 Adelaide Festival2007 Sydney Festival2007 Theatre de la Ville Paris

Prizes.

2006 Helpman Awards Best Lighting Best New Production2006 Ruby Innovation Award2006 Australia Dance Outstanding Perf.

The Three Monkeys2007



Interactive Robotic Installation.

Three discrete manipulators swing around their cage and follow visitors.

A commission from Norgren as part of their 2007 Hannover Messe stand.

Exhibits

2007 Hannover Messe - Norgren Stand


COLONIE 0032006

Interactive robotic installation

This colony is based on the Stewart or Gough platform (see below) where four layers of this mechanical assembly are joined together.

Each plaftorm posseses six cylinders for a total of 24 cylinders per colony member.

This installation is also called "The Twins" as two of these machines are set up in a cage following any of the visitors' movement.

An instance of this trunk was also utilized in Devolution.

Fully deployed, the robot spans for around three meters.


COLONIE 0022005

Robotic Character for a dance performanceCollaboration with Pablo Ventura

This colony is based on the delta manipulator (see right) where three layers of this mechanical assembly are joined together.

The machine was presented at the end of Pablo Ventura's Fabrica III and also during a machinic dance solo.

Fully deployed, the robot spans for around four meters.

Exhibits

Fabrica

Tanzhaus WassewerkZurich 2005Figuren Theatre Erlangen 2005Teatro CuyasLas Palmas 2005

Kubic's CubeTesla / Transmediale 2006

En Attendant le Métro

2004

Public space robotic installationCollaboration with Robert Lepage


A parallel world, a colony of robots staged in the same situation as pub-lic transit passagers, simply waiting for the next subway - endlessly!. This Jaquemart is somehow classic since it represents a staging of human activi-ties, the one of ephemerous and regular commuting passengers. However, it does incarnates a world of its own, an invented underground out of time, space and unreachable. The Jaquemart beats the time on its own way: it does announce the incoming subway. Which passenger has not run after the incoming train due to the wind draft? The robots are the clock of the subway: mechanical, sequenced and automated. The time underneath the surface of the world is somehow stopped. This is represented by a negative action - no action ritual - which tells the outside world time. A sort of minute of silence, every hour, at the memory of their perpetuous waiting.

Exhibits

Lille 2004 /European Capital of Cultrure

COLONIE 0012004

Interactive Robotic Installtion


This is the first installation of a serie of robotic colonies. All these machines are based on either existing or theoritical mechanical structures envisioned to be used at the nano mechanical stage or on industrial manipulators used in assembly lines. The manipulators are not the typical 6DOF robot arm but rather positional devices using complex mechanical shapes.

Being blown up to human visibility and body size, the visitors can experience these now deviant macro-nano-robots in the context of colonies. Out of the assembly line, the robots are lost, seeking for a new meaning of life.

Colonies are groups of similar machines are created, namely 8 to 16.The behaviours of the colonies are fictituous.

Exhibits

Montreal Science Museum 2004

ARMAGEDDON2004

Robotic Characters for an Operettain collaboration with Art Zoyd


In 200041 after the invention of the record player, human beings have done a bunk, i.e. they have been lost with all hands, but not their souls or angels. Fortunately, industrial robots have survived, and their role and raison d'être are that of perpetually playing out the great human myths: The Gallic War, Operation Desert Storm and Armageddon, operettas in an inimitable style, full of killings, massacres and liquidations. The robots, each of which has an enormous loudspeaker for a mouth, are 21 in number; 12 form an articulate choir of thaumaturgic angels. No human voices, only voice synthesis: bar-baric words and songs to the gentle metallic swish of the first human-type grunts, a real operetta libretto with entrances and exits, interjections, divine interventions, spoken and sung dialogues, mistaken identities, and, as a finale, an armed battle: a real carnage.

Exhibits

Lille 2004 / European Capital of Cultrure.

Le Manège 2004

L’ASSEMBLEE2001

Robotic PerformanceInteractive Robotic Installation


L'Assemblée is the staging of the confrontation between man and a popular gathering constituted solely of machines. This installation regroups a total of 48 members layed out on a metal structure depicting the shape of an arena. This architecture creates a central focal point where a single visitor is invited to take place and called upon to perform.This individualized and solitary experience sets the visitor at the centre of an elusive spectacle, in the role of the last human.

“Beautifully nuanced movement in tune to the surrounding dromoscopic sounds: light waves sweeping across the crowd of faces, arching upwards in Triumph of the Will light sculptural motifs' sometimes released from the codes to move at the pace of individualized robotic whimsy... Robots as new media stars” -- Arthur & Marie-Louise Kroker

Exhibits

Oriente Occidente 2004Lille 2004 /European Capital of CultrureEMAF 2002EXIT 2002VIA 2002ELEKTRA 2001FER 2001

SHOCKHEADED PETER

2000

Robotic characters for a junk operaCollaboration with Director Michael Simon


From the instant that our Creator breathed life on this draughty old planet we call home, mother nature has been scribbling away at her drawing board delivering a diversity of designs as distinct from one another as the weevil and the whale. From the tiger to the tapeworm, from the person to the flea. But sometimes Ma Nature gets drunk with her power and creates in a blind-ing flash of inspiration a singular anomaly a masterpiece of uniqueness never to be repeated never to be seen again,never to be jostled from it's stool in the dust covered archives of legend. Let us follow and observe as he goes about his respectable business. -- excerpt from the play

Exhibits

DüsseldorfSchauspielhaus 2000

r111-MagneticModule2000

Interactive robotin collaboration with Supreme Particles


Energy potentials are collected from the internet and from the local move-ment of spectators in the physical space of r111.

The Magnetic Module consists out of a matrix of magnets under a metal-lic platform. on the platform is a collection of different granular media (little balls), both magnetic and non-magnetic. with this setup, we can create struc-tures (flows, concentrations) that visualize the systems energy potential with the help of granular media.

Exhibits

PASS (2000)EXIT 2000Canon Art Lab (2000)

Prizes

Honorable MentionArs Electronica 2002

SelectionMedienKusnt Pries SWR 2004

Le Procès1999

Robotic Installtion & PerformanceCollaboration with Bill Vorn

created for Robert Lepage & Peter Gabriel’s Zulu Time


LE PROCÈS shows in a symbolic way the trial of machines by men, as well as the trial of men by machines.

It acts like a reflexive tribunal where identities intermix, where juges, jurors, victims and accused, take flesh in metal creatures born from our own con-ception of the world, of what is good and what is bad, of what is alive and what is not. As in Kafka's famous novel, of which crime are we accused? Who's judging? What will be the verdict?

Exhibits

Oriente Occidente 2004Lille 2004 /European Capital of CultrureEXIT 2003VIA 2003EMAF 2002Quebec 2001Creteil 1999Zurich 1999

La Cour des Miracles1997

Interactive Robotic InstalltionCollaboration with Bill Vorn


LA COUR DES MIRACLES is an interactive robotic installation, an unusual multimedia environment reacting to viewer's presence. This installation fol-lows our approach of creating fictitious spaces designed for machine popula-tions and cybernetic organisms societies which express metaphoric behav-iors, spaces that are surrealistic immersive sites where viewers become both explorers and intruders.

Exhibits

Areale 1999V2 1999Musée de Soissons 1999Contemporary Arts Museumof Montreal 1998ISEA 1997

Prizes

1st Prize VIDA - Articial Life - 1999

No Man’s Land1996

Interactive robotic environmentCollaboration with Bill Vorn

Commissionned by Ars Electronica


This installation invites the viewers to consider an invented habitat solely made for robots. Each robot specie has a distinct structure and behavior. These species are:

The Herd - A group of eight long tubes flocking together.The Attractors - A group of four swinging lights, suspended in the air.The Parasites - A set of sixteen percussive units hook onto other machines.The Prisoners - Two robots crawling on the floor retained by their cabling.The Colony - Eight invisible machines living in a pile of metal junk.The Flaunted - Eight hanging machines,dripping water to flaunt theirmates.The Scavengers - A group of scavengers fighting over a piece of metal.The Inverted Scavengers - Scavengers but with an inverted mechanism.The Untamed - Four robots frenetically banging their cages.

Exhibits

Ars Electronica 1996

Prizes

Distinction, Interactive KunstArs Electronica 1996

The Frenchman Lake1995

Interactive Robotic InstallationCollaboration with Bill Vorn


THE FRENCHMAN LAKE is an invented aquatic ecosystem composed of sensitive and expressive cybernetic organisms. This metaphor feeds on the organic sounds and movements in order to create an hybrid between nature and the artificial.

The installation comprise of a network-society of sixteen submarine robotic units coexisting in a common basin (or a set of containers) where viewers can circulate freely around. The choice of an aquatic environment comes from the quest of recreating unusual habitats for robotics organisms, a space which also acts as a catalyst of new possibilities for sound and light diffu-sion. This installation is part of our exploratory work on immersive metaphoric environments via the utilization of machines that produce movement, light and sound.

Exhibits

Sonambiente 1996ISEA 1995

At the Edge of Chaos1995



AT THE EDGE OF CHAOS is a subset of a wider study on robotic gender-ization through metaphoric animal-like behavior. In the present case, four machines seem to fight for a piece of meat or dead animal: they are bulky and noisy scavengers. The piece of meat is a steel cube simultaneously pushed back and forth by four pneumatic actuators where the friction of the cube against the floor generates a high repetitive pitch.

The machines are sinked into a trap in the middle of the space. Viewers can walk above the trap since a grid covers the opening and enables the audi-ence to see through, beneath their feet. The robots behavior is altered by the viewer's presence and sometimes totally independent and autonomous.

Exhibits

Ars Electronica 1996Images du futur 1995

Prizes

Distinction, Interactive KunstArs Electronica 1996

Espace Vectoriel1993



ESPACE VECTORIEL paraphrases the mathematical term vector space in which information or behavior is expressed in terms of vectors: entities represented graphically by lines or arrows. We often see computer graphics images made of vertices and vectors: a raw representation of more complex objects.

The group exhibits both dependent and independent 'behavior'; the complex-ity of reaction and movement caused by this plurality seems no longer pre-dictable. This suggests the impression that the installation has an autonomy of its own and invites the visitor to acquaint himself with these fictitious characteristics. This reactive robot installation shows us a hybrid world some-where between nature and artificial life, thus paraphrasing the idea of vector space.

Exhibits

Sonar 2003, BarcelonaArtec 97, NagoyaArt Futura 96, MadridDEAF 96, RotterdamSound Art 95, HannoverPalomar, MontrealSonar 94, BarcelonaEMAF 93, OsnabrückSIGGRAPH 93, L.A.

Prizes

Best of Show, IDMA 96

Es: Das Wesender Maschine

2002

European Media Art Festival(Osnabrück, Germnay)


Monographic exhibit in the context of the European Media Art Festival. A 1000 square meters old medievail church filled with more than 60 robots, towers of ten meters high and thousands of kilos of scaffolding.

Works:

Vorn - Evil/LiveVorn - Stèle 01Demers - L’AssembléeDemers/Bredehorn - RopebotDemers/Vorn - Le Procès

Exhibits

EMAF 2002

ROBOTIC Festival2001

CuratorParc d’Aventures Scientifiques

(Frameries, Belgique)


Festival organisation and programme. Fundations for a serie of biennales.

Events included art exbihibits, video sessions, panel discussions and “Lego Robots” ateliers for the children.

Artists exhibited:HfG Student GroupGérard BoyerRobot LabFrance Cadet

Exhibits

FER 2001Parc d’Aventures ScientifiquesFrameries, Belgique

Wishing Well2007

Interactive Multi-Touch Installation


The Wishing Well – Liquid Stage is part of a series/studies of interactive installations rendering pixels in various spectrum of stages of matter in action – liquid, solid, gaz and rooted in the four elements: water, earth, fire, air.

Rendering pixels is seen as a broad translation of the Wishing Well. These stages will encompass the use of mechanics, robotics, electro-magnetic, pneumatic, sound and light. When the studies will be completed, this will also represent a research on visualization and alternate sources of “displays”.

The Dry Liguid Study explores the paradigm of multi-touch interaction and enables an unlimited number of visitors to engage in the experience of touch-ing a dry water surface...

Exhibits

2007 IDAT - Singapore Science Centre

iTAG2006

hyper-muzak from elektro-smog

Collaboration with Philippe Jean


Flooded in a world of portable audiovisual products such as mobile phones and MP3 players, iTag is an ironic statement about all kinds of electronic « pollution » that surrounds us, RFID technologies being one more instance of this ever growing smog. The iTag is a simple portable device that read RFID tags of proximate products and generates ambient musak inspired from this collected data. The iTag then looks and operates in the same manner as these already existing players; a small machine coupled with earphones. We pastiche the visual icons and brandings of these companies while comment-ing on the overwhelming flow of paid music downloads and ring tones. With iTag, just go in your favourite shopping alley.

Musak is one of the western culture artefacts of the consumer environment. Normally used (mostly imposed to the shoppers) to create comforting mental states and to predispose to purchase, iTag’s musak rather intends to generate social awareness in the listener.

Exhibits

2006 Tagged Exhibit - London

Interactive Floor2004

Interactive Performance Floorcollaboration with Philippe Jean / Ateliers Numériques

Cirque du Soleil / MGM


A large interactive floor is constructed used novel capacitive sensing tech-nologies. The surface is approximatively 120sqm and more than thirty per-formers will be interacting at once. This surface can perform full 360 degrees rotation while being able to move up and down by ten of meters.

Images are created by Holger Forterer under the direction of Robert Lepage.The system generates "tracking" images at a rate of 30fps and sent them to a real-time video image synthesis system.

The piece is a commission of Cirque du Soleil for their new MGM Las Vegas performance.

Exhibits

MGM Grand Hotel, Las VegasOpening end summer 2004

3D Multi-Touch2007

Interactive Multi-Touch Research


Richness in human’s sense of touch lies in that it lets us feel the texture, tem-perature of the object, or simply the joy of manipulating, grasping or squeez-ing with our hands. In the world of conventional HCI, this richness of sense of touch has somehow been lost in the digital jungle, and therefore it is our aim to revive it. This proposal will research far beyond conventional touch or haptic interface such as key press, screen touch and mouse scroll; we want an unconventional touch sensitive interface.

We propose to research and develop a multi-touch surface which can be used together with three-dimensional physical objects. We will develop thin, flexible surface layers which have “pixelized” miniature capacitive sensing nodes; and affix this surface to 3D objects. We selected the capacitive-sensing approach because it can be made as thin laminates and therefore, it has more potential to conform to arbitrary-shaped objects.

Exhibits

Hypersymphonic2002

Interactive Stations


The exhibition has been produced by the Musée de la civilisation as part of the centennial celebrations of the Orchestre symphonique de Québec, in cooperation with Yamaha, Mecart, Gesellschaf der Musikfreunde of Vienna, the Association des musiciens de l’Orchestre symphonique de Québec, and the Cultural Development Agreement between the City of Québec and the Ministère de la Culture et des Communications du Québec.

This highly interactive exhibition gives visitors an opportunity to discover the many facets of symphonic music and to better understand the relationship between musicians and their conductor. What do a conductor’s gestures mean? What is the difference between symphonic and philharmonic music? Why do the musicians in an orchestra always wear black? How do you become a conductor?

Exhibits

Museum of Civilsation 2002-03Quebec City

Schillerhaus Fountain

2003

Interactive Water Fountain


The goal is to realize an outside interactive water fountain giving an enter-taining but yet simple and readable dialogue to the visitor.

The fountain must therefore react to the presence of people and as well, react to the presence of many visitors simulteanously.

The Interaction Scenario is based on the simple and common image of Moïses splitting the water of the sea. In a similar way, the proximity of a visi-tor will close down neihbouring water spray.

Exhibits

Frankfurt Schillerhaus TBA


Point of View (POV)2004

Interactive Public InstalltionCollaboration with Karin Knott

A network of Pods, similar to coin operated binoculars, are installed in key public locations. Visitors can record activities from the panorama. Further viewers browse these public urban diaries simply by pointing back the pod at the subject. Public squares in cities are intended to serve the communicative exchange among people: a location for meeting and discussion.Public spac-es, especially the ones chosen by tourists, have become transitory spaces and are losing their significance. Points of View (POV) is comprised of an ensemble of pods similar to coin operated binoculars, an icon of tourist landmarks. Retrofitting them with an adapted viewfinder including a video camera, encoders for pan and tilt and embedded internet-linked computer, these binoculars can now record what they see and hear. In the same way, they can also play back footage record-ed from another visitor a while ago.

Exhibits

Submitted to FusedSpace in-terntional public space contest.

Lost Referential1998

Interactive Lighting InstallationCollaboration with Bill Vorn


The kinetic and chaotic nature of a crowd movement is reflected back by an apparent living convolution of light a large echo chamber of sound and light in the Great Hall.

Lost Referential proposes to project artificial life principles to an interactive kinetic light architecture. A set of eight automated luminaries will have their focal point computed by a flocking (herd like) behaviour.

These lights will not be passive actors manipulated by direct interactive manipulation. They will be true living characters, on a constant move, evolv-ing and reacting to the audience.

Exhibits

LIGHTFORMS 98, NYC

Prizes

Interactive Award Lighting Design Competition

Museum Park1996

Public Space / Interactive Sound ScapeCollaboration with Christian Möller


An interactive light and 3D audio sculpture in the Museum Park designed by Rem Koolhaas on the occasion of the City of Rotterdam Summer Festival. In this installation a sound can be moved around in space and listened to over headphones by alternatively entering the four light sensors positioned on the floor.

Over a surface of 80 x 80 meters, eight approx. 12 meter high lighting gan-tries surrounded a wooden floor perforated with light sensors. By entering the areas marked for the sensors, visitors were abble to change the state of lighting and to shift a number of highly differing sound patterns around in space. This otherwise hardly frequented location in the heart of Rotterdam's downtown became a center of urban youth culture thanks to the installation and favorable weather conditions.

Exhibits

V2, Rotterdam 1996

Electro-Clips1994

Interactive Dance PerformanceCollaboration with Christian Möller

TAT and Ars Electronica


'Electro Clips' is an installation for ballet which enables the dancers to inter-act with light and sound directly. The visual and acoustic symbols which bal-let normally uses as givens are produced and influenced in 'Electro Clips' by the dancer Stephen Galloway, his movements and choreography. A parallel environment of sound, light and movement is produced.

The dancer assumes the role of a director in that he can use the changing functions of the sensors distributed about the stage area like a keyboard to manipulate sound and light.

Exhibits

Ars Electronica 94Theatre am Turm , Frankfurt 94Dance Fest, Munich 95

Prizes

Honorable mention,Interactive KunstArs Electronica 1994

Frankfurt Airport2000

Collaboration with Supreme Particles,Satis&Fy and FAG


The exhibition space presents a "mobile" multimedia world that explores the theme of networked transport by means of light effects, film and sound. Meanwhile, the attached "Chill-out Zone" focuses on comfort, relaxation and information.

Transport systems integration for improved mobility Frankfurt Airport as an integrated transportation hub Comfortable, seamless, environmentally friendly travel, amid growing passenger and freight volumes

Exhibits

Frankfurt Airport, 2000

Interactive Technologies


Touch Sensors - Score following Hypersymphonique (above)Capacitive Sensing - Interactive Floor - Cirque du Soleil (below)Heat Sensors - Video Distorsion - Bügeltisch (1)Pyroelectrics - Motion Detectors - Cour des Miracles (2)Voice / Gesture Follower - Dance Performance (3)Motion Tracking - F.A.G. (4)Light Sensors - Public Space (5)Accelerometers / Gesture Follower - Museum Kiosque (down)

Exhibits

Las Vegas 2004Museum of Civilisation 2002HfG 2000Contemporary Arts MuseumMontreal 1998ISEA 1992 / Cyberarts 1992Fraport 2000Museum Park V2 1996

Interactive Lighting1989-2008

Research & Development


This research investigates relations between interactive/live lighting and dance. Altered rehearsals methods, new gestures, choreographing the light as well as the performers and design concerns are among the subjects reported by this work.

The study of live lighting has been conducted through the research on an interactive lighting system,@FL. This system does not only considers light tableaux with the traditional cues but also with behaviors and algorithms to give a more dynamic movement to the light.

Exhibits

Theatre am Turm 1994ISEA 1992 / Cyberarts 1992Dance&Tech 1995Museum Park V2 1996Banff Centre 1990USITT 1990

Lighting


Samples of lighting design.

Embedded lights into scenery (above,below and bottom).Lighting for dance(side).Lighting by and for robots.

Exhibits

Jeanne la Folle, Tokyo,MexicoDevolution, Sydney, AustraliaAndrea Davidson, Montréalautre gauche, Banff CentreElectro-Clips, TATAssemblée, Elektra 2001

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