Studio_Roosegaarde interactive dance floor
|Energy Harvesting & Art (in progress) Energy
harvesting from ambient sources has both practical and
artistic appeal. Ambient sources include human activities such as
walking and dancing, physical phenomena such as raindrops
falling, body processes such a blood surging in the veins, and
biological processes such as bacteria in the soil and tree sap flowing.
I am drawn to this technology because of
its mixture of ecological consciousness and technological
imagination. I am not sure where this leads but I am
working on creating an art installation that examines the poetry of
these new developments.
A proposal for an Energy Harvesting as Public Art installation won selection in the Knowledge Hacking competition sponsored by UC Berkeley Ryder Gallery and 2010 ZeroOne Biennial of art & technology. You can get more information about energy harvesting as public art show. You can also visit the planning wiki- access to the Research/Design Wiki.
|SmartSpace A media installation of Internet-connected spaces explores concepts of ubiquitous computing and intelligent spaces. Using long-range RFID technologies, these spaces know the identity of the persons who enter and project customized animated collages of images from history, art, fiction etc. on topics that people have indicated are important to them. The images have been collected via automated programs that search online image archives. SFSU Art Gallery,2008|
The installation enables
people to interact with microorganisms and cells derived from their own
body in a non-invasive way. The contradiction of interacting with these
alien, unfamiliar life forms (which are nonetheless intimately
connected with our bodies) focuses on the boundaries between self and
non-self and the cultural interest in bioidentification. Animal
Nature Show, Miller Gallery, Carnegie Mellon U, 2005;
(Excerpts in Digital
Body Show, ICA, London, 2006). Revised 2006-8
claim that in our electronically mediated era the physical body is
irrelevant. "Body Surfing" uses state of the art body sensing
to ironically question this claim by allowing visitors to investigate
limitations and pleasures of the body through drumming, stretching,
and running. SFSU Art Gallery,2000.
Revised version 2006
of Culture Like the library at Alexandria, Egypt, the World Wide
attempts to collect all the knowledge of the world. By unleashing
custom crafted real-time searchbots to rummage its images, Traces of
presents a series of interactive art events that ask visitors to
on this compendium and the process of search. SFSU Faculty Show,
Multimedia Interactive Art Show, Columbia University Macy Gallery,
2005 show, Sao Paulo, Brazil
Games. Reflecting on animal experimentation and the
between species, the 'Protozoa Games' interactive installations allow
and live protozoa to compete in a pinball-like environment mediated by
digital microscope and motion tracking technologies. In Follow-Me
humans score points by moving their bodies to match Protozoa movements.
In Control-Me humans score points by getting Protozoa to do their
bidding by stategies of domination or friendly
Ylem Show - Interfacing Ideas Show - Blue Room Gallery, San Francisco,
; Biodifferences Show, BEAP,
Perth Australia, 2004. Revised 2008
presents a sound/video/kinetic ‘infomatic’ event which changes in real
time based on the live position of San Francisco Muni trains
about the city at the moment of viewing. Includes video that
what passengers are seeing and the "Magic Muni Chair' that vibrates in
resonance with real train movements. YLEM Show - Somarts Gallery, 2001;
Exploratorium - Teleopolis Show, 2002
Points of Light: 50
of Light shows 14 world cities simultaneously via live web
images. It asks viewers to explore the ways these places are different
and the ways they are becoming the same. Invited to be part of
A "Disneyland of Crime". Information Visualization event
new questions about the concept of crime and interactive extravaganzas.
Combined physical and internet event. Winner Honorary Mention 1998 Ars
Electronica Interactive Art competition. Paula Levine C-theory
present is a "magic" box with no wires that automatically sends images
from wherever it is to others who are watching via the Web. Each person
must decide where to take it and ultimately who to give it to.
viewers can communicate via synthesized speech with the holder of the
GPS locator shows web viewers the exact location of the present.
in Web/Multimedia Integration Copenhagen96. Invited as
one of three world artists to work as part of Copenhagen96 Cultural
of Europe activities to create a masterclass for Scandinavian
My class focused on teaching artists to act as researchers in cutting
areas of inquiry. More information about Copenhagen96
and Global Galeri.
|ARTIST IN RESIDENCE NTT Research
Center, Palo Alto, CA.
planners in conceptualizing theture of telecommunications.
IN MIND SPACE
La Finca / The Homestead project Valencia,Spain. Part of
team of artists using the Web to explore the concepts of the homestead
and colonization.My project focused on the meme as an idea that
the mind and the role of the Web as a propagator of ideas. information.
Information about the Homestead
|PAIR ARTIST IN
Research Center, Palo Alto, CA Competitively selected to participate in
experimental artist in residence program. Worked collaboratively with
in invention of new multimedia information spaces. More information
and the PAIR artist in residence
, MULTIMEDIA94 Art Show, and DATA/DADA Show, Maryland Art Place,
MD An interactive sound installation that maps memories and
to physical space. Voices of older viewers come from in front of
viewer and voices of younger come from behind. Digital Video serves as
the main interface and 2 computers communicate via a network to execute
the event. 1995
|IS ANYONE THERE? SIGCHI (Monterrey,CA) and SIGGRAPH (Chicago) Computer automatically calls selected pay phones in the city 24 hours a day and uses intelligent programming and digitized speech to engage those who answer in conversations about their lives and their surroundings. Viewers using voice recognition an interactively devise multiple strategies to navigate record of conversations and related digital video. WINNER Golden Nica Ars Electronica International Competition for Interactive Art. 1993|
Participants could take a virtual walk down Mission Street in San
Francisco's ethnic Mission neighborhood. Speech recognition
determined direction of movement and virtual entry into the
stores. Images were accompanied by music from countries of origin
for Mission residents. WINNER Honorary Mention Ars Electronica.
V2 Group. 'S-Hertogenbosch, Netherlands An interactive sound
creates an "opera" of voice by digitizing the opinions of citizens and
moving processed versions of their stored voices among several
on a public square. Points of view get identified with particular
locations. International Manifestation for Unstable Media . 1990
Linz, Austria and Richmond Art Center A physical space serves as a
for the emotional space surrounding the imminent death of a loved one.
Computer responds with digital speech and music to viewers walking
the places of anger, longing, sadness, and forgetfulness.1989
NCGA CADRE Show San Jose, CA Four computer controlled mannequins each
a fictional life event from a unique emotional perspective. Mannequins
were activated by a viewer's presence nearby. Movement to another
caused the new one to reflect on the utterances of the previous dummy
its own perspective. The mannequins seemed to be actively listening to
each other. 1988
SEED, SIGGRAPH Art
CA Four computer choreographed moving and talking robot arms simulated
demons in various world cultures and were periodically controllable by
audience via velvet squeeze rods. Robots spoke with processed versions
of audience voices. 1987
MERGE CSU Summer
program, San Luis Obispo, CA By reading the changing resistance of sea
water, the computer uses wave action to create a sound event of
spatial location and digitized combinations of the viewers' voices with
sea mammal sounds. Prototype installation was built as invited
for summer arts festival. 1987
STRANGER, WELCOME TO
HALL, SF Arts Festival. 1986 Interactive robots used synthesized
and computer controlled video switching to simulate bureaucrats.
for City Hall lobby for festival.
|SYNTHETIC SPEECH THEATRE, CADRE
Festival, San Jose, 1986. 4
computer personalities conversed with viewers via synthesized speech
voice recognition. Computer enabled each voice to come from its own
PARADE OF SHAME, SF Cable TV & SIGGRAPH Art Show, 1985.
and visitors to the art show affected computer graphics via calls to
automatically processed by my computer program. Participants' choices
the pace, process and direction of evolution affected the unfolding
|TIME ENTITY, SJSU and SFSU
Galleries, 1983-84. A computer
sound representation of an artificial, time-sensitive lifeform
with viewers in a forest installation allowing them to send messages
in time and to inspect specific moments in its life history.
|FLASHLIGHT THEATER. Art
Institute of Chicago. 1984. Audience members shape evolving
narative by activating fictional characters speech by pointing
flashlight at speaker boxes on the stage.
1982. Invention of a technique applicable to various types of
whereby electronic circuitry produces sound, light and other effects in
response to various inputs such as touch, position, sound, time, touch
in Venture magazine as patent of the month)
|COMPUTERIZED STREET EVNETS.
1981. Bookspace Gallery, Chicago. Storewindows of gallery
respond 24/7 to passersby touch and to passing car lights. Four events
include: 1. Sound event with notes activated by touch spots. 2.
Audience graphic vote - algortihmic graphics voted on by passersby -
resulting graphic is composed by most popular elements to that moment.
story with narative choices seleted by passersby. 4. performance events
passersby to take actions by running to nearby landmarks.
Stephen Wilson, Professor
Conceptual / Information Arts Program
Art Department/ 1600 Holloway, San Francisco State University/, SF, CA 94132
(415) 338-2291 Email to swilson(firstname.lastname@example.org)
Url of this page: http//:userwww.sfsu.edu/~swilson/