This fourth precedent is being posted because Ishin-den-shin was already used and I wanted to be sure to have three new ones. This technology can turn anything into an instrument by picking up on the way that the object being used as an instrument is being touched. Like Ishin-den-shin, this project has something seemingly low-tech do something unexpected and truly immerses the user in the experience by having them be directly involved.
“Tape Recorders” – MCA Sydney (2011) by Rafael Lozano-Hemmer from bitforms gallery on Vimeo.
Tape recorders extend or recoil based on the participants interactions.
Also maybe check out “This Years Midnight”
“A 33-day-long version of Dennis Hopper’s 1988 film Colors.”
Untitled from Oscar Peters on Vimeo.
This is simply a chainsaw activated by the participant. It inhabits the space both physically and aurally however in both cases eliciting fear from the user.
Also see Chopper and SugarStorm
” In a tightly choreographed show, light is sculpted around the room using mirrors and spotlights by a dancing troupe of LED drones built and programmed specifically for the show.”
Pulse Room by Rafael Lozano-Hemmer from MUTEK on Vimeo.
“A sensor records the pulse of the public and converts it into light flashes shown by incandescent light bulbs. At any given time the room shows the heartbeat of the 100 most recent participants.”
An immersive narrative where the participants go on a journey of sights(and lack thereof), sounds, smells, and guided experience .
“Krakowiak transforms the pavilion space into a vibrating structure of sound that picks up on the noise generated by neighbouring pavilions (Egypt, Serbia, Venice, Romania) via microphones installed in the floors and ventilation, heating and sewage systems. Visitors can “eavesdrop” on all the different sounds emitted from these other pavilions as evidence of the typical workings of the building and human activity, heightened by the effects of speaker systems, mixers and amplifiers. The intimacy of personal space is broken down by making all types of sounds available to a larger public, no matter how unpleasant, uncomfortable or plain embarrassing.”
“Philips Pavilion / Metastaseis B”, Iannis Xenakis (1953-58)
Using his architectural and mathematical knowledge, Xenakis composed Metastaseis, this composition was later used as a blueprint to construct the Philips Pavilion, which was in turn used to spatialize sound.