This project uses Wekinator to classify webcam inputs to control the main sketch which is an interface that draws pictures on swinging double pendulums arms.
When webcam hovered, everything stops. When my head is in the center, the arms extend and swing based on the time elapsed. When my head heading right, the center of the arms walks randomly. When heading left, the background picture switches.
The initial idea is inspired by the color scheme generating interfaces. There is a sort of similarity between the color pointers and the physical arms. This project is meant to be a bridge between motions and colors to present a sense of inherent connection between the interactions of the human body and of colors.
The performer on the stage will interact with the giant projection behind him/her. The playground is a particle system associated with colors. Particles with colors, like splashed inks, generating from pointed positions. Such particles will blend together when collided with their colors blended also. For the performer, there are two major means of interaction — motion and voice.
The spreading and gathering of the arms (maybe the head and legs also if feasible) will affect the orientation and radius of the selection points. That is, the hue of the color depends on the orientation of the segments of the body, and the brightness depends on the degree of extension of the body. The saturation might depend on the speed of movements, but there are lots of possibilities left for exploration during the implementation.
My current thought on incorporate voice is to control the color wheel. The pitch and loudness can be used to somehow control the rotation and scaling of the color wheel, which is the exact movement of “Color Wheeling”.
For aesthetic concerns of the performance, instead of giving the performer the direct control over the color scheme, some common color schemes might be hard-wired into the algorithm to support the narration of exploring the interaction of colors.
Kiori let us explore our body in ways that people normally wouldn’t have a chance to try. The evoked feelings are definitely illuminating, in terms of the different possibilities and alternatives for interactive pieces to approach the audience.
I incorporated FaceOSC with a pattern generating sketch. The mouth height controls the speed of the generation; the face orientation controls the pattern orientation; the “face found” boolean clean the canvas.
In this chapter, Stern refines the methodology of analyzing and criticizing interactive art pieces. He concludes that the traditional critiques “tend to stop” after the examination of the artistic inquiry and the description of the piece. To complete the “Implicit Body Framework” that he defines, the inter-activity and relationality of a piece also have to be paid attention to and carefully examined, particularly in the context of interactive arts. These two latter areas would help us fully appreciate and extract the essence of an interactive piece.
Face & Palm is an interactive installation that projects the user’s face onto his/her hands. It is intended to simulate the interaction of looking down on reflective surfaces with projection mapping on hands. The user will be immersed in the surreal experience of the on-hand mirroring effect.
Trying to scaling my project down a little bit, I decided to focus on the video mirror projection on hands. During the first working weekend, I finished extracting a single facial image out of the webcam and feed it to a dummy sample figure of a hand. So far the work is all done with Processing without experiments with the spacial and physical projection mapping.
For the midterm installation project, I want to build a projection wall that empowers the body motions with graphical and sound effects. This means using conventional or depth cameras and other interesting sensors if possible to track the motions and give certain gestures meanings in a responsive and visual way. To the audience, an effective way of poetic representation of the motion can be powerful.