Social Hardware

The device will output haptic feedback such as vibration, temperature and different LED color while a user enters emoticons in IM.

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As each new 'seed' is planted and grown, sculpted and played, this garden becomes both a musical instrument and a composition to be shared with the rest of the network. Every inhabitant creates, not just as an individual composer shaping their own themes, but as a collaborator in real time who is able to improvise new soundscapes in the garden by cooperating with other avatars from diverse geographical locations. Virtual participants are fully immersed in the garden landscape through the use of passive stereoscopic technology and spatialized audio to create a networked tele-immersive environment where all inhabitants can collaborate, socialize and play. Guests from across the globe are similarly embodied as avatars through out this environment, each experiencing the audio and visual presence of the others.

::: [Project Related Links]:::
               [synthecology project site]
               [project wiki-internel]
               [Electronic Visualization Laboratory] (EVL)
               [Images - Synthecology at Wired NEXTFEST]
               Conference: the Engineering Reality of Virtual Reality 2006
           
              
::: [Online Reviews/Publications] :::
             
                Online WIRED Magazine, June 2005
                Turbulance, Network Perfomance
                EYEBEAM reBlog
                EVL
                Univ of Southern California
                Uber.tv
                we_make_money_not_art
                Media Teletipos
                EYEBEAM reBlog
                Hispasonic

The participants breaths out into a straw that a tiny microphone is attached and a bubble appears in the virtual space. They can actually grab and throw it to the virtual wall. During this process a perl script automatically sends a ping message to a random IP address on the internet and then get the average delay time. A reverberation max patch(customized sound software) receives this parameter, and use it to change the resonance of the audio sound files of the bubble when the bubble hits the wall and bounces back and forth.

::: Special Thanks to James Lee, Noah Shibley, Ben Chang, Ellen Sandor and Applied Interactives

::: [System Requirement] :::
             
             Redhat Linux 7.3 Operating system
             CAVElib 3.0 & trackd 5.0
             SGI Performer ver. 3.X
             YGDRAGIL ver. 0.1.11
             Open Dynamic Engine (ODE)

We have specifically selected the medium of Virtual Reality for this work in order to fully engross participants in the experience by allowing them to create their own personal narrative -              creating not a 'virtual reality' but an interpreted reality. Special Treatment creates a landscape where glimpses and fragments of the structures of Birkenau establish a foundation for the changing cultural memory of that place. The immersive experience allows each participant to inhabit the scene of these events, and as they leave the evidence of their own actions and thoughts, Special Treatment is continually transformed into a new cultural record. Here is how that transformation works: each time an individual enters the VR environment of Special Treatment, they encounter evidence of those who entered the piece before them. This is evidenced not in artifacts, but through the visual solidity of the surrounding environment; which gains substance the more often it is visited and steadily fades away as it goes unvisited. Additionally, each participant is invited to add their own thoughts and memories to the environment through the placement of a stone which marks each individual's recorded contribution. In this way, Special Treatment goes beyond the monuments of historical objects or architecture by creating a commons for the oral history of all individuals who experience the piece. By allowing each participant to make concrete their own memories or thoughts as part of the piece, Special Treatment becomes not just a representation of the collective public consciousness but may begin to affect the very cultural ether from which it springs.

             [Reviews]

            
Michael Workman, "Eye Exam:Hotel Birkenau," New City Press, Chicago, Jan 2005

YoungSun Han, "Virtual Immersion: Getting Special Treatment", Fens Magazine, Feb 2005

The substance that we use is a nontoxic invisible contamination simulation powder. This powder, when placed on objects, or people, is easily transferable to other things that come into contact with it. When the powder is exposed to UV light, it becomes visible, in bright fluorescent colors. There will be a few who individuals coat their hands with this powder, each in a different color, at the beginning of the day. These few artists play the role in society as a starter and transmitter of the social virus of ideas. Then through out the day, these people "network" with the other people at VersionFest 04, leaving their own colored residue on everyone they interact with, and those people who have interacted with them intern pass on the colored residue to others. Thus potentially by the end of the day, almost everyone could be carrying some of this colored powder on their body. During this time we will set up a booth where people can come and see if they have become part of a social network, and which social network they are part of. Some people or possibly many people may even have multiple colors on their hands, depending on just how social they are.

During the transmission process, there are different kinds of social interaction involved consequentially or inconsequentially. It symbolizes that artists and audiences
presence and participation as performers whether they know or not.

As a result of this performance, thevisual map of spread vector will show the a multi-layered spectrum of physical/virtual or online/offline networked systems through which social interaction is taking place in real time.

Distributed computing is a form of computing that allows for the creation of massive parallel processor computers. The individual user installs a client software program, that will receive over the internet a small part of a much larger problem, which it will then compute while the user is away from their computer. Famous examples of this would be the SETI@HOME research for extra terrestrial life program or for calculating the next largest prime number.

For this project, I explors the idea of This project explores the idea of Massively Multiplayer Online Music Synthesis and Tele-Collaborative Synthesis System. It is possible by using MAX objects called, 'netsend/netreceive' and 'Open Sound Control.' They are a protocol for communication among computers, sound synthesizers, and other multimedia devices that is optimized for modern networking technology. I create two kinds of MAX patches. One is a server (Screenshot 2, 3)and the other is client(Screenshot 1) side program. The users can download the client patch, change its parameter, and then a server computer that runs a server side patch synthesizes my Granular MAX Patch through the internet. This project allows many participants to play their client patch on their own machine and can be happened in geographically different locations. (i.e. Chicago to New York) Sound is transmitted along an Internet path in the from of small-sized packets of audio samples emitted at regular intervals.

A company called Dynamic DNS Service that allows the my server computer to alias a dynamic IP address to a static hostname in any of the many domains. The hostname that I am using is '****** .dnsalias.org' and along with a specific set of port numbers. The port number can be open when the user connects to my server computer.

In this example only netsend / netreceive are used but many other programs are capable of opening TCP/IP network sockets and could be used as well. The only one port number can be open at the time in my patches. Ideally, several clients can connect to one netreceive or to different netreceives as long as they listen on different ports.

Shows: Chicago Tourist Center 2005, The School of the Art Institute of Chicago 2003 (Art & Technology Department display case, 4th FL)

“Once Chuang Tzu dreamed he was a butterfly, a fluttering butterfly. What fun he had, doing as he pleased! He did not know he was Tzu. Suddenly he woke up and found himself to be Tzu. He did not know whether Tzu had dreamed he was a butterfly or a butterfly had dreamed he was Tzu. Between Tzu and the butterfly there must be some distinction. This is what is meant by the transformation of things.”
-Chuang Tzu (286 BCE) Translated by Patricia Ebrey

My holographic work presents a visual language, which can only be completed and made meaningful by the viewer. My holograms do not stay quietly on the surface. When a viewer stands in front of my work, the image of the Buddha transforms, moves in three-dimensional space, appears and disappears, changing in color and meaning.

In the “Holo Buddha” series, a statue of the Buddha is placed on top or behind each hologram. The Buddha silently observes himself within the hologram in an infinite temporal loop, as the hologram links the contemplative figure with the process of its production and reception. The viewer, suddenly seeing their reflection in the mirror, realizes that their own image has been projected onto the mirror in front of them with the ‘Holo Buddha’.

[Holo Buddha I, 2003]
Denysiuk Reflection Hologram, Double Exposure
4” x 5” Slavich PFG-01 plates developed with CWC2 and Pyrochrome Bleach.
Experimented with a double exposure reflection.

[Holo Buddha II, 2003]
Denysiuk Single Beam Reflection Hologram (Motion Side Up)
4” x 5” Slavich PFG-01 plates developed with CWC2 and Pyrochrome Bleach.

[Two Faces, 2003]
Denysiuk Reflection Hologram, Single Exposure
4” x 5” Slavich PFG-01 plates developed with CWC2 and Pyrochrome Bleach.
Experimented with two light sources.

I create this project for Light Experiment show at the School of the Art Institute of chicago. I am interested in using laser light and its patterns, as a medium that can create extraordinary phenomena/experience for audiences. The two light bulbs are placed in the center of piece and are modulated by a timer circuit, and sensors (photocells). Hacked audio devices, motors, old speakers accompanied by loud glitch sound make three laser lights and mirrors vibrate. This creates diverse/abstract laser patterns to the walls and my sculpture. By using these elements, I would like to represent an organic form such as a jellyfish. My piece is consist of technological means, such as an electronic circuit, sound and light source to evoke the prehistoric time when people believed that objects could refer to the perfect sprit of the gods or the consciousness of the senses like seeing and hearing. Three elements, bubbly sound, abstract laser patterns and an artificial jellyfish object, recreate sensory experiences for audiences. These cause the audience to get the feeling of the prehistoric period and totemism

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