Month: June 2022

On the definition of the digital media art project, the testing of the artefact is the sixth step within the a/r/cographic methodology. As I previously did, I leave a recap for those who are not familiarised with what I am talking about. Inspiration: here and here Trigger Intention Concept: here and here Prototype This entry has the goal of listing the improvements and modifications for IMWYM 2. The list gathers the experience of live testing the artefact I’m Watching You/Me during the congress ARTECH (Olivero & Araújo, 2021). In addition, it also considers what I have researched since then, current research goals, published articles, methodological requirements, etc. IMWYM 1st edition Current requirements and new features Narrative/development Interaction/evolution Experience/fruition Conclusion: IMWYM 2nd edition References https://lufo.art/wp-content/uploads/2022/06/IMG_0171_AdobeExpress.mp4 Figure 1 – Testing the artefact the night before the exhibition IMWYM 1 I introduced the functioning of IWMYM 1 on my previous entry:  This first version of IMWYM introduced the innovation of allowing live spherical drawing (IN-1, IN-3) and its parallel VR visualisation (OU-1). Through a mobile phone (IN-4), the user interacted with the visual sphere either while I was performing a live drawing session or while an already existing drawing was selected as input. Hence, the artist draws in equirectangular projection using either traditional (IN-1) or digital techniques (IN-2, IN-3) while visitors interact with the camera’s position (IN-4). Both artists and visitors watch the VR results through OU-1. Previously, I explained that IMWYM 1 was more a prototype than a fully developed artefact. Indeed, within this first installation many things resulted rudimentary and clumsy, there was a total lack of artistic concept and narrative, and a certain distance from a wide methodological approach for art-practice-based research due to IMWYM 1’s technical focus. Therefore, I will develop now those issues and problems, which were mainly found during the exhibition. Furthermore, I will give a possible solution for each issue, aiming to implement them on IMWYM 2. Figure 2 – I’m Watching You/Me. 1st edition. Aveiro, Portugal, Congress ARTECH, 2021 Current requirements and new features During the intention stage, I mentioned two versions of the artefact to be considered, where the first one is:  V1 will be the MVP (minimal viable product), thus the functional version for the Retiro 2022. In detail, this version focuses on the subjective reading, i.e., the phenomenological social reading (Lee, 1991, pp. 347–348, Olivero, 2022, p. 8) (…) the artefact has the goal of understanding how visitors relate a visual artwork with a musical expression. Hence, for defining a new version for the digital media art project, I will consider the live testing of the artefact during the congress ARTECH 2021. In such an opportunity, I had the occasion for testing the artefact which helped me to find many issues, such as functional, aesthetic, interaction, concept, etc. Furthermore, since I started with IMWYM in 2021 I have developed plenty of new research, specially for the Digital Media Art Program DMAD. For example, I have explored new topics such as specific methodologies for art-practice based research. Based on that, I narrowed some methodological definitions for the current research (see this article). Finally, I also published two peer-reviewed articles about IMWYM (Olivero & Araújo, 2021, 2022).  Hence, considering: the experience with the live testing of the artefact, methodological definitions, articles’ reviewers notes, articles’ developments, the current state of the art, research goals, visitors’ feedback, I do a list of critical points for improving the first prototype and for focusing its use within the field of digital art.  Since I have already divided the intentions for this project within the sets of narrative/development, interaction/evolution and experience/fruition (see this article), I will focus the issues within the same axes. Figure 3 – Testing and setting up the artefact Narrative / Development issue / problem Missing concept. The 1st edition of IMWYM was fully aimed to show a technical advancement. Indeed, there was neither a clear artistic concept nor a definition of a certain narrative. As seen during the previous entries, the new edition should hardly focus in the artfulness of the hybrid immersive models. Therefore, both concept and narrative are critical improvements this time for integrating IMWYM with the goals of my art-practice-based research. draft solution Critical issue. IMWYM 2 would not have any sense without this definition. Therefore, I have developed [IN]musicality for solving it. The concept allows an exploration of the artefact from an artistic point of view. In detail, it focuses on the visitor’s experience while interacting with a special set of media made by Hybrid Immersive Models. Thus, the artefact has the goal of understanding how visitors relate a visual artwork with a musical expression. Missing narrative. The exhibition of ARTECH 2021 followed the narrative within the curatorship “Contingency”, by M. M. Lopes (Lopes et al., 2021, p. VII). However, the artefact was simply “included” within it, yet neither limited nor oriented towards any kind of specific direction by the narrative of the curatorship. Note, that this lack of narrative was both in relation with the general exhibition, and within the use of the prototype. Meaning with the latter that there was no evolution during the interaction with the artefact. Critical issue. IMWYM 2 will be presented as part of the shared exhibition [IN]tangibilidades digitais. The narrative invites participants to come across matters inherent to working with digital art through the exploration of the tangible / intangible binomial: near / remote; palpable / impalpable; probable / imaginary; in / out. The game of digital intangibilities challenges the “definition of things through their perception” (Borges, 2017), and instead, it proposes to perceive what is not perceived: the intangible. [IN]musicality will be part of the collective exhibition [IN]Tangibilidades Digitais Exhibition sheet (EN) [IN]musicality will be part of the collective exhibition [IN]Tangibilidades Digitais Exhibition sheet (PT) Figure 4 – The narrative of the exhibition [IN]Tangibilidades Digitais has been defined in collaboration with a collective of nine artist Interaction / Evolution issue / problem Not available front-ed interface. This is necessary for a more efficient and simplified operation, for example, for switching or adding inputs. In particular, the requirements for v1 is an interface for: Giving access to drawings and musical inputs. Interacting with the VR drawings while listening to music. Pairing a certain music with a certain drawing. Conducting a survey to determine the socio-phenomenological conditions of the reading. draft solution Critical issue. The interface is the connection…
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On the definition of my digital media art project, and aiming to complete the a/r/cographic methodology, I will develop the prototype. For those who are not familiarised with what I am doing and talking here, you can follow the recap that follows. A/r/cographic methodology for the definition of a Digital Media Art Project: Inspiration: here and here Trigger Intention Concept: here and here For writing this entry, I switch back in time to October 2021 when I presented the artefact I’m Watching You/Me or IMWYM for short (Olivero & Araújo, 2021). Understanding and documenting this 1st prototype with the current knowledge and methodology, will be the base for the development of a 2nd edition. Hence, I intend to present IMWYM 2 at the Retiro DMAD 2022, as the corolary of this PMAD.  IMWYM 1 Components Functioning Mixing inputs Interaction Innovation Conclusion References Figure 1 – First prototype of the digital media art project IMWYM 1 IMWYM is an artefact for enhancing the use of Hybrid Immersive Models within the field of digital arts. The aim of IMWYM is to stimulate the under-explored form of expression that spherical perspectives represent by facilitating, demonstrating, opening, and extending their use both with general applications and in particular with digital art live presentations. The first version that I present today, focused on the live execution of spherical drawings for an audience. Within this first prototype many things resulted a bit rudimentary, due that some parts were not fully developed for many different reasons. However, this 1st edition also achieved great goals, such as the effective demonstration of one possible way to achieve spherical drawings for an audience in a performative setting with concurrent interactive live feed of the VR visualization. Components The components of IMWYM 1 were: IN-1: a physical drawing (a paper on the wall) IN-2: a digital drawing (either from a drawing pad or a tablet*, or from a drawing software such as Eq A Sketch 360) IN-3: a pre existing equirectangular media (drawing, picture, or video) IN-4: a mobile phone with movement and location sensors IN-5: a high-resolution camera OU-1: a projector OU-2: an external monitor* * These components were not used during ARTECH 2021 due to logistical issues. However, they were both available and functioning, as it can be seen within the video below. Figure 2 – I’m Watching You/Me. 1st edition. Aveiro, Portugal, Congress ARTECH, 2021 Functioning The basic functioning of this first prototype is divided in three parts: The artist (AR-1) chooses one medium between IN-1, 2 or 3 based on a personal preference.  The software captures (through IN-5) and converts the equirectangular media into a classical perspective, which is shown on the screen (OU-1). A visitor interacts with the visual sphere by sending position coordinates from the mobile phone (IN-4). The following video shows the functioning and characteristics of the artefact. Furthermore, it also exposes how to interact with the visual sphere using the phone. Finally, there are some drawing examples both my own and from students. Mixing inputs The inputs are media generated either with traditional (IN-1) or digital techniques (IN-2, IN-3). IMWYM 1 focuses on the use of drawings, although we can also use photos and videos as long as they follow the equirectangular projection (Figure 3, left).  A very important feature that IMWYM 1 introduces is the possibility of mixing inputs. Indeed, through TouchDesigner’s interface we can select up to three parallel inputs. Meaning, I can compose an equirectangular drawing interactively and on-the-fly together with another artist or visitor. Finally, the VR environment results a superposition of the different inputs, and it can be seen through the output screen (OU-1).  Some examples of mixed interactive compositions could be:  360 video (IN-3) + Physical drawing (IN-1) Physical drawing (IN-1) + Digital drawing using Eq A Sketch 360 (IN-2) Equirectangular picture (IN-3) + Digital drawing using a drawing pad (IN-2) + Physical drawing (IN-1) 3 different inputs A handmade physical artwork created on-the-fly An existing media A drawing made with software (Eq A Sketch 360) One of the features of IMWYM is the possibility to mix inputs on-the-fly Figure 3 – Selection of inputs Interaction If the artist chooses IN-1, then camera IN-5 captures the drawing on-the-fly. Thus, the software converts and mixes the inputs, and streams the result in VR modality through OU-1 (Figure 4, left). If the artist chooses IN-2 or IN-3, it has visual feedback both in VR modality through OU-1, and in equirectangular mode through OU-2. OU-2 improves the interaction by separating the interface from the software drawing board of IN-2. A visitor VI-1 interacts with the visual sphere through a mobile phone IN-4. Effectively, this can be done either while I perform a live drawing session or while the artefact shows an already existing drawing (Figure 4, right). IN-4 sends OSC data to the software through compass and gravity sensors. Every new position of the phone updates the camera within the virtual sphere, thus discovering a new part of the drawing.  Finally, OU-1 shows the result in VR modality with a Field of View previously set (e.g., at 60º), i.e., the spherical perspective is converted in a moving linear perspective according to the camera’s position. IMWYM allowed live spherical drawing and a parallel VR visualisation The artist draws in equirectangular format, and another user interacts with the mobile phone Interaction The visitor interacts with the visual sphere sending OSC from the mobile phone to the software Figure 4 – Interaction Innovation For producing this prototype, I considered the state of art for different spherical perspectives (equirectangular, azimuthal equidistant, cubical) and the software available for their practice. Within that state of the art, IMWYM highlights its utility introducing the innovation of allowing live spherical drawing and its parallel VR visualisation, a task for which there were almost no software options in October 2021 (Olivero & Araújo, 2021). I composed IMYWM 1 using the free non-commercial version of TouchDesigner. I choose this node-based programming before entering a pude coding stage. This way, I managed to do a general evaluation of the workflow with the great versatility of TD. The exhibition during ARTECH 2021 allowed me to see the reaction of the public, to gather some very important opinions about the artefact’s usability and perception, and certainly, to detect issues and problems. For example, it was a big challenge to migrate the software at the…
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