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External Measures Camille Utterback, 2001 |
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| This interactive installation explores the possibilities of an projected kinetic sculpture that responds to people's positions and movements using video tracking. The kinetic sculpture is a projected image, but the positions, velocity, and existence of various parts of the sculpture image depend on people's positions and motions in the space in front of the projection. Some responses are direct and immediate, other types of sculptural momentum develop over time based on the overall flow of people in the space. | ||
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Liquid Time Camille Utterback, 1999-2001 |
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| Liquid Time is an interactive installation in which a participants physical motion in the installation space fragments time in a stored video clip. A participant's movement in the space is tracked by an overhead video camera. As the participant moves closer to the projection screen they push deeper into time - but only in the area of the screen directly in front of them. As they move away the fragmented image heals in their wake - like a pond returning to stillness. In the Liquid Time installation, the interface of oneās body - which can only exist in one place, at one time - is the means to create a space in which multiple times and perspectives coexist. The resulting imagery can be described as video cubism. | ||
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see/saw Camille Utterback & Adam Chapman, 2001 |
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| "See / Saw" is an interactive installation in which visitors' manipulations of a real see-saw control the fluctuation of power and emotion in the story of an intimate relationship. A pair of words are projected on the walls behind each person on the see-saw - one word from each pair on the wall behind each person. As visitors see-saw up and down, new pairs fade in and out based on the angle of the see-saw. Participants' motion also causes an audio track heard through speakers embedded in the see-saw to advance. When participants stop the see-saw moving, the audio fragments into an up and down segment heard by the up and down participant respectively. The audio clips relate to the projected word that each person can see, and the up or down position in the narrated relationship. This piece along with "Come to Pieces" - an interactive video portrait, were created during Chapman and Utterback's month long artist residency at Grand Central Art Center in August 2001. | ||
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Come to Pieces Camille Utterback & Adam Chapman, 2001 |
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| "Come to Pieces" is an interactive video installation in which a fragmented video portrait of gallery visitors is generated in real time from four different live camera feeds. Imagine seeing yourself from four different angles at once. Four views are contained within the single image of yourself-a sort of Cubist mirror. "Come to Pieces" is a single mirror folding in upon itself to contain multiple perspectives, mapping different points of view on one fluid image. This piece along with "See-Saw" was developed by Chapman and Utterback during their month long artist residency at Grand Central Art Center this August. | ||
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Drawing From Life Camille Utterback, 2001 |
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| 'Drawing from Life' is a unique interactive experience for museum visitors - offering them a immediate self-reflective experience at the end of an exhibit packed with information and difficult social issues. The 'Drawing from Life' interactive installation uses custom video processing software to turn a live video of museum viewers into a life size projected image in which viewers are composed completely of the letters that represent DNA. Flickering 'A's 'T's 'G's and 'C's dance on a dark background mirroring viewer's motions and gestures in real time. The letters are color coded to match colors that scientists represent them with, but vary in saturation to match the light levels in the incoming video. Physical characteristics of individual viewers are abstracted, but recognizable. The interaction is transparent and fluid as viewers recognize and play with their transformed images. | ||
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Arc Tangent Camille Utterback, 2001 |
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| A multi-user video tracking installation that generates interactive spirograph-like shapes on a round horizontal projection surface. The imagery is projected down from the ceiling onto a flat circular projection surface (or table) approximately 5 feet in diameter. Projected interactive drawings are composed of abstract shapes and lines. The drawing is based on the number of people around the circle, and changes based on their positions and distance from the circle. The piece cycles through a number of different drawing modes including a mode that connects everyone around the circle with modulating lines, and a mode where people can play a game of "pong" with each other around the circle. The piece explores visual relationships among the positions of a group of people. | ||
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Luminous Flux Camille Utterback, 2001 |
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| The Luminous Flux installation represents moving vertical edges in an incoming video signal in one color, and moving horizontal edges in another. As participants interact with the piece in real time, the visual accumulation of their motions is output to a monitor or projection screen. A magical and fleeting effect is created as abstract traces of time are captured and then fade slowly away. Everyday trajectories of limbs and bodies are frozen for a moment - allowing us to briefly glimpse their beauty | ||
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Visual Resolve Camille Utterback, 2000 |
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| In the Visual Resolve installation, live video of participants is recreated out of a series of small icons or images loaded into the installation. Participants encounter a live but abstracted version of themselves on a projection screen. The reconstructed imagery reads on two levels - the level of the icons, and the level of the overall image. This translation contains both less and more visual resolution than the original video. It is easy to load new icons into the program, so many variations of Visual Resolve are possible. The piece becomes a tool for artistic exploration. | ||
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Written Forms Camille Utterback, 2000 |
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| Written forms maps three separate texts, one each, into the dark, medium and light areas of a live video. When viewed from a distance this collage of words melts into the recognizable image of people in the installation space. By moving their bodies to reveal different parts of the text, participants can actually decipher words and meaning in the various layers. Noise in the incoming video signal causes characters at the edges of color boundaries to flicker - creating new words and new meanings at the boundaries of the texts. | ||
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Composition Camille Utterback, 2000 |
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| The Composition installation turns live video of participants in an installation space into imagery completely composed of text. Participants in the installation interact with a live projected version of themselves where a real-time video image of themselves is literally "composed" out of text characters. Composition examines how areas of an image can carry multiple weights - their symbolic value as text characters, and their light or dark value as part of the overall composition. | ||
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Text Rain Camille Utterback & Romy Achituv, 1999 |
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| Text Rain is a playful interactive installation that blurs the boundary between the familiar and the magical. Participants in the Text Rain installation use the familiar instrument of their bodies, to do what seems magical - to lift and play with falling letters that do not really exist. In the Text Rain installation participants stand or move in front of a large projection screen. On the screen they see a mirrored video projection of themselves in black and white, combined with a color animation of falling text. Like rain or snow, the text appears to land on participants' heads and arms. The text responds to the participants' motions and can be caught, lifted, and then let fall again. The falling text will land on anything darker than a certain threshold, and "fall" whenever that obstacle is removed. | ||
