List of interactive artists. This is a list of interactive artists who work primarily in the medium of the interactive art. B[edit] C[edit] Thomas Charvériat D[edit] Mark Divo F[edit] H[edit] I[edit] Toshio Iwai J[edit] K[edit] L[edit] M[edit] Machfeld N[edit] P[edit] R[edit] S[edit] T[edit] U[edit] Camille Utterback V[edit] Bill Vorn See also[edit] References[edit] Normal Flora. EDDO STERN. Prof. Steve Mann. IEEE International Symposium on Technology and Society hydraulophone installation at Ontario Science Centre (pictured here with EyeTap wearable computer) Director, EyeTap Personal Imaging (ePi) Lab Director, FL_UI_D Laboratory Dept. of Electrical and Computer Engineering Computer Engineering Research Group University of Toronto 10 Kings College Road; office = Room 2001; Mailstop S.F.
Email to username "mann", at the domain of "eecg.toronto.edu" harmonic telegraph, telephone, phone, or whatever you like to call it: (416) 946-3387, fax: (416) 971-2326 Comparametric Equations (the mathematical theory of computer mediated reality) Wearable Intelligent Signal Processing: Lead article from Proceedings of the IEEE, Nov. 1998, Vol. 86, No. 11, cover+p2123-2151 (scroll down to the feature article of Feb.'97) The complete article is also available from: The chirplet transform Prof. Lostworks « Lostwax. Pictures - "Dance" and Cyborgism - Montreal Dance. Digital Dance: Does New Media Work With or Against Dancers? - Montreal Dance. “For centuries, dance has been an intimate marriage with music and has included the visual elements of sets, props, costumes, and lighting to enhance the body in space” (Dixon 39) but “as society changes, it reframes dance.
Today, dance is framed by the technology that surrounds us” (Wolfram). Dance on its own is a pure and natural form of art, using just the human body, but dance performances require technical assistance at the very least including audio equipment for music and stage equipment for lighting and backdrop. The technologies of a dance performance often get forgotten or ignored because the focus is on the human body and its capabilities, but this is not always the case. In the 1980s and 90s dance started embracing emerging media technologies to make their performances innovative and new. It is at this point when “computer technologies played a dynamic and increasingly important role in dance” (Dixon 1). What is all this saying? Works Cited Bary, Jeffrey. Citron, Paul. LPP: Repertory. Cinderbox 2.0 2012, Spring to Dance Festival - Dance St. Louis Lucky Plush Productions revisits the distinctive world of its critically acclaimed Cinderbox 18 (2007, Museum of Contemporary Art Chicago) with a fresh spin.
Taking a cue from media's voyeuristic approach to "reality," Cinderbox 2.0 explores the comedy and anxiety in our hyper-networked culture through a fragmented narrative, witty commentary, and a performance that blurs the distinctions between observer and observed, personal and presentational, scripted and off-the-cuff. The Better Half 2011, Museum of Contemporary Art Chicago This lively spin on the noir classic Gaslight playfully captures the claustrophobia, escapist tendencies and resilience in domestic relationships, in a dance theater language full of surprising turns and contemporary resonance.
If...Then I Am Here Info coming soon... In the Middle, Somewhat Replicated Habituation 2010, Spring to Dance, St. Punk Yankees 2009, The Dance Center of Columbia College Cinderbox 18. /// BABY-Q /// English - WORKS. +++++Nibroll's works+++++