Time is our measure of a constant beat. We use seconds, minutes, hours, days, weeks, months, years, decades, centuries, etc. But what if we measured time against rituals, chores, tasks, stories, and narratives? How can we use our memory, prediction, familiar and unfamiliar narratives to tell time?

As a child, I remember using the length of songs as a way to measure how much time was left during a trip. A song was an appropriate period to easily multiply to get a grasp of any larger measure like the time left until we arrived to our grandmother’s place. The length of a song was also a measure I could digest and understand in an instant.

The first iteration of Cinematic Timepiece consists of 5 video loops playing at 5 different speeds on a single screen. The video is of a person coloring in a large circle on a wall.

The frame furthest to the right is a video loop that completes a cycle in one minute. The video to the left of the minute loop completes its cycle in one hour. The next completes in a day, then a month, then a year.

Through various iterations, we intend to experiment with various narratives and rituals captured in a video loop to be read as measures of time.

The software was written in OpenFrameworks for a single screen to be expanded in the future for multiple screens as a piece of hardware.

Cinematic Timepiece is being developed in collaboration with Taylor Levy.

Download the fullscreen app version [http://drop.io/cinematicTimepiece#]

P.Life is a large scale interactive screen designed for the IAC’s 120′ wide video wall. In the world of P.Life, Ps run across the 120′ screen frantically moving material from one house to another. Along the way, Ps exchange pleasantries (based on text message inputs) as they pass by each other, offering a helping hand to those in need. The landscape shifts and jolts based on audio input from the audience, tossing Ps into the air. Playful jumps into midair often end in injury, forcing them to crawl until a fellow P comes by to help out.

Features
Text messaging to create new characters of different sizes and dialogues.
Audio input to influence landscape
Performance backend to influence landscape
Ps move with life-like motion as they walk, jump, fall, run skip, crawl, carry boxes, push boxes, etc.
P.Life is written in OpenFrameworks and uses the Most Pixels Ever library

By Che-Wei Wang and Jiaxin Feng
Live Music by Taylor Levy

photos by wuyingxian

P.Life is a large scale interactive screen designed for the IAC’s 120′ wide video wall. In the world of P.Life, Ps run around growing, living, and dying, as the landscape continuously changes creating unexpected situations challenging their existence.

Scenario
Screen fades from black to dawn and rising sun along a horizon. The bottom third of the screen shows a section through the landscape cutting through underground pipes, tunnels, reservoirs, etc. Towards the top the surface of the landscape is visible as it fades and blurs into the horizon and sky.
A few Ps wander around the flat landscape. A number appears on screen for participants to send an SMS message to with their name. As participants send SMS messages, more groups of Ps appear on screen representing each SMS and wander across the landscape. The landscape begins to undulate as the audience interacts with the screen, creating of hills, valleys, lakes, and cliffs. Ps running across the landscape fall to their death as the ground beneath their feet drops or ride down the side of a hill like a wave as a hill moves a cross the screen like a wave. Ps that fall to their death slowly sink into the ground and become fertilizer for plant-life, which is then eaten by other families of Ps allowing them to multiply.

Features
SMS listener to make new families of Ps
An array of IP cameras to transmit video for screen interaction
Background subtraction to capture the audience’s gestures
or Open CV with blob detection or face detection to capture the audience’s gestures
or IR sensors to capture the audience’s gestures
or Lasers and photo-resistors to capture the audience’s gestures
Multi-channel audio triggers for events in P-Life based on location
Background elements and landscape speed through sunrise to sunset in a 3 minute sequence
Ps with life like motion as they walk, jump, fall, grow, climb, swim, drowned, die, stumble, flip, run, etc.
pixelated stick figures? large head?
Simple 8bit game-like soundtrack
Various plant-life grown from dead Ps

Precedents
Lemmings, N for Ninja, Funky Forrest, Big Shadow, eBoy, Habbo

Technical Requirements
IP camera array
Mulit-channel audio output

FeedBack PlayBack is an interactive, dynamic film re-editing/viewing system that explores the link between media consumption and physiological arousal.

This project uses galvanic skin response and pulse rate to create a dynamic film re-editing and veiwing system. The users’ physical state determines the rhythm and length of the cuts and the visceral quality of scenes displayed; the user’s immediate reactions to the scenes delivered, feeds back to generate a cinematic crescendo or a lull. This project exploits the power of media to manipulate and alter our state of being at the most basic, primal level, and attempts to synchronize the media and viewer– whether towards a static loop or a explosive climax.

In a darkened, enclosed space, the user approaches a screen and his or her rests fingertips on a pad to the right of the screen. The system establishes baseline for this users physiological response, and re-calibrates. Short, non-sequential clips of a familiar, emotionally charged film– for example, Stanley Kubrick’s 1980 horror masterpiece “The Shining” –are shown. If the user responds to slight shifts in the emotional tone of the media, the system amplifies that response and displays clips that are more violent and arousing, or calmer and more neutral. The film is re-edited, the narrative reformulated according to this user’s response to it.

Feedbak Playback is by Zannah Marsh and Che-Wei Wang

CFOF is an audio to visual translator that maps audio frequencies and volume onto a minimal surface (Catalan’s Surface).

Audio history is viualized and recorded onto the outer rings and move towards the center over time. The overall geometry is also affected by the audio input as high frequencies adjust parameters to expand the Catalan’s surface, while low pitches do the opposite. Real-time frequencies and volume are displayed as ripples in across the entire surface.

Download: cfof02app.zip (mac)