So, I have reached my final blog of the CRE101 series. Firstly, thank you for taking the time to read each and every one. I hope you learned something new. For this final blog, I am going to talk about the future of creative technologies. I will be covering interactive performance, interaction in architecture and generative art.
Nowadays, interactive performance usually involves individuals interacting in a real time environment, producing a unique audio and visual output. One popular program that allows for interactive performance is Cycling 74’s Max/MSP. Having some experience with Max myself, I am aware of the interesting visual and auditory outputs achievable using sensors and actuators. There is a unique package known as Vizzie within Max that contains a number of very interesting visual effects that can be controlled by sensors such as distance, light and pressure. For interactive performance, an element of projection mapping is involved, that is, the process of turning objects and surfaces into display surfaces for video projection.
As you can see from Figure 1, projection mapping creates this augmented reality for the individual and audience. Depending on the commands used, the visuals can be quite stunning. Moving forward into the future, I believe artists will move away from traditional art forms and move towards artistic display through augmented and virtual reality. As technology advances, the artistic potential will only increase.
Interaction in Architecture
When it comes to interaction in architecture, Miguel Chevalier is perhaps one of the greatest artists of his era.
Figure 2 above shows a piece from Chevalier’s work. Here in Cambridge, a projection of the cosmos onto a Cathedral amazed visitors. During this particular exhibition, a relaxing audio track played in the background as visitors wandered around, looking into the cosmos. The combination of the visuals and audio created a very ambient setting for the audience. The key with this sort of interaction is that it relies on architectural features, thus expanding the range of opportunities when it comes to producing a unqiue audio/visual output. By using cameras and motion sensors, one can program the visuals to react to the users movements in reality, giving them a sense of control over the artistic output. Chevalier has also utilised the idea of the next topic, generative art. He has produced real time projections of sky charts onto buildings. Again, this produces an interesting visual for visitors.
This is art which generates constantly thanks to mathematical algorithms that are established by a program. Generative art really encompasses the notion of interactive displays. In my view, generative art can lead to some really impressive outputs and some not so impressive ones! Depending on the algorithms used. I know for instance that one can establish an automated system that randomly generates an algorithm, which in turn randomly generates a visual output. I believe generative art appeals to a wider audience than traditional forms due to its unique method of creation and output. When combined with interactive performance, you can really achieve some very impressive outputs.
Looking ahead, I predict massive leaps in technology over the coming 10 years. I fear technology for artistic output will be neglected however I am confident there will be those dedicated to the cause, to continue to develop technologies like AR for audio and visual outputs that are interactive. I’ve already discussed in a previous blog about the future of technology, particularly around A.I. and the potential advantages and disadvantages of it. I would strongly encourage you to take a look at previous blogs.Once more, thank you for joining me on this short journey, I hope to continue long into the future.