Fragments of RGB is an interactive Installation experimenting with illusion and perception. The classic LED screen as a medium was simulated and disintegrated by the creation of a pixel-like LED optic with the ability to change and transform with the viewer’s movement and, hence, his perspective and point of view. By Onformative Studio.

http://www.onformative.com

Are We There Yet? is a new media art installation in the San Francisco Contemporary Jewish Museum by Bay Area artists Ken Goldberg and Gil Gershoni that celebrates inquisitive impulse. An immersive sound environment, the installation poses questions from a variety of sources including the Talmud, literature, and popular culture. Questions vary based on visitors’ movement through the space.
Each visit is a unique mix of playfulness, poetry, and spiritual journey. A companion website, are-we-there-yet.org, presents live streams of videos and tweets, allowing visitors to suggest questions for the exhibition and to playfully explore the suggestions of others.
You can also download the iPod/iPad app, follow on Twitter @doyouloveme, or like Are We There Yet? on Facebook. Are We There Yet? encourages visitors to reflect on the rich history and future of curiosity.

http://are-we-there-yet.org

“CCTV chandelier – Virtual Doppelganger Simulator”, by Hwang Kim, is an interactive installation that can reflect viewer’s Virtual Doppelganger. You can look objectively into your self in a third person’s point of view. This machine have around 30 CCTVs surrounding and hanging near viewer’s face and engineering viewer’s experience to show there Virtual Doppelganger in the connected TVs. This wearable visual system then allows the participant to see his/her own body or the surrounding environment from a third person’s perspective. Therefore, you yourself, viewer and visitor is displayed as an object in the gallery.

http://www.hwangkim.com

For a limited time in February 2011, KWMC (Knowle West Media Centre), in Bristol, UK, hosted an immersive video installation, which questioned how proximity and distance can affect the way we perceive and interact with other people.
“Who Are You?” has been developed by KWMC’s resident artist Patrycja Cudak. At the opening of the installation, the viewer is asked to choose a character they would like to hear from. As the viewer crosses the installation space and approaches the screen on which the character is projected, the character’s behaviour, dialogue and body language will change. Each viewer will hear a personalised narrative and develop an individual relationship with their character, as a result of the unique movements they make within the installation space.
Patrycja said: “[in] building ‘Who Are You?’, I was especially interested in what happens to us when we make a close relationship with someone and suddenly discover that this person performs some unhealthy habits when no one can see. How do these people create their outer image? How does their performance change when we get closer to them? Can we ever know the truth about a person?”

http://www.kwmc.org.uk

Project GuitARS brings the rock out of your living-room! It is a game played with a guitar-shaped usb controller on a 5100m² LED facade. The player has to hit the buttons and stroke on the controller at the right time, depending on the falling blocks on the building.
The game was developed during the course “interface technologies” with Robert Praxmarer at the Salzburg University of Applied Sciences. Project GuitARS was written in Java, the controller input is piped via xpadder. A note-recording tool was written in C++.

http://artcore.mediacube.at

One Hundred and Eight, by Nils Völker is an interactive wall-mounted Installation mainly made out of ordinary garbage bags. Controlled by a microcontroller each of them is selectively inflated and deflated in turn by two cooling fans.
Although each plastic bag is mounted stationary the sequences of inflation and deflation create the impression of lively and moving creatures which waft slowly around like a shoal. But as soon a viewer comes close it instantly reacts by drawing back and tentatively following the movements of the observer. As long as he remains in a certain area in front of the installation it dynamically reacts to the viewers motion. As soon it does no longer detect someone close it reorganizes itself after a while and gently restarts wobbling around.

http://nilsvoelker.com

“Nemore“, by Fishing For Compliments, is a garden, consiting of 36 bendable graphite poles. “Nemore” senses the visitor. Each pole has a behavior and reacts to it’s neighbours only: and to the visitor, of course – the visitor acts an “alien neighbour”.
Does a system arise from the poles behaviour, that we (the observers and the visitor) perceive as angst, curiosity, nervousness, etc.? Each pole has a distinct sound, that builds up a chord, fluctuating in resonance with the movement of the poles.

http://vimeo.com/fishingforcompliments
http://fishing-for-compliments.net

Hard Drivin’ is a kinetic installation created by Ivan Twohig, Benjamin Gaulon and Brian Solon. The title of the piece references Hard Drivin’ a video game released in 1989. The game featured the first 3D polygon driving environment.
The installation involves radio controlled (R/C) cars that physically react to short messages (’tweets’) sent through the popular social networking site Twitter. The cars are placed on a 3d-like structure inspired by polygonal modeling. Anyone can participate by telling the cars to begin following another user, by sending a simple command inside a tweet.

http://harddrivin.com

Portrait Machine is an interactive photography installation that visualizes the connections between visitors. It makes these connections based on a number of features, such as clothing choice, hair color, facial expression, and composition within the frame. It presents both similarities and differences in these characteristics, remdining us of our connectedness and uniqueness, creating strong visual patterns and playful juxtapositions.
Portrait Machine was a collaboration between Theo Watson and with Kyle McDonald, and it was produced by Nina Meilof for CBK Amsterdam.

http://www.theowatson.com
http://rpi.edu/~mcdonk/

Sala de Máquinas (Engine Room) is an audiovisual interactive installation, which intends to reflect on the idea of the reutilization of what we have acknowledged as obsolete…in this case old modified TVs that react to sound. An electronic oscillator is connected to an open circuit, in a way that when the user touches 2 metal bars he/she himself/herself becomes the electrical resistance therefore being able to vary the frequency of sound. The old modified TVs react to this sound as an oscilloscope having all kinds of different patterns and reactions.
Authors: Daphne Polyzos, Jordi Planas, Miguel Neto, Rodrigo Carvalho.

http://www.visiophone-lab.com

[via triangulationblog]

The Conversacube, by Lauren McCarthy, is a small box meant to form the centerpiece of any conversation situation. The box sits in the middle of all conversants, with one face facing each person. Each outward face of the box has a small screen and a microphone embedded just inside. As the conversation progresses, each person is personally prompted with directions or lines to keep the conversation running seamlessly with minimal awkward or uncomfortable moments. The microphones monitor audio levels of each participant and the cube responds accordingly, adjusting prompts to enliven, mediate conflict, or balance conversation as necessary.
The intent is to create a tool that on one hand, is suggestive of an actual commercial product that uses technology to improve interactions, and on the other hand, is critical of our dependence on technology and choreographed social routines, hinting at a dystopic future where we sacrifice our autonomy to avoid having to face anything uncomfortable.

http://conversacube.com
http://lauren-mccarthy.com

The piece (by Daniel Franke & Christopher Warnow) is inspired by VR-sculptures, though technically and conceptionally transcending the helmet-like “90ies data-glasses”. The basic thought is to re-organise the relationship between “the viewer and the viewed” whose traditional functions are expanded technologically; the starting point however remains set in “real space”.
A portable screen is used to visualise the soundsculpture; a camera attached to the screen collects information of the space surrounding it from markers distributed on adjacent surfaces.
The screen becomes a transmitter superimposing a digital layer -the sculpture onto “real space” (the unmanipulated space that greets the naked eye). The process allows the viewer to abandon the passive position of the “merely on-looking” consumer; he is enabled to visually and acoustically intervene with the sculpture, to model and module it. His changing positions and movements affect the visualisations on the screen, rendering an “extended reality” accessible. The sculpture generated is individually linked to each observer and thus singular.

http://vimeo.com/7893992
http://www.daniel-franke.com
http://www.brian-steen.com/blog/

The MoshPit Amp, by Fur, is an automata that converts headbanging movements into metal music. Through style and intensity of your head banging, you are the conductor of a virtual metal band consisting of four instruments: vocals, bass, drums and guitar. you can control the volume as well as the pattern of each instrument to create engaging musical arrangements. If you mosh really hard you can trigger a guitar solo for the ultimate rock experience. Your performance in front of the amp will additionally be supportet by a lightshow with smoke, flash and pyrotechnics.

http://www.fursr.com

Cell Phone Disco, by Ursula Lavrenčič and  Auke Touwslager is a surface that visualizes the electromagnetic field of an active mobile phone. Several thousand lights illuminate when you make or receive a phone call in the vicinity of the installation. Cell Phone Disco makes an invisible property of the environment perceptible to our senses. It reveals the communicating body of the mobile phone.

http://www.cellphonedisco.org/

Notput, by Jürgen Graef and Jonas Heuer, is an interactive music table with tangible notes, that combines all three senses of hearing, sight and touch to make learning the classical notation of music for children and pupils more easy and interesting.
All basic clefs, note values and accidentals exist as single wood elements. Whole, half, quarter and eighth notes differ not only in their form, but also in their weight: Long note values are heavier than short ones.
The table has two modes: A standard mode, where you can place notes on the table in a playful and experimental way and explore the related music outcome. And an excercise mode, where excercises and tutorials sort by topic and difficulty have to be mastered.

http://www.jonasheuer.de/index.php/noteput/

They Watch, by Workspace Unlimited, is an immersive art installation with virtual characters literally watching visitors. Several duplicates of the virtual characters – one man, one woman, and both portraits of the artists – surround and interact with visitors, who are tracked as they move about the physical space, and even projected into the virtual space. Years of research and development with game-technology have resulted in a 360° audio-visual environment, exploiting a 15-meter-wide panoramic screen and a 32-channel sound system. The subtle collaboration of the real and virtual agents and environments conflate to engender a hybrid space where the observer becomes the observed.

http://empac.rpi.edu/events/2009/fall/workspace/
http://www.workspace-unlimited.org

Happiness Hat, a project by Lauren McCarthy, is a wearable conditioning device that detects if you’re smiling and provides pain feedback if you’re not. Frowning creates intense pain but a full smile leaves you pain free.
An enclosed bend sensor attaches to the cheek and measures smile size, a servo motor moves a metal spike into the head inversely proportional to the degree of smile. Through repeated use of this conditioning device you can train your brain to smile all the time. The device runs on Arduino.

http://lauren-mccarthy.com/happinesshat/

Cybraphon is the latest project from Edinburgh-based artist collective FOUND (Ziggy Campbell, Simon Kirby and Tommy Perman). Inspired by early 19th century mechanical bands such as the nickelodeon, Cybraphon is an interactive version of a mechanical band in a box. Consisting of a series of robotic instruments housed in a large display case, Cybraphon behaves like a real band. Image conscious and emotional, the band’s performance is affected by online community opinion as it searches the web for reviews and comments about itself 24 hours a day.

http://cybraphon.com
http://foundtheband.com

Composition with Javascript is an interactive work by Kostya Loginov and Vlad Yakovlev, made using HTML, CSS, Javascript and jQuery, based on Piet Mondrian’s “Composition with Yellow, Red, Black, Blue and Grey” (1920). It allows everybody deconstruct the original painting and form it again in whatever he or she wants. Lines are shiftable (just drag it with your mouse) and colours changeable (click on it). Texture of the painting was preserved for authentic look. One can play with composition, forms and colours, alter the harmony of the piece or even destroy it and compose something pictorial.

http://www.compositionwithjavascript.com

Lawrence Malstaf utilizes five fans and a walk-though PVC cylinder to create a localized cyclone. Thousands of bits of polystyrene fly about through the air, with the observer situated right in the middle of it all—literally in the eye of the storm. Regardless of whether he/she focuses on particles whirling all about or looks past the flurry of material off into the distance, the tempestuous circumstances seem to exert an extraordinarily calming effect. This high-energy spectacle suddenly becomes a uniform, almost spellbinding sensory impression.
“Nemo Observatorium” is the winner of Prix Ars Electronica Golden Nica for “INTERACTIVE ART” and it’s currently installed in Linz (Cyberarts exhibition, OK Centrum. 3-09-09 / 4-10-09)

http://www.fortlaan17.com/eng/artists/malstaf