Videowalk - urban audiovisual interventions Bert Bongers Interactivation Studio University of Technology, Sydney Faculty of Design, Architecture and Building 702-730 Harris St. Ultimo, NSW 2007
[email protected] required improved interaction. One of the reasons the iPhone is successful is that it has some improvements in this area, through the multi-touch screen and motion sensor etc. This leads to a research area with the aim to design and develop better interfaces for navigation and manipulation of media content (addressed by the instrument part of the project).
INTRODUCTION
This paper is about an instrument and an idea. The idea is that due to the omnipresence of cameras people take from their environment (photos, video, audio recordings) but hardly ever give anything back. It is easy to capture, but presenting the content back to the environment is a lot more limited. One can show for instance pictures of a recent event on the screen of the camera or mobile phone, or computer screen, TV’s and projectors mainly indoors. To address this asymmetry, the Videowalker project has been developed, as an instrument, and an idea. It aims to address the urban space (and the natural environment) with audiovisual material, responding and reflecting on the context.
The second research area covered in this project is the extended use of display technology to present the multimedia material in new contexts. Following on the trend of the omnipresence of portable display devices, are portable projection devices. The first hand held LED projectors have appeared, and there are even media players and mobile phones with this technology built in. Years ago I started to be interested in what happens if we can project images in our environments. Projectors are often fixed in lecture rooms and offices, and their design is not very flexible, but with some effort and perseverance I found they can be taken out of their intended contexts. First working with long cables, it was found that many surfaces were suitable to project on buildings, trees, fields, cars.... When I first walked out of a building carrying a battery powered projection set up it felt like a liberation. At the same time, one could say that liberating the projector is an act of interactivism.
Increasingly we express ourselves through pictures and video, mediated by technology. This is a new mode of expression, within the visual modality in which writing, drawing, painting, gestures, mimicking, and sign language fits. As a researcher I am interested in new ways of video-expression. Only in the last years it has become common that we show to other people pictures and video not only using computers, but also using portable devices such as cameras, PDAs and mobile phones (particularly the iPhone is a good example). Screen quality is getting better, allowing sharing media content. This brings videoexpression in the social and informal context, where quick access to the media is required to allow for spontaneous communications. Improving the interface to allow quick and intuitive navigation through pictures, videos (and sounds), and manipulation of these media I think it is important to explore what it means to project our images in our environments, what the experiences are both as a presenter as well as ones audience (these roles are not fixed but could rotate as in traditional inter-human communications). The project is an example of a design
OZCHI 2009, November 23-27, 2009, Melbourne, Australia. Copyright the author(s) and CHISIG Additional copies are available at the ACM Digital Library (http://portal.acm.org/dl.cfm) or ordered from the CHISIG secretary (
[email protected]) OZCHI 2009 Proceedings ISBN: x-xxxxx-xxx-x
1
exploration taking place before and during technological innovations, rather than technology driven developments put on the market and then see what people do with it.
for these events), and decided to carry the presentation in using the Videowalker instrument. During the interval before the scheduled talk, I also walked around mingling with the audience and projecting around them, on buildings and inside spaces. At the end of the interval I made my way back inside and started the presentation. Through a wireless microphone I connected to the PA system, the slides (with video, images and sounds) were projected from the equipment carried in a smart Crumpler bag. After the presentation I walked out again. The interaction in this version was limited, the slides were on a times (as is compulsory for the Pecha Kucha format), I had a volume control, and could switch to a video which I used for the walk (a underwater video of feet walking).
The instrument consists of a backpack containing the battery and convertor, loudspeaker and a laptop. The computer runs a Max/MSP/Jitter patch which plays video images and sounds, controlled by sensors which are mounted on the projector which is carried by the player. A walk can last up to 45 minutes, the typical battery life. In the technology section below the set up described in further detail. BACKGROUND
The Videowalker set-up was first developed during artist residencies in Spain in 2003, based on the live-video instrumental set-up for performances and research [Bongers and Harris, 2002] [Harris & Bongers, 2002]. Several walks were carried out in natural settings, such as a beach which can be seen in the picture below.
In the recent years I have increasingly worked with urban projections and interactive video presentations, particularly those on an architectural scale. Using relatively strong projectors (4000-5000 Lumens) and special lenses a sense of immersion can be achieved without losing touch with the actual physical environment - my aim is to complement rather than replace the natural or architectural space. This is described and discussed in depth in a recent publication [Bongers, 2009].
The instrument was further developed for performances in the urban and built environment. Later in 2003 I was involved in a duet with two players in Maastricht in a 3000 m2 disused gallery space. In 2004 and 2005 the instrument was used as part of performances with the Meta-Orchestra, a multi-disciplinary ensemble. The performances usually involved audience movement to participate in a distributed set-up of networked performers. In the 2005 event in Belgium, in a deserted industrial building (under renovation) of 20,000 m2 the set up was extended with a wireless camera streaming images back to the main performance space. All these events are described and discussed in a chapter of a recent book. [Bongers, 2006]. The idea of an audiovisual intervention was further explored in presentations in Sydney in 2009. Preparing for a public talk I trialled the set up in the faculty, creating a video-trail through the building and delivering an invited lecture to 3rd year Interior Design students. The public talk was for a Pecha Kucha event on 2 April 1 2009 . I prepared my 20 slides of 20 seconds (the format 1
RELATED WORK
Using projections to address the urban (and to a lesser extend natural landscapes) has become increasingly common in the recent years. after pioneering work by Rafael Lozano Hemmer, the collective Graffiti Research Lab (visiting the Australian Network for Art and
See www.pecha-kucha.org/cities/Sydney.
2
Technology ANAT in Adelaide in 2008) and others. Festivals such as Glow in Eindhoven, the Netherlands, and Smart Light in Sydney, and the Urban Screens conferences address the issues widely.
Performances took place on Saturday and Sunday (19 and 20 September 2009) evening at dusk. An audiovisual spatial composition was prepared after several site visits and rehearsals, placing image and sound material in specific locations. In many cases this involved moving the projection, as a ‘spatial phrase’ on a fixed location in the framework of the ‘spatial phrase’ of the overall performance. Performances lasted about 20 minutes, the audience following the walker and the audiovisual/spatial composition, starting around the symposium building and trailing through the park, addressing buildings, objects, landscapes and trees, leading to final position where the image would disappear in the water of Sydney Harbour.
In November 2008 I met the Minneapolis Art on Wheels group led by Ali Momeni at the Kitchen media lab in 2 Budapest, Hungary . They use a carrier frame on the back and a moving fixture for the projector, limiting the movement but improving the steadiness. There live drawing application and other work is very impressive. Jürgen Scheible, aka MobiLenin, is an active ‘tagger’ of mainly urban environments. I first met him in Denmark in 2004 when I did a presentation about the Videowalks and other projects. Recently, using a paint programme on the computer he projects colourful and shaped images on iconic buildings such as the Guggenheim museum in New York City, Federation Square in Melbourne, and got very close to the Opera House when I invited him to Sydney in October 2008. (We are a bit sad that the premiere now went to Brian Eno...). Jürgen uses a generator and a small but powerful projector, and a Nokia mobile phone (with the built in motion sensor) to control the computer generated images [Scheible and Ojala, 2009]. THE VIDEOWALKS
In this section the recent more structured Videowalks are presented, which occurred in the urban / nature environment with a specific audience of designers, architects, dancers, and urban interaction researchers.
design principles
3
The SEAM Spatial Phrases symposium addressed the relation between dance, architecture and cinema and brought together researcher and performers from all these disciplines. The symposium was hosted and organised by the contemporary dance laboratory Critical Path, the faculty of Design, Architecture and Building of UTS, and the University of Hertfordshire, UK.
The composition consists of projected material responding to or contrasting with the morphological or semantic characteristics of the environment. These principles were exemplified by contrasting nature and built environment, flat surfaces with textures, monochromatic areas with colourful lights, and static elements with movement. In some cases it the static form was animated with movement and creating a sense of depth. The other principle was to follow the inherent movement in the video with the movement of the projection. Examples of these principles are described below, and can be seen in the pictures (and video which will be available soon).
In addition to an academic paper I had submitted a proposal to deliver a Videowalk, which was selected. My aim was to link the symposium themes by moving around (not quite dancing), projecting moving images (extending cinematic notions), addressing the built and natural environment (with architectural elements).
For instance, the rather bland shape and corrugated iron clad structure of the venue building was contrasted by projecting footage of Antoni Gaudi’s architectures such as the fragmented tiles bench in Parc Guell, the rotational movement captured when descending the old spiral stairs of the Sagrada Familia eastern towers, or footage using the movement of a lift in Casa Batllo.
2
see http://kitchenbudapest.hu/en/node/578
3
See www.criticalpath.org.au/SEAM_screenings.html.
3
An impression of depth was created by using footage of driving through tunnels, and projecting those on the tarmac or on the grass surfaces (creating a semantic contrast).
Performance
Although all these placements of materials was precomposed, often improvisation was necessary for instance due to unpredictable audience movements and weather conditions. This is an important element of the performance. The instrument enables a fair amount of freedom in choosing and manipulating the image, using a switch pad for clip choice and speed, and dials for image size and sound level. The use of a circular projection shape rather than rectangular is an important step in the attempt to break free from the tyranny of the frame which we encounter in almost all visual representations (particular in digital media).
One wall was illuminated with footage of stained glass, and another wall was turned into a tree with a very loud parrot in it. Another contrast that was applied was the projection of subtly moving images of mountain ranges (Montserrat in Catalunya) on buildings, and footage of driving down dusty Australian country roads (with a high level of symmetry, related to the tunnel movies).
TECHNICAL SETUP
The system consists of a battery, convertor (12V DC to 240 V AC), projector, active speaker, laptop, and sensors.
At one location a spinning movement of the performer was carried out with a panorama video (shot from the top of a mediaeval castle in the Spanish Pyrenees) in such a way that the viewpoint remained in sync with the projection.
The projector is a Sony VPLCX21, XVGA 3LCD , producing 2100 ANSI Lumens. It is powered from a 12V 24Ah Lead Acid sealed battery (about a half a car battery in capacity and weight), converted to 240 V AC through an inverter. I use a true sine wave converter which is better for the sound system. The inverter is 350 Watt continuous power, enough for the projector which is about 260 Watt. The Sony projector has a special feature to protect the lamp, it has a built in battery which keeps the fan running for some minutes to cool the lamp down properly even if the power is cut, very useful in this context. The speaker used is a Genelec 8020A active studio monitor, powered from the main battery. The computer which plays the videos is an Apple MacBook Pro 17”, 2.6GHz Intel Core 2 Duo and 4 GB RAM, running of its internal battery. The software is a Max/MSP Jitter patch, reading the sensors and keypad, selecting and manipulating the media as programmed. The sensors are various Phidget USB modules, in this case two rotary encoders mapped to sound volume and image size, and a off the shelf numeric USB keypad, mapped to the video and sound effects in the Max patch. The sensors are placed on top of the projector in such a way that that can be easily manipulated. One side of the projector get particularly hot, which is a nuisance as it makes holding it (and the placement of the sensors) slightly awkward.
The final stage of the walk, at the end of the park and moving towards the water, footage was used of a person (me) diving and swimming under water in slow motion.
All the equipment except for the projector and sensors of course have to fit in a backpack. The lid of the computer has to be closed, and I use a shareware application called SleepLess from ALXsoftware to prevent it from going to 4
sleep in this configuration. This risks the computer overheating, and indeed I have noticed a slight degradation in video quality after a while.
Nash and Antony Gormley have managed to create that link, first between the man-made and the natural environment and then between that environment and the gallery or museum space. A recent publication and exhibition gives a good overview of such works in Australia, driven by John Kaldor [Forbat, 2009].
Addressing cityscapes involves the debates into urbanism and spatial compositions. Another strong reference is the Situationists idea of the dérive. In the case of the Videowalks, every experiment has the form of a performance and can have different modes. The most relevant mode is the composed walk, where a trajectory is established, image material prepared, and projection surfaces and objects identified such as presented in this paper. Another important mode is the more explorative walk, indeed like a dérive if in an urban setting, drifting and dreaming images on found surfaces. Both modes can be with or without an audience, in which case the relaying of findings through video coverage becomes even more important. There are many obvious connections between the Videowalks and graffiti art as a context of urban interventions [Dew, 2007, Peiter, 2009] and experiments in urban animations (see www.blublu.org). Rather than permanent (and therefore controversial and interpreted by some more conservative viewpoints as vandalism), the projected image is ephemeral, leaving no trace other than in the viewer’s memory. The picture shows the whole set up, except for the speaker which is normally place on top of the battery. The weight of the battery is 12 kg. (!), and the total of the gear adds up to nearly 20 kg. which may make the performer slightly unstable on the feet at times. ARTISTIC PRACTICES
The project is part of the broader research agenda which aims to study the interaction between people and their technological, urban and natural environments. The underlying research questions are addressed through artistic practice. This creates a setting for extensive and critical exploration, committing to entering a dialogue through the projected images and sounds with the environment.
DISCUSSION AND CONCLUSION
Taking the point of the last section further, we are indeed engaged in several explorations into using mobile projections or ‘projection bombing’ as a non-destructive way of urban expressivity as an alternative for (or complement to) graffiti. Some interesting issues remain however, I have often wondered what the people on the other side of the wall (inside the building) would think of the practice of projecting. This may be fine when it is an artistic expression, but what if it is political, or otherwise controversial, or even illegal?
Taking a live-video instrument set-up “for a walk” implies a reference firstly to Paul Klee who took the line for a walk, and links well to the theme of the SEAM symposium ‘spatial phrases’. Furthermore, inspiration and fascination with these mobile projection projects connects to my intense interest in Landscape Art, including the issue of how to represent this type of work to the audience [Kastner and Wallis, 1998]. It is interesting to see how artists such as Richard Long, Christo and Jeanne-Claude, Andy Goldsworthy, David
With the increased presence of projection power to the people, as envisioned and discussed at the beginning of the paper, these issues will need to be addressed sooner or later.
5
Some interesting scenarios are presented in the well known video by the MIT Media Lab by Pranav Mistry and Patti Maes, rather inappropriately called Sixth Sense (it is an output modality not a sense, and we know now we have many more senses than the classical five...). Although visually very convincing, the link between the data and presentation is fake which is a pity. It nevertheless shows another range of potential of this new way of expressing ourselves.
McDermott and Martin Fox for video coverage of the events, and Alejandra Mery Keitel and Frank Maguire for the photographs.
REFERENCES
Bongers, A.J. and Harris, Y.C., A Structured Instrument Design Approach: The Video-Organ. In: Proceedings of the Conference on New Instruments for Musical Expression, Dublin Ireland, 2002
In summary, the general questions and issues to address with this type of work and the project presented in this paper in particular are, what kind of content do we want to display, how to do we navigate through that content, and how to we manipulate this content. This is difficult enough in the existing situation, as addressed by the general research field of Human-Computer Interaction, but how is this going to work in a dynamic context and situation? To answer these questions research and explorations need to be carried out, further developing the actual interface, creating video-projection instruments that allow for profound forms of expression.
Bongers, A. J., Interactivation - towards an e-cology of people, our technological environment, and the arts. PhD thesis, Vrije Universiteit Amsterdam, 2006 Bongers, A. J., Audience Movements and Spatial Interaction - Interactive Video Installations addressing Architectural Space. Proceedings of the SEAM Spatial Phrases Symposium, Sydney, 2009 Dew, C. Uncommissioned Art, an A-Z of Australian Graffiti. The Miegunyah Press, Melbourne 2007 Forbat, S. 40 Years: Kaldor Public Art Projects. Art Gallery of NSW, Sydney, 2009 Harris, Y. C., and Bongers A. J. Approaches to Creating Interactivated Spaces, from Intimate to Inhabited Interfaces. Organised Sound Journal, 7/3, Special issue on Interactivity. Cambridge University Press, 2002 Kastner, J. and Wallis, Environmental Art,1998
B.
(Eds.),
Land
and
Peiter, S., Guerilla Art. Laurence King Publishing, London, 2009 Scheible J, Ojala, T., MobiSpray: Mobile Phone as Virtual Spray Can for Painting BIG Anytime Anywhere on Anything, Special Issue of Leonardo, The Journal of the International Society of the Arts, Sciences and Technology, Vol. 42, No. 4, pp. 332–341, 2009 ACKNOWLEDGEMENTS
Many thanks for the organisers of the SEAM conference for their support (Margie Medlin and Sam Spurr), Jason
6
