Printed from www.flong.com/texts/publications/pub_npar00/
Contents © 2020 Golan Levin and Collaborators
Golan Levin and Collaborators
Peer-Reviewed Publications
- Peer-Reviewed Publications
- Essays and Statements
- Interviews and Dialogues
- Catalogues and Lists
- Project Reports
- Press Clippings
- Lectures
- Code
- Misc.
- 11 2006. The Table is The Score: An Augmented-Reality Interface for Real-Time, Tangible, Spectrographic Performance
- 05 2005. Sounds from Shapes: Audiovisual Performance with Hand Silhouette Contours in The Manual Input Sessions
- 05 2005. A Personal Chronology of Audiovisual Systems Research
- 06 2004. In-Situ Speech Visualization in Real-Time Interactive Installation and Performance
- 09 2000. Painterly Interfaces for Audiovisual Performance (MS Thesis, MIT)
- 06 2000. Instruments for Dynamic Abstraction
- 04 2000. Tagged Handles: Merging Discrete and Continuous Control
- 04 1999. Bringing Sketching Tools to Keychain Computers with an Acceleration-Based Interface
- 06 1998. Image-Based Modeling and Rendering of Architecture with Interactive Photogrammetry and View-Dependent Texture Mapping
Instruments for Dynamic Abstraction
Reference
Snibbe, S. and Levin, G. "Instruments for Dynamic Abstraction." Proceedings of the First Annual Conference on Non-Photorealistic Animation and Rendering, Annecy, France, June, 2000.
Abstract
The history of abstract animation and light performance points towards an aesthetic of temporal abstraction which digital computer graphics can ideally explore. Computer graphics has leapt forward to embrace three-dimensional texture mapped imagery, but stepped over the broad aesthetic terrain of two-dimensional interactive dynamic abstraction. Several experiments in using pure human movement as the interface to dynamic abstract systems are presented with the goal of creating phenomenological interfaces that engage the unconscious mind directly. These applications are visual instruments that allow immediate understanding of a dynamic system, but point towards infinite challenges in their mastery as any good artistic medium. The lessons from these experiments can be applied to computer animation, human-computer interface and the aesthetics of time-varying light.
Download
[1.53 MB pdf]