Exhibited at the Ars Electronica Festival in Linz, Nicafreeware is a mixed reality audiovisual photo that explores the hyperreality of success, through a novel system that engages the viewer with the experience of winning a Golden Nica at Ars Electronica. The audience faces an augmented reality utopia, where a Golden Nica simulation appears in their hands, viewed on a mirrored screen interface. Sound and visual effect further augment the simulation. The work references the emergence of open source freeware, particularly social applications and their implications for individual identity construction and validation attainment.
Post-bio-Production Avatar as Artist
This series of poems makes use of standardized communication methods, primarily the UTF-8 character set and the NATO Phonetic Alphabet. As with all language systems and methods of communication, the cultures using them often evolve in a way that renders new meanings and values being placed on particular aspects to them. The NATO Phonetic Alphabet was developed by The International Civil Aviation Organisation in the 1950s in order to account for discrepancies that might arise in communications as a result of multiple alphabet naming systems coexisting in different places and organizations. The words were chosen according to the simplicity of pronunciation across a range of languages, however this proved to be a problematic process and the selected words prove rather intriguing in the way they were all modified, both in their spelling and pronunciation.
This series of works experimented with the relationships between code and printed output, using the most ubiquitous digital formats: the UTF-8 universal character and transformation format and Rich Text File (.rtf) format to do so. UTF-8 has become the most popular character encoding format since around 2007 and is therefore is an integral actor within the development of personal online identity networks (in other words in data body banking) and, with the advent of micro blogging and SMS text messaging, is now rivaling /superseding oral speech as the predominant language of our time. The title WTF-8 makes reference to the modern phenomena of flexible text based messaging that is popular with digital natives today.
The paper will address social online engagement in 3D environments, particularly Second Life through the SLARiPS (Second Life Augmented Reality in Physical Space). The project aims to explore ideologies of post human existence, particularly notions of identity and the authorship of created content in 3D online platforms. This is achieved through the bridging of virtual and physical space, via an augmented reality application that allows for data exchange between it and Second Life incorporating XML RPC and PHP communication between Linden Scripting Language (LSL) and the ARToolkit (in collaboration with the OSG SWIG Python wrapper). This paper examines the mixed reality visualisation techniques for SLARiPS and the cultural significance of the outcomes.
The system uses an XML RPC to link an augmented reality application with Second Life via a PHP server. This pipeline allows for a method of real-time transfer of 3D visual material, linking the body with the augmented and virtual representations of it. The use of real CT scanned organs with fiducial markers and proximity tracking adds to the viewer’s experience of agency within the processes involved in the simulated organ trade and in the process of media art creation, display and dissemination.
Promethean Organ Trade is an artwork that juxtaposes data mining and organ trade in order to articulate relationship between and the vagueness of information relating to both. Both these phenomena are actively proliferated, at the cost of (usually unsuspecting and vulnerable) individuals. The victims of these crimes often are without a voice and thus these violations of personal property are rarely included in the mass media. Contributing to this, is that much of this predatory behaviour is facilitated by large concentrations of power (at the very least, in comparison to their victims) and due to this the reporting of such incidents often places journalists in a potentially dangerous position (and due to the sensitive nature of the crimes, the reporting of cases are often censored to the point of silence).
This project was developed during the Liminal Screens Co-Production Residency at the Banff New Media Institute (BNMI), The Banff Centre, Canada. Promethean Alchemist is a mixed-reality, interactive data transfer system that engages participants in mythological creation and DNA sequencing. In collaboration with Oron from artistic life sciences laboratory, SymbioticA??? at University of Western Australia, biological DNA is translated into computer data using DNA sequencing technology. The DNA sequencer uses a silicon based semi-conductor camera to view sections of the DNA chain no bigger than 300 nanometers across. The camera optically reads the segment to determine which of the basepairs A,C,T, or G it contains. Computer software can then translate the biological DNA into digital code which is then further manipulated into visual representation in the ARToolkit. The code is visualized in the form of classic double-helix DNA images, which re-enter the physical world through an XML RPC (Remote Procedure Call) interface. That is, paper cards with pixel markers are monitored by the system through figure recognition and proximity tracking as the participant moves them around the space. When two sections of DNA are brought into close proximity, the system recognizes their proximity and ‘splices’ (combines) the data set into one. Thus, wearing a HMD (Head Mounted Display) and using these cards, participants are able to pick up segments of DNA in mixed-reality space and throw them into the ‘mixing pot’ (visualized as a brazier burning with Promethean Fire) to create constantly evolving artificial life forms. Participants are able to create life in an augmented environment and then retrieve their creation in the virtual. Here they can export the form to 3D printing or animation platforms.
Moleculargraphica was a collaborative project conceived during the Australian Centre for Virtual Art Laboratory (ACVALab2010), developed at The Banff Centre during the Banff New Media Institute Liminal Screens Residency, and showcased in the inaugural exhibition for the New IBM Exhibition Space located in Second Life (SL). The original title for the exhibition was Liquidity and my collaborator was Australian interactive media artist Glyph Graves. The exhibition ran from 25 May to 21 June, 2010. My contribution to the exhibition was primarily focused on a section called Cells, which immersed the viewer into a sea of single-celled organisms. This SL exploration of cellular life went beyond simple SL representation of something which is normally invisible in real life: Moleculargraphica transposed the movements of a RL colony of Protozoa, located at Curtain University’s Studio of Electronic Art, into the exhibition in SL. I gathered samples of microorganisms from local Perth ecosystems and isolated particular microcommunities in a Petri dish back at the Electronic Art Lab. Using motion tracking via digital microscopy I was able to capture the movement, division, size, and reproduction of these organisms. These data sets were streamed into Processing using TUIO where the data was cleaned up, converted into a set of coordinates and ID numbers and streamed through to SL’s Linden Scripting language using Java XMLrpc where Glyph could translate it into SL existence.