A large part of our artist residency has been spent in the microscopy labs in the Science & Engineering building, learning how to use the electronic microscopes to capture the very fine details of plants that cannot be seen with the human eye.
Are you a professional working in visual art, interactive design, science communication, digital storytelling, software engineering, data visualisation or games design?
Do you want to push the boundaries of your practice and develop an innovative project on one of the world’s largest interactive display spaces?
If answered ‘yes’ to the above – it is time to start your application for The Cube’s 2018 Artist in Residence program!
What a year it has been! We can’t believe we’re already half a decade old.
The Cube just turned 5, and what better way to celebrate than taking a look at some of the highlights of the past year.
Georgie Pinn’s Cube Residency
Cube Resident George Pinn brought a unique flare to The Cube, developing an immersive and interactive project entitled Echo. Echo used facial tracking technology, animation and sound to explore notions of empathy and shared identity.
Image © QUT. ECHO
“Empathy is about finding echoes of another person in yourself.” Mohsin Hamid
Here we are, the final Echo reverberates across The Cube in hybrid glitch form.
The photo booth is installed, the virtual mirror throbs in anticipation and the Echo character maps across the space. She navigates us, “Come closer” she says, you are now part of something bigger”.
The last month has seen many creative and technical developments, including the integration of the narratives. They began as fiction and ended as readymades. Real intimate stories from real people. Through the mirror our storytellers confide in you, the user, revealing moments of their lives where they have suffered or overcome hardship. As their narrative unfolds the features of your face slowly morph into their face. They operate you with their expressions and leave you placed firmly in their shoes. This intimate experience forces us to relate and connect with those outside of our normal social sphere. Narrative has long been a tool for empathy, awareness and social change, Echo intends to push this further still by immersing the viewer visually as well as through the imagination.
A month under my belt and still two to go. The project is growing limbs by the second and each day seems more exciting than the last. Tech wise our facial tracking application is well on the way to having the main functionality working smoothly. Here’s a taster video of the first stage recorded live from the application with a few treatments added.
The next stage is user interface design and narrative content. It’s time to bring fiction, drama and sound to the work so you might see me cruising around Kelvin Grove campus collecting and researching personal stories. Don’t be shy, come and say Hello and get involved in my project.
Over the next three weeks I’ll use this research to write some intimate stories with the help of the creative writing and drama students. These narratives will be integrated into the final user experience where you literally see through someone else’s eyes, kickstarting the empathy engine..
Still so much to do but with the support of The Cube and the Creative Industries team, anything is possible!
I’m a multimedia artist completing a residency at The Cube for the next three months.
I studied Vis Arts at QUT way back in the 90’s and since then I have been travelling across Europe and Australia making audio visual work for both stage and screen. 17 years later I’m back and with my geek on…
Here’s a link to my Showreel if you’re interested: https://vimeo.com/159136216
My creative practice has, for many years, used technology to explore notions of physical and emotional empathy. Here and now I’ll be developing a project called Echo. Over the next few months I’ll be designing elements and software for an interactive installation that is a morphing virtual mirror. The viewer will be able to customise an interchangeable avatar and fragment and mix their own face with the features of other people and animals, creating a range of morphing hybrid personalities. We’re also developing a real time facial tracking application that copies your expressions as you wear anothers face or multiple faces.
I want to explore how we respond to our face being fragmented and manipulated by others and if it is possible to build community by developing a truly ‘shared’ identity? Does a combined identity extend the parts of us or dilute us? What can we learn about narcism and empathy through this experience? And what can we learn about micro expressions?
Two weeks in and already progress is being made within Unity, the game engine we are using to build the software. I’m also loving getting lost in transmission chaos land of animated glitch fragments! Here’s a video link to some animation tests I’ve been playing with: https://vimeo.com/203231463
In April the installation will run and the animated portraits will be installed into The Cube with an event that showcases the application as a live tool for Public performance.
Will tune in again soon, hope to face mosh with you…
My residency at The Cube concluded last month with the opening of my piece The Changing Room.
How would you like to feel? What if you could make it happen with a touch of a screen? What would you do with complete control over your own emotions and those of the people around you?
The Changing Room is a custom software installation and performance that allows participants to select one of hundreds of emotions, evoking that emotion in them and everyone in the space through a layered environment of light, visuals, sound, text, and interaction exhibited over a multi-level, many-sided display. Dealing with themes of surveillant architectures, social technologies, and smart homes, the piece simultaneously invades and cares for the emotions of passersby.
Upon entering the main space, you are confronted with the question, “Do you want to feel?”, and you are given the opportunity to select the emotion you’d like to experience.
The Changing Room then gets to work trying to make everyone in the space feel that emotion as intensely as possible.
Every zone of The Cube becomes active with different instructions, graphics, and activities that it guides passersby through. In one zone, your voice is interpreted as animated objects moving around the screens. If you touch them to pop them, a command is released instructing you to “hug the person next to you”, or “curl up into a ball”.
People in the booths are confronted with a monolithic block that slides back and forth roulette style, randomly choosing a booth to light up with an instruction intended for that group.
On the second floor, your body position is analyzed as you’re guided through a series of positions and contortions. The process of assuming the various positions is designed to evoke the emotion that’s been selected in the main space.
In another zone, ambient sound and voices are picked up by a series of microphones distributed throughout the area and analyzed. Depending on the currently selected emotion, you are instructed to adapt yourself to “share your feelings”, “calm down”, or “express more joy”.
The opening was accompanied by a special performance and dinner during which participants were fully immersed in The Changing Room. Performers took cues from The Cube and worked to amplify the emotions and guide conversation around themes of surveillance and social technology.
The evening concluded with a series of toasts to the future. While participants felt a mix of hope, fear, and ambiguity, I think we all left with a sense of open curiosity and questioning.
The Changing Room was created in collaboration with Sean Druitt, Ryan Bargiel, Allan Bishop, Samuel Collins, Daniel Fisher, Simon Harrison, Brian Jeffery, and the rest of the QUT Cube Team, and Andy Bates and Yu Kao. Performers included Viv Coburn, Brittany Hurkmans, Jacob Nye, Tiffany Symons, and Jackie Taylor. This project was completed as part of a TRANSMIT³ Residency at The Cube, QUT. The residency is presented by Ars Electronica and QUT.
Thank you QUT for having me and supporting this project! I am back in the states now and missing Australia already.
Photos by Kyle McDonald
Ars Electronica Q&A with Lauren McCarthy about her Transmit³-Residency: The Changing Room.
Designer, artist and programmer Lauren McCarthy explores the structures and systems of social interaction, identity as well as self-presentation and the potential of technology of how it can influence the dynamics between those traits. During her Transmit³-Residency she wanted to find out about the influence of Big Data on the togetherness in front of The Cube.
Hi, Lauren here. I’m wrapping up my two month TRANSMIT3 Residency at The Cube and next Thursday 11 August will be the official opening of the new piece I’ve been working on with the team.
The event will feature an interactive performance installation in which we dine together in a near future where we change feelings like channels on a TV, swipe left for nostalgia, swipe right for glee, and follow each other as The Cube tracks us all.
Stay tuned for my last blog post which details how this event plays out.
It’s been a busy few weeks at The Cube. I started with a few workshops with kids thinking about ‘homes of the future’. Participants imagined the toys they’d play with, clothes they’d wear, rules they’d follow, and robots that would serve as caretakers. They learned to code using p5.js, a platform for building interactive artworks online, and built their own rooms of the future which we combined into a one big apartment building.
While reflecting on things learned in the workshops, I also worked with The Cube team to rig up The Cube space with extra sensors and create a system that links all the zones of the space with the data being collected as people move through it. We started with some basic tests to see how it felt to control the movement of objects on the screen with our bodies.
After some experimentation, I landed on the idea of turning The Cube into a sort of emotion machine. People will be asked to determine how they would like to feel, and The Cube will get to work molding the feelings of everyone around it into the desired emotion.
We began with some tests of the interface to select emotions. I want it to have the feeling of an ice cream store with hundreds of flavors. Each one you pick brings on an entirely different sensation.
In the next few weeks, we’ll be developing the content and interactions much further and I’m planning a final performance that will happen over dinner at The Cube next month.