a real-time interactive installation that visualizes a dialogue between
physical and digital senses of “touch”. The installation consists
of a screen that works as artificial skin, onto which hyperstereo skin-related
video imagery is projected. The imagery is accompanied by a generative
composition of digitally manipulated and synthesized skin sounds: porous
breathing, the friction of skin on various surfaces, and synthesized representations
of the electrical impulses inherent in skin at the molecular level. These
skin-derived media serve as an exploration of a new territory: the intersection
of the human body as landscape/mindscape and the body’s own traces
By reacting to physical interaction with the screen, the skin-derived
media are virtually deformed by the participating audience. Physical gestures
are translated into accentuated and non-literal digital deformations of
the projected imagery while new sounds, both organic and synthetic, are
added to the mix to accompany these deformations.
Sound composition & design: John Kannenberg
The artist acknowledges Robert Kooima for his technical expertise, wonderful guidance and help
Lighting: Stephen Cady
Special thanks to: Dana Plepys, Sabrina Raaf, Dan Sandin, Daria Tsoupikova,
the Electronic Visualization Laboratory (EVL), the School of Art and Design
(UIC), Anastasios Golnas, Kimon Kostis and Cole Krumbholtz
skin is a VR installation displayed on a C-Wall
system and it is developed on Electro.
Electro is an open-source application development environment designed
for use on both cluster-driven tiled displays and desktop systems. Electro
is based on the MPI process model and is bound to the Lua programming
language. With support for 3D graphics, 2D graphics, audio, and input
handling, Electro provides an easy-to-use scripting system for interactive
applications spanning multiple processors and displays. Electro supports
Linux, Windows 2K/XP, and Mac OS X.
Hyperstereo imagery is shot using High Definition video cameras.
design and editing is completed in Mac OS X using Bias’ Peak and
Apple’s Soundtrack for editing, and Propellerhead’s Reason