Interactive Media Canvas
IRIS is a unique media canvas with expandable matrix of conventional informative display technology – a monochrome LCD. Through the phased opening and closing of circular-segmented black liquid crystal, IRIS can control the amount (size) of passing lights mimicking that of eyes, and create various patterns. IRIS is comprised of analogue pixel for visual simplicity and motion of halftone, using ambient light and color as part of its visual aesthetic, not emission of light itself. Linking to the Kinect, IRIS becomes an interactive media canvas which emulates the shape of viewers.
* Selected and supported by Da Vinci Idea Program – Seoul Art Space-Geumcheon, KOREA
Review by Fast Co.Design – This Giant Interactive Mirror Turns Viewers Into Pixels
Review by The Creators Project – Liquid Crystals Become A Beautiful Interactive Media Canvas
IRIS in Daegu Media Art ZKM (2013)
IRIS by HYBE (2012)
IRIS by HYBE(2012) #2
Interactive Media Installation
Such a sense of missing was a starting point of this work. In the installation, a space is formed around a tree and a printer at the end of each branch drops out messages left by audiences. One can sprout message by writing it or feel a delicate sense of communication by picking up one of the messages by others. In this way Leaf would like not only to generate interaction between the work and its audiences but to provide an experience of rapport among them.
Birch Plywood, Heavy Duty Thermal Printer, Tablet PC, Custom designed controller board / 350(W)x350(H)x350(D)cm
Art Director – HAN ChangMin
Technical Director – RYU SunWoong
Woodcraft – HODO Craft
LEAF 2012 / Prototype for initial Exhibition (shown in video)
Stainless pipe, Acrylic, Custom designed controller board, PC, Touch monitor / 300(W)x300(H)x300(D)cm
Art Director – HAN ChangMin
Technical Advisor – RYU SunWoong
Designer – KIM YeongHo, HWANG JaeWoong, SUH Wan
LEAF : Autumn 2012 by HYBE
“in between” is a media installation to interact with the audience in a theatrical situation. Footsteps are wandering within confined space continuously, making creaking sound on a wooden floor. If the audience comes closer to the installation, fictional footsteps of an invisible character stop wandering and start to head toward the audience, then stay still right in front for a while. No physical interaction, only silence between the audience and footsteps. In a few seconds, footsteps turn around and start to wander again.
In order to understand and complete the story of this fringe theatre, the audience are requested to engage their inner interaction. Minorities, strangers, those on the periphery, or the audience her/himself. With these imaginable entities filled by the audience, this installation would generate many different stories.
*Exhibited in Media City Seoul 2012 – The 7th Seoul International Media Art Biennale
in between (2012)
Interactive Lighting Installation
HYBE’s Light Tree: Interactive Dan Flavin re-illuminates the minimalist fluorescent light tubes of Dan Flavin(1933-1996) from the 1960s, through digital technology. Experimenting with light and its effect, Flavin explored artistic meaning in relationships between light, situation, and environment. The readymade fluorescent light fixtures he used created space divided and adjusted by light and composition, offering a newly structured space with light. HYBE’s work expands the logic of Flavin by reinforcing the physical property of light through interactive media. It presents an escape from traditional lighting, as light and colour changes when touched by viewers. Lighting here is divided into front and back, and colours are programmed to maintain complementary colours. The front lighting constantly interacts with colours on a back wall through visual contrast and mixture. A random change and diffusion of light with the involvement of viewers provokes tension extending and segmenting space, turning space into a forum for emotional perceptual experience.
Light Tree : Interactive Dan Flavin 2014
Full Color LED on custom-designed controller board with Integrated IR sensor (Front & Back), Acrylic, Red Pine / Base diameter 36cm, Height 210cm
Light Tree : Interactive Dan Flavin 2011 / Prototype for initial Exhibition (shown in video)
Full Color LED on custom-designed controller board with Integrated IR sensor (Front Only), Acrylic, Stainless Frame / 15(W)x235(H)x38(D)cm
Collaboration with Customellow_Kolon FnC for Seasonal Greetings 2013
A derivative application of “LEAF” for seasonal greetings 2013 at Head Office of Kolon Group, Kwachon, KOREA
Alexander Scriabin (1872-1915) was a Russian composer whose music bridged the Romantic era and the twentieth century. Although he lived only into his forties, he managed to write ten sonatas for piano, a piano concerto, three symphonies, two orchestral poems, and large number of short piano solo pieces. What made him even more popular was that a Scriabin’s multi-sensory experiences, known as synaesthesia. Synaesthesia is defined as the interchange of sensory images from one sensory organ to another. Sensory organs are also referred to as modalities, and so synaesthesia is also known as the cross-modality, or crossing of the senses. There are many different types of synaesthesia and most common form of synaesthesia is known as “coloured hearing,” which is a visual representation in some form of colour of what the person is hearing. He wanted to see what the psychological effects of experiencing colour and music simultaneously would be for a non-synaesthetic individual. At the same time, colour organs were being experimented with, and composers were beginning to implement them into their musical performances. Colour organs – clavier á lumiéres – were designed to be played alongside regular organs especially for his fifth symphony, “Prometheus – The Poem of Fire (1910)”, and would produce coloured lights to correspond with a musical note played on the organ. The first performance of “Luce” – Note for Colour Organ – had occurred at the last days of composer’s life, on spring 1915, in New York Carnegie Hall. The light was projected onto multilayer screen, made of thin fabric. After Scriabin’s sudden death, many people have tried to continue his sound-colour experimentation with advanced technologies.
Project Scriabin is an interactive implementation of Alexander Scriabin’s experimentation with “opposite mapping direction”, that is, mapping from hue (colour) to pitch (sound). Main colour to sound coding was implemented by Scriabin’s colour scale. Scriabin’s works are often considered to be influenced by synaesthetic experience. Nonetheless, it is most likely that Alexander Scriabin did not fully experience the physiological condition of synaesthesia. His colour system, unlike most synaesthetic experience, lines up with the Circle of Fifths, indicating that it was a thought-out system influenced by his theosophical readings and based on Sir Isaac Newton’s Optics – Colour Circle.
While developing Colour-to-Pitch generating formula, some problematic definitions in Scriabin’s Pitch-to-Colour system was found, especially in the pitch D#, F, F# and A#. Although Scriabin’s synaesthetic approach was mainly based on the Circle of Fifth and the Colour Circle as explained above, these four pitches had uncertain corresponding position on the Colour Circle. Even worse, colour for A# and D# were described as “Gray,” – achromatic colour, Since colour is underlying element for this project, modification for these problematic pitches by positioning them on corresponding position on the Colour Circle was required. Table 1 shows final Colour-to-Pitch coding system with necessary modifications.
For variation of octave of sound, lightness value of HSL colour system was utilized, followed by division it into 8 different levels from octave 1st to octave 8th. The level 8 represents 8bit RGB colour system, mainly used for computing colour. If saturation value of HSL colour is zero, it will generate no sound because it is achromatic.
Project Scriabin – Interview #1 (2015)
Project Scriabin – Interview #2 (2015)
Interactive Video Installation
The MOMENT is a type of a time machine that allows viewers to re-live the moment, which has just passed and thus no longer exists, at a much slower pace. A high-speed camera is installed to capture each movement in frames that can’t be discerned with the naked eyes. A quick and sudden movement by viewer triggers slow motion for about 5 seconds on the display instantly. The slow motions played on the screen, such as swinging arms and jumping, appear like gestures and leaps made by a dancer.
This time machine helps viewers discover their images that are true yet strange because they were hidden behind everyday motions and facial expressions. Viewers can experience the thrilling sense of escaping cut-and-dried life albeit temporarily, and floating through time alone or along with their companions.
The Moment by HYBE – Collaborative Performance with CHA JinYeob (2015)
The Moment by HYBE – Introductory Prototype (2014)
Interactive Media Canvas
IRIS.p – Pigmented IRIS – is a derivative of IRIS, which was initially announced in 2012 by HYBE. IRIS.p is fully integrated with full color LED behind each IRIS module for more vivid & dynamic visual expression.
Collaborative Art Project for Yearly Campaign “Time Traveller” with Customellow Kolon FnC & The Arts & Co.
* Teaser Videos Courtesy of The Arts & Co.
IRIS in “One Day Arts Festival”