M.O.R.Ph M.O.R.Physicality is an interactive virtual installation which was realised during a 14-day workshop in the Media Lab at the University in Rovaniemi, Finland, within the Polar Circuit 2 workshops. Equipment used for the installation: SGI Onyx2 in O2 workstations, 3x InfiniteReality graphical pipelines, Panoram Technologies GVR-120 RealityCentre - a semi-immersive visualisation environment, Lake 3d sound system, 3x flock of birds sensors. Fluidity of bodies and their identities influence the interpretation of the content itself. The basic concept of the installation was produced by exploring physical identity within cyberspace and content mediated through interaction initiated by the user1s body. We directed our research towards the exploration of means and methods which would help us relate to the entire project and define the dialogue between the user and the VR environment. We were also interested in how the identity of the body becomes a fluid characteristic which transforms the picture of reality, identity and memory through technological means. The identity of the physical form is defined through the social perspective with the terms man woman, fair dark, young old, poor rich; it exposes a cultural structure in which the significance of form is being continuously questioned. Every day we have to face the fact that we are bound to our body as something that is given to us, and we can not entirely alter its fundamental image or presentation. Assuming that this cannot be avoided, except for some minor cosmetic or surgical improvements, the body is a unique external form of subjectivity. The social role of the body is forced to function in the sense of standardisation in which the transfer of subjectivity from the internal to the external, and from the depth to the surface, is entirely evident. The body is thus confined to a global pattern and the point of view which is enforced by a consumer society and marketing processes. The body is redefined in counterbalance of externalised content and standardised body in the information cyberspace, while the identity is deprived of its significance considering that it is not the carrier of consumer1s and market interest. Symbiosis between the body and technology (I refer to new media predominantly interactive environment, VR and the Internet) inevitably lead to the conclusion that technology eliminates physical handicaps. They are revealed in the real environment through deviations from standards, which are determined by a consumer society, and thus enable the body to become a fluid structure. The structure represents a deviation of standardisation into an ideal image which we use to present content in cyberspaces. On the other hand, technology does not merely enable a conceptual evasion and distortion of the physical identity, but rather recreates the physical body by prostheses and interfaces, which enable the upgrade of natural capability within a digital environment by means of technocoded perception. Since the body is problematic, vulnerable and terminable, technological addiction is gradually increasing and becoming more complex due to its structure. I do not refer solely to substituting the entire or part of the body functionally in difficult working conditions, but rather to technology that can replace specific organs, upgrade them or even improve them for technology that extends the body in the communication process. Moreover, it expands the space in which the body functions and thus the body becomes a functional tool that is complexly interwoven and interactive. The structure, developed and created on the basis of an ideal concept, served as a plan through which we were enabled a perfect view of the construction of the installation. We were able to determine where we were at every moment and in which phase of development a specific part or the entire installation was. Two fields of interest were established through the process of realisation. The first relates to setting up virtual space and succeeds the concept of fluid bodies, and the second explores which communication interface and the means of communication we need to select to be able to use the body as a functional tool for the dialogue with the virtual environment. Virtual space is defined through the presence of the virtual human body, surrounded by two covering forms that resemble an egg. Each virtual body carries or relates a specific story or content due to the specific image. The content is presented by a text which researches the body within the established concept through various social viewpoints. If we observe the way the text is interpreted by different bodies, we acquire the structure which enables the user to navigate and co-ordinate his/her movements in the dialogue with the virtual environment. Mediation of the text is conducted through a selection of four different bodies and accompanied by the voices of a man, a woman, a child and an old man. They represent physical characteristics which range between biological diversity and temporal determination. The user is able to influence the virtual environment by the use of three 3flock of birds2 sensors which are attached to his/her body with belts. Two sensors attached to the hands are used to select different virtual bodies and suitable vocal interpretations in accordance with the distance between them. Each sensor on each hand has an additional function: the sensor on the left hand directs the movements and rotation of the virtual body, and the sensor on the right hand directs the movements of the egg-like form. The third sensor, which is attached to the upper part of the user1s body, is used to zoom in and move the entire space and three-dimensional sound which represents the sound in the background. The user1s body is caught in the position where he/she has to articulate specific movements as to control what is happening in virtual space. The process of acquiring skills is exceedingly beneficial in the so-called immersion or the act of uniting in virtual environment. The user takes over the control of the virtual image and adapts it to his/her own will and desires by mastering and co-ordinating movements of his/her body. Technical assistance and programming by Olli Mannerkoski & Lassi Immonen Artist and tutor DARIJ KREUH Participants: SCOTT.HORSCROFT.SCOTT SIMON WOTTGE MAXIM NARBROUGH AMOS TAYLOR DANIELLA SNEPPOVA |
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