Media Art City Intervention Workshop play-ing
Introduction
Floor Plan
PlaY-lng 01
Play-mg 02
PlaY-lf1g 03
PlaY- lng 04
MEIJIA Alil
Seoul is changing everyday. Cheonggyecheon has bec.ome an example for a successful city development plan that has enabled people relax and take a break in front of 20-meter-high sculpture named 'Spring', an artwork by Claes Oldenburg. With the success of this artificial stream, the city of Seoul has developed a new plan to make Seoul a city of art With this in mind, we decided to contribute to this development plan in terms of media art by executing the city intervention project
PLAY \NITI-IIVIElJlt\!
Breaking out of white cube spaces, media art is heading out to the street! With the world famous artists like Aram Bartholl, G.R.L.(Graffiti Research Lab) and Igor Stromajer & Brane Zorman, Digital Playground 2008: Hack the City! I delivers messages on locations
HACI{ THE CITY!
The word 'HACK', in the context of this ex.hibition, is not the 'hacking' that one steals information by taking advantage of weakness in a certain system but more of cracking. In the encyclopedia, 'hacking' is defined as an act of finding a weak point in a computer network system, calling attention to it. and as a result strengthening it further. From this comprehensive idea, Digital Playground 2008: Hack the City!! has started a project, hack the city of Seoul.
TI-I I:: WtIY T[) TPlJLV I:: XPEP H:I\ICI:: THI :J Ei 13V IT
I\II [) PE TI-I M JW;T tl :;I I\Ii PLI:: [ll\I E 131::lJl l\Iil :: :; tl IJItI Ul [i lJl :: (Ji= PE[)PLI:: WI-I[J TtI Ll< T(] tlPI ::
13l H I F TI-II:: tl CT WILLV
TI-II:: I\I V[l lJ 'PI:: JWi TI I=II::IJ tl l\l lJ /\I (l Ull\lliI::P :iTtI!\IIJI I\I [j Tl-im E
vm J tl IJItlUl(ilJE WIT I-I Tl-I1:i TI-I II\I(i , WI-I I CI-I I:; (;[)IVIPLHI::LV IJm=ml::I\IT
I=P[ll\li TI-II:: IJItIUllilJE: ; TI-ltIT WILL I-ItWE WITH IT. tll\11J tIL:;[]
TI-II:: IJ I tIU] [il Jl::: ; VDlJ'LL I-It\\ll :: WITH IT tI T TII\IiE
m[)M TI IIfI[lT HV 13II\II<LI:: V, PtIPtII JU XH: 1\!
i FL[][]li
[Jl
July 22. 2008 _Action Timetable
04: 14 Alarm clock : waking up
04:38 Leaving Ewha-Samsung International House (Daehyun-dong, Seodaemun-gu)
05:16 Taking the subway train at the Ewha Womans University station
05:39 Arriving to Dongdaemun Stadium station
05:51 Entering the Dongdaemun (Great East Gate) construction site (near Dongdaemun Market)
05:53 Turning on the computers, cameras and other equipment, connecting to WiFIlwLAN
05:59 Starting live Internet broadcast and the Construction Site Guerrilla Net Ballet [Ballettikka tnternellikka IntermenllikkaJ; Live Broadcast
06:30 Terminating and the Construction Site Guerrilla Net Ballet and live internet broadcast
06:32 Terminat ing W,Fi wireless internet connection and securing the equipment
06:36 Exiting the Dongdaemun (Great East Gate) construction site (near Dongdaemun Market)
06:38 Securing the recorded material and turning olf the computers, cameras and other equipment
06:49 Taking the subway train at the Dongdaemun Stadium station
06:59 Arr iVing to Ewha Womans University station
07: 13 Returning to the Ewha-Samsung International House
04:14
04:38 ;;,'11 '>i (AiCll§'i' 05:16 OIls.5'.
05:39
05:51 (%Ul§ *g)
05:53 ?j[}\[21<2 c.tE "1.Jl WiFiArvLAN
05:59 7i1'52J <2JEI?t1 ).. Al-Q i ';l!2IIEI 71'2'EILIIEl lI '2'EI'1" EI" II
06:30LJ.l 06:32 2e
06:36 1!iWI § OII A i Lj§ -' leg 2;i:i
06:38 '2' 71 01Icl -, & "1",:;.'; is.'''-
06:49 "1 011A1
06:59 01 IO ICli !:1"liI "1 s=.!!
07:13 ;; '11719. AI
PLt\Y-II\I[J [)2
IJ /\TE: .JULY 17 [T l-IlJ ). 2[)[m, 17:[][]
VEI\llJl::: I<T[}[J I\III\IJ/\I\I [J [-3 F [/\I=E 17:[)[) Imm [} Z[] PIViJ\ 1\1 HU][] L/\ 13 lSH][] [J [} 1\ /
Evan Roth and Jamel Powderly of G R.l. and the Itaffl gOt on the three cars wit h [l.A S E R. Tag[ Iystem and headed ou t to the first place t o tag KT&G Sangldng Madang.
sl'PI ) [JIQJ "'1'50\1 FH.:! [ G R.l QJ !f.j ).. I£
5l:!4xll:::
KT&G {>j {>j ol'B E=.ct Oi G Rl QJ ..!'i'!OO !.1*tF1 01
21:00-21:40 KT&GSangsangMadang
The start went pre1ty well with lOISof cunous participants who we re hung out In Hongik Un ive rsity area
People wrote their own messages on this concrete w all of Sangldl1g Madang and G R l. went to the next place around 22 00
KT&G
G R l. QJ Eli:l [E !'2.i[JI 2'1!OflAi * Blg {lot
G R l. QJ Zj x I J; 0ICiQJ OII !. IXI!) 'fIO I {>j{>jo l 'BQJ AH?1 .". IO AI7 I Ci GRl. g
22:00-23:00 HongikUniversity
Ju l y [8. 2 008 20:00 TotalMuseumofContemporaryArt
The next performance wasdone at the front gate o f Hong ik University about 22 :00. With many flOdting population and the ones With artistic enthUSiasm, it was the best performance ever.
10!. I'l" EI Cl§ 1§ '?dQ./ BlgC.ilCl 01 GR l g Bleolf!OIlltl
PLt\V-II\I[; [rJ IJ t\1 I:: ,JlJLY lU [1:mJ. 2[][m 2[l:[)[]
01 :00 - 03:00
Hnt\L []I: []JI\IH: IVIP[)Pt\PY
I<H1[; I-I []I\I[; I I<
[;W t\ 1\1 [;I-I \1\1 t\ 1\fIU 1\1 1< [] m:t\1\lt\ 1-1 [) H: L 1M; II\l 13Y [;.RL .
Gwanghwamun Koreana Hotel
II was. rhe I.lS! performance of the day at the City Hall area where it used 10 be packed wirh miliiOM 01 people in red during the 2002 World (up <eason Though it was late and barely a panicipaf1( was there •t was interesting to see the Il A.S.E.R. Tagl ill the heart of Seolll, symbolic area with (he Cily Hall. Gwanghwamun and (heonggyecheon
Afler a while, bunch of cops came along and lhey, though they were interest, shut it out fot the obVIOUSreasons 'a ,q 2fg a i ii ,q{) <it 011 ft21 .-:gg G Rl.g ofAI91 0101 AIVOI ';<01 1(J 2!:ql2l )..1-2 r.; 4SjolLi \\1:;>01",0 1 G Rl. QJ otI AIXI ..J -ti13a 2 2.£ A i §0I1 Al 9.1
July 21 2008
I 1:00 - 12:30 Aram Bartholl Presentation Ewha Womans University SK Telecom Bldg. #203
Before th e ac tual performa nce. there was an hour long present ati on about comprehensive projects by Aram Bartholl -'?-21QJ i!lxlle :,21 :;;< Q) §'2!.:lQJ {I@'iJ9JQ. PLt\Y-II\I[J []LI / IJt\TE: JULY 21 [I\II[]I\I], 2[)[]B, ll:[][] / EWI-III TELE[()M "2m ll:[][] - Hi[][] 17:[][] - 1a[][] [JI\I THE / /
13:00 - 16:00 Preparation
Ewna Womans University
SK Telecom Bldg. #203
Started to make names fOf the perfor mance Cutt ing and
OIXII E'<'i!Oj2.5'. -OI.J:!. flHrg:.J2
18:30
Sinchon Myeongmulgeori Intersection
Smchon Myeongmulgeori where there
lots oilioat ing popu la llon in Si nchon area.
Seou i.
In pairs. panicipanls as avatar w ith thei r names floa ting above their heads. went out 10 intervene
Xls'i'EI ;:101 ;:1(1£1
012.1 'fl0i1 Q;j!j' JH '" SCJOI
J.IQ't/CJ
17:30
Sine non Railway Station
The first place 10 perform was th e lively SHeel in front of Ewha Wo mans University area near $inchon Ra ilway Station.
AI L/. 01 LI 21 OIUl Ji2j7r
18:00
Sincnon Myeongmulgeori-gil
31H9.I
OllJlE-l Q.J !Fsj2
In Sinchon Myeongm ul geon wheff three universities imersecli ng, performers acted as usual despi te the pedestr ia ns calli ng their names and eyeing them strange ly.
IXj
The [WoW] project is a workshop and intervention in public space that uses computer playworlds as a means of calling attention to the changing ways people deal with privacy and identity in the public sphere. Every day, millions of people spend a great deal of time in online virtual worlds like 'World of Warcraft' They congregate there to go on adventures, solve puzzles and experiment with new digital artifacts
Many players remain in these worlds many hours a day Even when they're seated alone before their computer, they have lots of friends in the online world and share experiences with them Although these experiences are played out 'only' in the realm of virtuality, they nevertheless become memories in the particular person's overall wealth of experiences When 40 players operating according to a precisely organized division of labor being executed every weekend over the course of months 'play' out an adventure and finally vanquish their ultimate opponent, a gigantic monster holed up in a cave, the screenshot of all the members of this tightly-knit group constitutes a graphic document commemorating this important occasion in their lives The process of social bonding that occurs in such groups that frequently communicate only via messaging in the virtual realm ought not to be underestimated
Each player is represented by an individual avatar, which is given an unalterable name that by no means corresponds to the real name of the player but serves as a clear means of identification in the online world. This so-called nickname floats above the avatar's head and is constantly visible by all other players. There is no anonymity for the avatars themselves; each on-screen game figure is clearly labeled with its nickname. Nevertheless. changing roles via multiple accounts and avatars presents no problem to the users behind them.
The IWoWI project takes this mode of publicizing players' names that's typical of online 3D worlds and transfers it into the physical domain of everyday life. Participants of the IWoWIworkshop will be able to construct their own name out of cardboard and then parade around in public with it hovering above their head. What happens when a person's customary anonymity in the public sphere is obliterated by the principles operative in virtual worlds online)
IWoWI JH<2JQj
g2.f<2J
Cf $!= AI 71 71 01 .§ 21 '2PI '2J
#- Ej 7il Ail ljl 01 iH:! 011 Ai 011 All:: 9- 01 .§ 01-'f- O l 711 '§! Ol tJ lEI [ II.E. -§! q §- AIOI I 711 ?,J 0Iq '2lQj 01[H QJ'i!3g O l tJ lEfQj Di2.1 !f.l 011 [[j Cle 2 -'='. g2. l <2J .5!. Oj A1 71 [llg oll Ol tJlEI AI.xII Qj
.5!.\:tIq [[ILf:il . Q.!23 -2j g . CI 9-Qj AH £g - ll/tl l:: g AP I SOjAI
.5!.\:tI q ti#-Ej 'Y0i1 '2,'0 1 [WoW] g2.l<2J 3D .g 2.1<2J Ai 'ri g Af'Ei 21 tJl .5!. (}j -'f- l:: OI$ OiAIAI l:: S2.£ Ol §- Alf! [WoW]
tI Cl2.15O , (}j l!:! 711 '2.!O/ 2{A171 .5!. -'=. AI £ '2J§ A1 t1Qj OI .§2. Di2.1 !f.l 01l 'rig 4023 £j g ot Cf'§ g 2.I 'C! .AI§
§-'2.! OH -'f- WO I Cf .uf'2.! !J:.§- l¥21 011 [(j-2. fAi £I'c ([f2.I),1 711 <2J Qj Q.i'i!3-2jOI [II tl.JJ. 91 'c
rrH LfE/Lfl:: .:;r-2j -§! 2 §
1!I0I IAi 01 J I'El t t'c
Cf-¥l-'2!!§.£ .:;r{1 SOj(}j !'f2.Il:: 741
OU"i'2J £J "IOIOlI"i '2.!-§!Cf
1995 \::1$ E i ;: 15 771;: 1 Ljls'f,j3 [i iO IEj
QEfLI1=7f , Ef- s:! ol AI O l t:lj
2 :LJ. 9) 1= 7f, [ii OIEj -?- J:II - }oll= ol:LJ. 91 ef
.::l 2j 'Q @;g 06, 07 21 Dlej Ol Ofs
'!!1 71 011Qj OI OI 'Ed , .A.lll iL 2j OII L-jDI q Ols 2.1.0.11il'2.!2.1 2. 1 ()j 2.j 25 1i!j OI'2\Qj !f-j3. .g Ol l kl i lH
.::l=
AiQj I:ll s ' OI2.1 l= -?-AiIQj i=g 2 5!. 01 'Q@;g 'f.'2! E'.2.ISf. ;:iCiI OIO Il Aj }; HQ) 3 011 5!.ElIs'E/ MVRDVOIIAl
'2.! 1C::1 '2! J:1I MVRDV, DMC
Q21gQlli '2.!.0.EIi'i-s & tJls §- 9.1 711'c!1 :LJ. '2.! A1 .::l2\iL ol elo l Cj ;: j OILj£ 9..! CI.::ll= .0. !:f-I!!jOI
Dl elOl
'§! 21l= JI2.0. Jj'i?Ll lilolt1 ;G7 1"'l2 5!.
;g-:'o:j ol :LJ. 91 C1
Since 1995 Aram Banholl lives and works in Berlin. In his art work he thematizes the relationship of net data space and every day life. In which form does the network data world manifest itself in our everyday life, What comes back from cyberspace into physical space, How do digital innovations influence our everyday actions
His art work has been shovlin on international media an festivals such as Ars Electronica 06 or Transmediale 07. Furthermore he participated in exhibitions at TENT Netherlandse, VOORUIT Belgiun, Eyebeam New York, Enemy Gallery Chicago, Trampoline Night Berlin and LAB ORAL Spain, among others. In more than 25 lectures and workshops Aram Bartholl presented his works.
Aram Bartholl studied architecture at the University of the Arts UdK Berlin and graduated there in 2001 with the thesis 'Bits on Location' This work also won him the Browserday competition 2001 During his studies, he completed a 10month internship in the architecture practice MVRDV Rotterdam.
Aram Barlholl is a permanent member of the 'Urban Media Salon' founded by Mirjam Struppek and visits regularly the annual Congress of the Chaos Communication Club Berlin. After his studies Aram Bartholl has been working as a freelance concept creator and media designer for MVRDV, DMC, Fraunhofer Instltut Fokus, Institut for Electronic Business und City & Bits, among others.
TECI-INICAL
WorkshopTools and mater ials
3ransparent plastic tubes and rods for WoW poles
Cutter knives
Cutting mats
Cardboard -500gr/m , 8 big sheets A 1
Light green A4 papers to print names
Laser printer b/w
Exh ibition
DVD Player Xl
PDP Monitor Xl
: \" IV. dclteniollll elE' bartholl@datenlorm.de
024
IWoWI '.= '2.Ig CH'2l Q£ g 2.I'2.!
IEEf:A1
OltllEfQ.j 01 2.1 5fj 0l 1[[i 9) '.= IWoWI 71:Aj21
01g 2. f'2.! filljlOjlfi
01 g 2.f'2.! of -"2 ,
Alg -'El 7i2. l£ OPI tlI2.I Ail7l §'2.! Ail lIf2.f
87 12.1-"2 01 '.= 71'2lfiJ7jJ0lIAi '§iOlLI '2,illl 01 '.= CI:AI'§ -'i'-2.1 '2l-2:f 4' 9)g LICI
INTI: 1:\1\1
Hello,
This work is called [WoW] which relates to 'World of Warcraft' which is a computer game, online game where a lot of people play against monsters and play against each other. So it's fantasy scenario and in this fantasy world online game, all the avatars have their names, their nick names floating above their head. And this project [WoWI translates this interface object of this names floating above the head Into real life. We had workshop with 12 people and everybody was building his own name in green letters and then afterwards we went to the city, had thiS group performance So here we see, for example, me walking on the street with my name. On one hand, it's translation from the game to real world, and on the other hand it's also themitizing this privacy topic how do we use let's say in the web people much more open with their privacy for example in social networks like leave all their information but in real life we are pretty strict about it. More rules and we would never walk in the street with our names. So it's also topic on work on this topic And It's the whole relation from digital space to everyday life I'm trying to approach here.
[LAS E.R. Tag[ IS an open-source WMD(Weapon of Mass Defacement) from the GRL(Grafiiti Research Lab), designed to enable graffiti writers, artists, activists, pranksters and ordinary citizens to communicate In the urban environment on the same scale as advertisers, corporations and the State. [LASE.R Tag[. and the Mobile Broadcast Unit, combine 1800 watts of audio and 5000 lumens of video projection capability mounted on an industrial tricycle, car, 70's-era school bus or snowmobile. The [LAS.ER Tag] payload allows individuals to write their own personal communications and expressions with a 60 milliwatt green laser on industrial and government facilities, monuments, towers, bridges, city skylines, mountains and other hard and soft targets of interest. The design and custom software for the [LASER Tag] payload has been released open source, without copyright or patent, into the public domain. Hobbyists, hackers and other private citizens are encouraged to freely use, modify and release their own deSigns. [LAS.ER Tag] units currently exist in NYC, Vienna, Barcelona, Taipei, Toronto, Montreal, A msterdam, Minneapolis, Utah and London. The NYC [LASER Tag] unit can be 'checked-out' for free from the G.R.L. resource library and arsenal in Brooklyn, NY for use by interested parties. Advertisers need not apply.
[CiIOIAi G.R.L.(.::l2.jjilIEI 'E!l)01
2.g
±!:,.£ -'E! WMD(Weapon of Mass Defacement)£
2j 2C122f I::I1Cl2 tg% 2£l::If01. 70\::lQl .::l2.jj III EI :g8.::1f2.PI. AI'2J,§g 60
CllolAPf 01 OI§oHAi
0ILl 71 lEl 1::11, Ef!f.j, Cf2.1. !:""fOI2.f'2J, Cf§ 2§- .::l2.I.:il .;:t2£ .::l'§'2J2j
[;f7iLl 9 '1!Cf [CiIOIAi ClAf'2J iliOI
2.g ±!:,.£ rrHgOlI. ?jOI£ Af'Et'§OILl oH"i'§, Cf§ 01§of7iLf
9 '1!Cf. Cf'2J, 2.g±!:,.0171 ITHgOlI. 7i1 '2J§-
[CiIOIAi EH.::lJ
EfOIIljIOI, £e£, '1!Cf. [CiIOIAi
-'T-.:r-LI
G.R.L. Af-fi. 9 '1!AI'2J
GRL.(Graffitl Research Lab) is dedicated to outfllilng graffiti writers, artists, pranksters and protesters with open source 10015 lor urban communication. The goal of Ihe G.R.L. is to technologically empower individuals to creatively alter their surroundings on the scale of advertisers, corporations and the state in order to reclaim public space from both authoritarian and consumer culture. G.R.L. WMD(Weapon of Mass Defacement) are the result of numerous grants, awards and commissions from rogue governments, educational institutes and arts organizations. including an Award of Distinction from Ars Electronlca In 2006. They have shown their work in the streets on five continents and have been featured in the Museum of Modern Art In New York City, the Tate Modern in London and similar toilet stalls allover the world. Their first documentary film, G.RL • The Complete First Season, recently premiered at the Sundance Film Feslival and sold-out the MoMA They have been featured in or contributed to publications, books and other mass media, like the New York Times, Time Magazine, Time Asia. The Taipei Times, Excelsior, Time Out New York, the Village Voice, Rolling Stone, Esquire, Wired, II COrrlere Della Sera, EI PaiS, Street Renegades, The Tate's Street An, NBC, ABC, CNN, BBC, MTV, CNET, Dlgg.com, Boingboing.net and on the front page of Youtube. But more
importantly, thousands of ubiqUitous, clandestine agents have trained themselves, via the web. to use G.R.L. tools and techniques to create their own public interventions all over the world. G.R.L. splinter cells have formed in Amsterdam, Vienna, Barcelona, Montreal, Toronto, Vancouver, Yokohama, Tijuana, Hong Kong, Taipei, Minneapolis, Australia and London. G.R.L. NYC is honored to be New York's representative to the US Department of Homeland Graffiti. The G.R.L. is a FAT (Free Art and Technology) production headquartered in the County of Kings, Brooklyn, NY. We are the G.R.L. and we approve of this message.
We intend to come to Seoul and create a series of public events, document them and create a 3-5 minutes 'G.R.L in Seoul' video to display in the gallery. While working on that video we can provide another video to display in the gallery until the 'G .R.L in Seoul' video IS completed
71-'i
012 in Seoul' [1J.. l oI71£ 01tllCl27f %'2.i Oil E cl§.
TECI-II\IICt\L
IL.A.S.E.R. Tag] System
Documentation DVD
Projector (for displaying video i n the gallery) X1
DVD p layer (for playing documentation v ideo) X1
Speaker X1 set
GRL(:l 2jjIlIEI 2.j},i* 1 :l 2.l1II I EI OIEI!',s, ';'g '2 ¥ 2.P I, :l2.I.:i2 AI -'fIAf §- Oi l li l 2. g
7H7H'2J §- 01 g2:} £!:f- Ei 7H {:j 01 71 -'floHAi :l §- '2 Qj Q £
9- AI 
!:2. 3:;.-§ , :l2.I.:i2 2006\::1
7,01tlQj ,§!-"-IO ICI :l§-g 5)11
MoMA, 'E::!'2!Qj ClI Ols 2. '2! 2f -3:!Oi I)'i
OILI2.1, },i lljl OlI '?}E 0 12.1
,i12
I2:!UII Cfrt'1!i
Ei2.1 'G.RL The Complete First Season'g MoMAOjI
:l§-g OP W, EI'fJ Of)'IOI, EIOIIIIIO I EI 'fJz::. , 2.jOIOi S , 3:1. 2.IW-11 }'il2.l, EIiOl s 01 §. 0i1
NBC. ABC, CNN, BBC, MTV, (NET, Drgg.com, Boingboing.net 21 IlllOI J:IOII)'i5:. "'-7 11
:l2.iLi g R'2:! 9- 7HQj '2:'I J:H oIE
§- Ol GRLQj 5:. -=]l 2.1 a a
GRL Q.I ():j 2.i gIlf§- g £ f£ , .£1. 3:1. 0101, EI OIIlilOI, 01 :l2.I.:i2 'E::!'2! 0I1
GRL g :l 2HIlIEI !:f- fiQI qn '2J
GRLg FAT (Free Art and Technology)OiIAi l2.!§ '2 *iIOI01. .>f21 GR.Lg 01
E This is the ILAS.E.R. Tagl system. We use It for artist activist and protesters primarily however it's free for everybody to download the software. The basic set up is there's a camera which is here and that's doing motion tracking so It' S trying to find a laser pointer and that's bfiD..g sent into the laptop which is then projecting the light back on scree n. So what you see on the building is just projected light from the projector but it's using a laser as an input form and this works well when you tend to work with graffiti writers or people that wanna make things on location .
J We've used IL A S.E R TagJ we initially created this system in Rotterdam with the coding design help of Theo Watson who's G R L. Amsterdam director and subsequently we 've used It allover the world We've used it in Hong Kong, we've used it in Korea now and we've used it in allover the Europe from Austria to London, we used it in the United States. allover Spain and we are about to start sorl of a world tour, we call it the antiAmerican tour where we are going everywhere where people hate the United States And we are starting in Seoul, Korea and Korea hates our country because of beef and we are going to Serbia next and they hate our country because we bombed hell out of them in 1999 and then we are going to Kosovo , I don't think ... they just hate
America for general reasons, then we are going to Sao Paolo, Brazil and they hate America because of the North American Free Trade America
We are gOing to be In Beijing where they hate America for obvious reasons and then we are finally going to go to Tokyo where I think they maybe they like America.
I don't know.
E James What's the goal of the I hate Am erica Tour)
I guess there really isn't any goal It's Just more opportunities to use the ILASE R Tag] system in bunch of provocative countries and give local artists, protestors and just normal citizens a chance to say exaclly what they feel about America but on the scale that normally only advertisers and governments have the opporlunltles to speak out.
E We talk about the system a lot as a free speech machine and we come to this place Sometimes it's us writing but ideally the other people writing So when we go to different cities usually it's the local people writing and hopefully they are saying something that they wouldn't be to say otherwise in that scale and a place that was invisible
E [ClIOI:A] EH.::lJ AI A '2ife 9-£ OIIE'>n
A!§i5!:AI\lf, 01 AI A '2ig. A! § i5 !.J2 :A !i5fi=·
A!'Fife -=r-jILI ct fi'-£ CO !Oj At§%! 9- 9! F
.:1c. II E ¥JIOJ'f.jLlct . 71l2-?i O £ F 7'tOIl2.!7! ClIOI:A] £? IEj gJ
:;gO!Aj .':r: E ?i0 S'! !I'.LII?1 A3¥'-10l1 ¢:I'i'l
!r.1!=- 7,,1'f.jLlct. 21"'1011 !I'.01!=- -"L!=)'.'!0 1.J2 , cllOI:A] £?IEj!=- 'f.j'='l A!§-EiLI 9
01 AIA'2i -P-
?fw2.j.J2 w =· AI ?tw OI llH 7!-2-I ?ig]g]Llq
J 01 ;i:] g
G R.L. Cj <;!JEj '2J EUS'. el :At '2J g. il.\3 i5t 'c
0l-$'- £ "iI 7jI 0lIA] AI§ i5 !7 1
:A1-5 g [Cl IOI:A'\ A!§ i5 !:2. ':?}:AI'2.!
Q:!, 01;;- 2.1.J2 nU'2.! Q:! 011 A1 s:. Af § q. 01 7t:A l:2. Q{ AI Qi5t 2.j -,?2.I 'c 01 qLI2.j 'E
Cflfjl£ Ol;;-g. ?,I Of Lie!
Ol;;-g. -?,!§-Ll q
.:1c.:2.7\ 2f;;-01 [H 611 % :AI '2.oIg
7f:Al:2. ,:?}ef:2. !I'. ':?}71 qgOlI'c 1999\:"1 -§
5'- Q:! [[Hg OlI Ol;;-g. ?,I§- Llq J :;;! g Cf'2.! 'EgJ 7]2.17! \'ig l""IIOI:A] .A.! § %! -9- ,:?} 'c C:j \'ig 71 :9H:f 7f:Al 2.j'c 01 ;;- OI2.f'c Lj2.fO jj [ Ho H!:o 7)1'c .J -9- ,:?} 'c 9-:il :A f gtLICI ?i -,¥7f !j'-IO HAI§ ot'c Tl-2 011Aj E -,?21!=- 01 AI A '2i;3 :A!B-W;>1gJ 0loH g]Llq · OJ71011 f2- g]Llq· N\L1 TOIIA] !=g 2.I )! <S.J'&J cjIOI:A]£?IEj£ AAf'l ol:Al\lf Ol¢:l?i qF M!=- 7"i'f.jLlq. g2.f7 ! qs 7!7l1 .A.!'Fi§01
UI<J: PI:l)PLI: I
TI -II: UTTLI: WILL [;M[; UP T[][}ETHI:P TI -II: \11]11\1111\1 WILL [;ET
[;[][]IJ E[)UIPIVrl: I\IT TI-II: I\I THE WILL [J[J [)\lEmmmJNIJ CITY
W e used :
1 PC Laptop
A SUS A8JS - Core 2 Duo 1,83 Ghz 11 GB Ram 1 Nvideo Geforce Go 7300 256M B VGA and DVI ou t
1 Pansonic PTD5600U 5000 ANSI Lumens 1024 x768 DL P Projector
1 Watec 221S Security 1 Astrononmy Camera w ith manua l ir is zoom lens
1 Bogen magic arm and super clamp
1 Pinnacle PCTV USB capture card
1 60 mW Green Laser (super illegal in a lot of places and very dangerous) and loads of AAA batteries
Location:
Choose a building or wall that the laser shows up well on. If using a building make sure the lights aren't on as this will make the tracking of the laser beam harder (also it is not a good idea to point powerful lasers at a building with people in it)
Pick a spot far enough back that the projector can overshoot the building by a couple of feet on all sides.
Alignment and calibration :
-'I the building is vertically orientated and the prOjector can handle it, put the projector on its side so you are using the full image of the projection
Jix the projector in place and then lix the camera underneath the lens of the projector so that it is looking at the projection area. Allow the camera to see a little more than the projection area so that you can designate an area as a clear button.
_Make sure all the settings on the camera are set to manual· no auto exposure or gain control etc.
_Adjust the color balance of the camera so that it looks as natural as possible - make sure any lights in the shot don't look green as this will confuse the tracking sytem.
and the projector so that you have one large screen of 2048 X 768 resolution. If you have access to openGL and 3D preferences in the control panel, set all settings to performance
_Connect the camera to the usb capture card and the capture card to the Pc. You can use Amcap to make sure you can capture video okay.
Start the app and you should see something like the Image bellow , Follow the instructions In the diagram to align the camera to the projection surface.
Once the camera IS aligned to the prOjector hide the white alignment lilies on the prOjected image by pressing L Tum down the IriS of the camera to the pOint where the surface IS as dark as posslbJe but the laser still shows up strong
Settings:
_The settings for the app are saved in an xml file so once you have made your adjustments hit the S key to save your changes ,
Software setup :
_Set your resolution of your screen to 1024 X 768.
_Connect the projector to the PC and in your display control panel set the display mode to horizontal span. This should span the Desktop across the laptop screen
_The up and down arrows on your keyboard will run through the list of settings and the left and right arrows can adjust the values.
_The first settings you will want to adjust is the four at the bottom· which define the color tracking of the laser.
NOTES
Once everyth i ng i s setup be very careful not to bump either projector or camera as even a move of a 1mm wil l be enough to mess the alignment .
_ The settings are saved in settings xml file - if you want to back up your settings for a location just zip the file and rename it.
If you are pushed for framerate - try overclocking your graphics w ith hacked dr ivers from laptopvide02go, you will notice qu ite a difference!
Press h to hide all gui except the projected image, this can also g ive you a bump in the framerate too
Hue Point Should be the value of green that the camera sees the laser as Hue Thresh How wide a range from the hue point It should conSider.
_Sat Thresh The minimum amount of saturation.
_Value Thresh The minimum bnghtness
Brush Width clears the Image. Size of brush
_Drips Freq How many drips you want - lower is more
Any tiling til,l t I, UU\)I(.If' the ,l'il)l' of -he,e settl<1CJ' \ ,' 111 ,hoVJ up i i ; iJ!dck Illlhr. 1111P,h \Icil'll ,11" -1' " r: ' I'dl 1; \ llI1hlll (hopefully only Iho' ,1)(" POl ' lli ShOl , d 51 a',' (.p \'. 1'11(>
Here is an exp l anation of the rest of the settings : _Slide Slides the screen over so you can see what is being projected
_ Verticle Mode If the projedor IS being used on its side. Use Blobs Should stay on, blob tracking ended up being more reliable than motion difference, Motion Diff Don't touch Use Camera
_Drips Mode
Fade Out
Slant Brush Clear Zone
Toggle between using the live camera and an Included test video
When on, small drips of paint will descend from the letter forms, Siowely fades the image over time - alternative 10 clear button
Toggles chisel brush and fatcap mode
Use an area of the image as a clear zone, if the laser is detected there It
_Activity Thresh ThiS determines the time before starting a new line, the background screen should flash red whenever a new line begins.
Min Blob Size The smaller this value the more
_Jump Dist sensitive to noise it will be but also the smoother the line motion. The max distance to draw a line between two captured points, any distance greater means it starts a new line.
_Line Resolution How many points to Interpolated a
Clear X Clear Y Clear Thresh line with, higher number means smoother line but uses more cpu. Adjust x position of clear area. Same for y
Lower means a more sensitive clear area, higher less sensitive - adjust so that only laser point clears Image.
£ ooK r-4 x ;roi'\m (l" J mllU 3' K J or w i o lm -0 "< [J O i01 KO 15 r !K r lim ";' ;jQj -::r !6i'S"" JIJ ::: J I O o iiJ olQ ol .r;c. " I'l J ] ifU 0 -:z n nJ 0 1 UIJ ili a I1Jj Wr JIJ OJ :z I:tl (5' 0K ;jQJ mlrJ 1-4 I'l J ]}j r;:: J I O K nr KJ K nJ o-r::-O II or " o liU iiJ 5' o f!iJ K 3' ::::J ,!OJ ::::J " J o O!= u l iUr < Ill r-4 iiJ K r ;:; 0 0"1 Ur i<T J IG :z rr 1 0 -< I -0 ':!.:! r::;jQ W f]}j ulJ ¥ ;" ' K 0T IlJl r ruj] C< nfJ OJ kO K w i 01] o f!iJ JIJ Ul liJ ;:7 D r olru or K nJ;jQJ ' iit: KO ?;:J ;jQ ;jQ ::z ijfJ D rJ nr ;jQ J O J ' Klr o r :z OW I1Jj KO =< TIf5' o j JIO :z nH r.r oj W r -:z I:tl r-4 wf"' R r:: K f'Kj tJj a:' mlru =« 10 u:r 1\iTIl I I I KO 0iiIJ wi -< I I:t l I:t l t I -<j
; L;fIe Or K0 Rill mlru ruj " o wi 10 or OJ lila -< I K O Ii J "< CJ:I ru ' K ' ;;0 UIJ liIO Q l nJ o m K O OJ Kr ;;< o 3' L::J oj 3' K"r;...-e-o.'Lc " "" UfO I I I 3' _ a l ru ::::J IIll miN iTJ -0 0 iIO u l J 01 K ;jQ ' 1i1lU Kru CH 5J 0 K I J-I ,K :::;- nJlru-l "' ;jQJ or CJ:I _ K " -< I !:J I !P" K J ill -' ' iliJ K r Of J ::,f
00 OjJ nJ '1 0 '" ,& uJ D "" K '" !)J « ;jOIU I I I '"' m l ru o r r::-ru r.i o j ru ofK rr:; olru r -4 0 DrJ 00 ru '" ' KIO '1 0 ;;: r II JIJ LH K LIEy fJ ;, JI, D i 0 : r<::" ? Cl J 1\ln Of K ? o :;iJ =<" 3" ::::;. o _ o ,1= 0 K O K rUj o m S- E R lU I J r mlru ! '"' '<1 o r _<0 /J }:L JIJ ;jQ ii01 :';( KO nJ lUI olm §: Jr ;;; 0 x OJ UL 6 --( of-i1T ,< l-j t; 1>11 f); 0' J f!iJ UIm i1T Ei "ru o Iii I"J 0: '" '" L or V\
iifJ ;rr =< 1:11 ;jOJ lJJ IIlI r-I
OfI(JlU NIIIJ K allU o aln!
\ JIJ 'OJ ;Ki D ¥ T D oll K l:f K O' 1 0 ",, 0 or <1< i'< :{ r aim .':::'. ;KiD ,, 0 K """ aim OIJ 2: roO • _ D O'J L..I 0 ' 1 0 _ (I T _ .r:o:I 3' 0 _ 010;:: r Jjqrl ' \ 00 -< E' L..I _ UfJ L.J -" D 1 0 ' r ru l ru i'< Ul or ll11U IirriJDj -< r.r III! or !'1< .jQJ ::( r KO u ,, 0 ul 0 :{ J 0 1 01 01 1'1< _ • K D 'Ioj r1 "" J ;;::J IUIr o lJ 0 JIJ rrr KO ,,0 0 -J o JIJ aim 0101 'Z j ru 0 0 5' -< 01J Dj ul ml lU K 1 O'J liiU "KiU LH '" 3'0 1 iiiJ JK 010 r1 or riJ :r J IJ IUIr e;:; w < f<fIUIr ,,0 TII < "," 'Z -< I :{ J :{ J O'J iS m LH om o "l x >JK Jjq , ;f<) .ill £ '0 cr 3 .t .J:. 0. :J \ \ or ". K JIJ o ;jO" ;G' KO JIJ rullU Dj OJ: "" "" " liD -< 1 -< 1 C5' K 1 Ul ;pDIU .J:. .J:. :;:: +-" VI ...c ..... c (J) ....., ..c. (3 ::J +-" (0 :I: I > I I I .J:. I- .., v « \ 7 o '" 'CO :> -;;; ""f--.2 -:.' V N Vl .Ll .2 a:l C 2 \ :s .., o 0. E :J :lrJ K c o .'":J OJ 0:: OJ C :::; I .J:. :;:: v v v VVV I I I Lf 010 or '" ;:;0 E! _ wl ;;::J JIO K uU iijm '2. -< l o r ;Ki D " ;jj[J 0 wi 010 'K ill :!( r.r 'R 010 15' J ;G' D o ;:;, ': u U C5' oJ oj K :Z JIO '/5 III! III! ::,0 000 ;:r JIJ n:r g LH 1:11 0 1 Ml O t:!j =<" J a. 010 :!( l'i'J § & K 3' ru l ru 5' ;l -< RC 'Klr 0 rtf n J nm rrr K or III! D \0 i\< 5' 01 0 D r.r 0 1 olm lIT 'OJ o nl :z m " 0 li' TII< KjJ iiiJ ;jOo ;:; 1 01 01 K ;;:: J olm wi ;jQ = ii;1U c m 'R flI1 -g a U K :z Lf O' J , j:( J ;:;, 110 -< I Il1 1:11 :0 c:r 'O J :;: 01 TI g ;;:: J , K 1 111m :{ru ;jOJ m is iiiO K" i:n is' I v -0 o 21l v 0 viii.-e v v >:::J I I :t: '" o iii c E o '" ._ v o OJ 2 I :::J I v -0 o 0. 5 , :5 o Q) '0 '" U. I V :J 0C a:lN C '" vVlU I I 2 :::r
Igor Stromajer & Brane Zorman Ballettikka Internettikka Intermenttikka
Brane Zorman www ljudmila org / beitthron
Brane Zorman is a composer and sound manipulator. Between 1982 and 1986 he was frontman for the Slovene punk group 0 I KUL1. He IS a pioneer of the Slovene techno scene. Since 1987 he has been composing music for both Slovene and international theatre. dance and multimedia performances and projects and has made guest appearances throughout Europe. Recently he works with Irena Pivka on a series of audio-visual installations ZONE
I.s'2!g gg,t
.::l2": 1982 \::1.!¥ EI 1986 \::1 7 ) ITI O!KULT 2.12": '2) 3 2 £1:111 LI Of Ell3.'r.1¥ N QI Qf Cf 1987 \::l.!¥Ei2": 2£ tJl1LIO f21 '2i0_. 1.12 0112": 0 1C'II Lf 8JJII
