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Is digital art the next avant-garde movement in the history of art, architecture, and design?

At recent festivals like Frieze and Art Basel, digital and new media artists have become the center of attention. Many contemporary artists and designers see the computer as an artistic tool. New software has transformed traditional mediums like painting, drawing, and sculpture as new forms such as virtual reality, digital installations, and projection mapping gain acceptance.

Not only artists are becoming more comfortable with technology - the emergence of platforms like Artsy, Artspace, and Paddle8 suggests that viewers are adjusting to observing artworks on a screen, as well. Museums and galleries are following suit, building new exhibition spaces suited to digital art installations and projections.

Digital art installations offer new opportunities for viewers to actively participate in the artwork. Artists and designers have the opportunity to play with the "real-virtual" boundary between the viewer, or "user," and the digital dimension. Touch, physical participation, and social interaction become essential qualities. The "Behaviours of Light" and "Plane White" installations listed below allow users to literally feel their way around the design script and form their own experience. Take a look at the mind-bending installations and beautiful spaces listed below that celebrate the creative possibilities afforded by new technologies:

Canadian architecture firm JNZNBRK has transformed an entire gallery space with their temporary installation "Behaviours of Light." The designers carefully placed 39 acrylic triangles, each treated with a semi-reflective film, at a specific height to create a reflection. The installation pushes the viewer to rethink the gallery environment; the walls of the room don't only create a space for the work, but are an essential part of its display.

The "Plane White" installation is interactive digital experience for Kandinsky's famed painting "Composition VIII." Kandinsky himself was a synesthete, meaning he lived with a psychological condition that made him "hear colors"; he associated each shade with a specific musical note, making a entire artwork signify a finished song. Like Kandinsky, these digital artists experience art in a non-traditional, multi-sensory way by blurring the line between the visitor and the digital dimension. The artwork feels tangible to the viewer as they go through the motions recreating Kandinsky's images on the wall.

Bryce Wolkowitz Gallery by Bernheimer Architecture PLLC, New York

Located in New York's Chelsea art gallery district, Bryce Wolkowitz gallery specializes in digital and new media art. The high ceilings and monumental skylights create optimal viewing space for digital artworks. Many pioneers in digital and new media art have exhibited here, including Jim Campbell, Edward Burtynsky, and Ben Rubin.

Microsoft's sleek Swiss headquarters was designed with impressive digital projections in mind. A central black glass wall allows employees to give presentations using Microsoft's web tools. The office itself is decorated in black and white to make colorful projections stand out in the space.

Netherlands Institute for Sound and Vision by Neutelings Riedijk Architects, Hilversum, Netherlands

The Netherlands Institute for Sound and Vision celebrates Dutch contributions and progress in radio and television from traditional media to digital developments. The facility includes an enormous national archive, a television and radio exhibition center for the public, and research institute for academics and professionals in the communications industry. The glass façade design was inspired by television images placed on high-colored relief glass panels.

Set in a former film studio, the Shanghai Film Museum includes over 70 interactive digital installations designed to educate viewers on Shanghai's local media industry. Visitors can digitally dub classic films in a sound studio, walk through a lifelike film set, or feel like a star on a virtual red carpet complete with admiring fans and photographers.

Like the Chinese museum above, New York's Museum of the Moving Image is located in a former film production studio. Its exhibitions and programming celebrate the history and technology of the film industry, with a focus on modern digital culture. Digital art projections, as well as interactive installations, are stationed throughout the museum's exhibition spaces, large theater, and café.

Want to create a digital projection installation in your space? Glow Walls allow you to project your own images onto the surface of your choice.

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The Future of Art: 8 Digital Installations and Interactive Spaces - Architizer Journal

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Architects: Showcase your next project through Architizer and sign up for our inspirational newsletter. Is digital art the next avant-garde movement in the history of art, architecture, and design? At recent festivals like Frieze and Art Basel, digital and new media artists have become the center of attention.

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Urged by the receptiveness of art museums today to new display strategies and the potential of new media, this experimental project suggests that the art exh…

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The Meural Canvas is a new digital art frame that could be the perfect pairing for the modern-day photographer. It's an interactive, gesture-controlled device. Essentially, it's a giant iPad that hangs on your wall and looks like a traditional picture frame, until the image starts changing of course.

The Meural Canvas can store 8 GB of photos in its internal storage. It has 2 GB of RAM, built-in WiFi, and an anti-glare matte surface (making for an awesome display for photos) for its 27-inch 1080p screen.

The gesture-control means that you can simply swipe in front of the frame to change the image, avoiding any nasty fingerprints getting onto the screen. It can also be controlled via the Meural website or its accompanying smartphone app, allowing you to quickly upload new artwork to the Meural Canvas.

It works in any orientation and will automatically detect whether it should be in portrait or landscape mode.

You can also gesture to pull up caption information about the image on the screen, as well as changing images or selecting a new playlist for the device to scroll through automatically.

To save on energy, the screen can be put to sleep either manually or on a schedule. The ambient light sensor will adjust the brightness of the screen to suit any room, and it has been developed to optimize color and viewing angle consistency.

It comes in three styles: a black or white color made from poplar wood, or a brown version in walnut wood. The poplar versions are 29.5 x 19.2 x 1.6 inches (75 x 49 x 4 cm), and the walnut version is 30.4 x 20 x 1.6 inches (77 x 50 x 4 cm). The materials are FSC-certified American hardwoods.

Meural also offers a membership program, for $5 a month or $40 for the year, which gives you unlimited access to a huge library of artworks, that is being continually updated. This is an optional extra and not needed for using the frame.

The Meural Canvas is currently available at a pre-order discounted price of $595, and it'll start shipping in mid-November 2017.

(via Meural via The Phoblographer)

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Meural is a Smart Digital Photo Frame with Gesture Controls

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The Meural Canvas is a new digital art frame that could be the perfect pairing for the modern-day photographer. It's an interactive, gesture-controlled device. Essentially, it's a giant iPad that hangs on your wall and looks like a traditional picture frame, until the image starts changing of course.

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Disney Characters Surprise Shoppers | Disney Side | Disney Parks

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MANNER - Human Motion Tracking and Gesture Recognition - Interactive Digital Signage

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BBC Earth augmented reality bring animals to the streets of Oslo | JCDecaux Norway

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Sony Depthsensing Solutions™ develops and produces high-end patented and multi-platform software, sensors, cameras and content, allowing users, developers and corporations to embrace the 3D gesture recognition revolution on PC, set top box, smart TV or console.

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From art installations and fun gimmicks, to mainstream games consoles; facial and gesture recognition technology has been on a long journey and it isn't showing any signs of coming to an end soon. Useful deployments in practical situations are becoming more and more apparent - and as the quality of camera and reliability of data capture increases, maybe soon, a world like John Anderton's won't be that far fetched! Recent technological developments have allowed for more sophisticated use of gesture tracking technology. JCDecaux has been implementing these visions of the future today, turning blue sky thinking into reality with creative use of current technology in order to deliver engaging brand experiences to consumers. When using this technology in the out-of-home environment, creative agencies are no longer restricted by sub-standard or unresponsive equipment, because affordable solutions can be easily implemented outdoors and now, the main limitation for innovation in this field is simply, creativity! Here are some fantastic examples of JCDecaux's eye-catching, smile-generating, hand-waving, gesture-based interactive outdoor adverts:

NMRA

NRMA Insurance has just launched the world's first infrared camera motion activated outdoor poster. For its 'Motor Extras' campaign, NRMA teamed up with JCDecaux to deliver a responsive, informative and persuasive installation in Sydney, Australia.

The campaign features a 3D model of a car and uses a time of flight sensor so people can interact with it to find out about the car parts. The user's hand is tracked, and visualised on screen with a cursor in order to control the panel. By moving their body and hands, passers-by can activate the screen, move the car, watch a video and discover car parts that may not be included as standard with other insurers. There are four installations in Sydney at Pitt Street Mall, Darling Harbour, China Town and Martin Place. The campaign will run for two weeks. This type of interaction, while difficult to master control of, will be familiar to many due to the similarities of using a mouse. Read on to discover different ways JCDecaux has innovated with gesture-recognition technology.

Ford CMax

In 6 shopping malls across the UK, JCDecaux Innovate utilised augmented reality technology and produced an advanced gesture recognition campaign for Ford. The panels housed cameras that not only relayed a live feed of the consumer on screen, but also determined the location of the their hands. With this system in place, consumers could interact with the display using their gestures, with the car appearing to be held in their hand. The campaign was centred around the strapline "Innovation in your Hands." This technology enabled Ford to demonstrate the new features of the "Grand C-Max" in a truly hands-on fashion.

Magnum Infinity

Streets' Magnum Infinity took to the... streets(!) in a facial recognition first for outdoor advertising in Australia. Consumers could approach the panel andvirtually eat a whole Magnum!

This interactive campaign recognised and responded to facial motion in order for passers by to engage. After smiling to activate, the user begins to bite the Magnum Infinity on the billboard. With each attempt at biting, the camera in the billboard register their mouth movements and imitated it by biting the on-screen ice cream. Users would smile for their photo to be uploaded on to the Streets Magnum Facebook page.

This tasty treat was part of a wider international multi-platform campaign which ran on JCDecaux's trams and street furniture.

For more information about innovative outdoor advertising, please contact antoine.letertre@jcdecaux.co.uk

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Outdoor Advertising Facial & Gesture Recognition Technology

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From art installations and fun gimmicks, to mainstream games consoles; facial and gesture recognition technology has been on a long journey and it isn't showing any signs of coming to an end soon.

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PAGO-GRANINI - Human Motion Tracking and Gesture Recognition - Interactive Digital Signage

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RAUCH - Human Motion Tracking and Gesture Recognition - Interactive Digital Signage

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Interactive Digital Installation for Barbican

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Interactive Digital Installation for Barbican

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https://www.dexigner.com/news/32131

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Future You installation at AI: More Than Human, Barbican, London

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https://universaleverything.com/projects/future-you

How do you feel when seeing a synthetic version of yourself ?

In Future You, you are faced with a unique reflection of your potential, synthetic self. Starting as a primitive form, it learns from your movements to adapt and evolve, suggesting an agile, superior version of you. This artwork evolves, creating a new visual response for each visitor, generating 47,000 possible variations.

Commissioned by The Barbican, London for the entrance of the exhibition AI : More Than Human, open from 16 May – 26 August 2019

Creative Director : Matt Pyke
Creative Technologist : Chris Mullany
Realtime Look Development : Adam Samson
Sound Design : Simon Pyke
Exhibition Designer : Tonkin Liu
Studio Manager : Simon Thompson
Executive Producer : Ben Young
Commissioned by The Barbican, London

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Collabolla is a game which tries to change how you think about collaboration. By taking the controls of a familiar 80s arcade game, PacMan, and dividing them up to share between two players, it forces two people to work together to complete the game. I created Collabolla with Simone Pia and Jennifer Bove.

To make it more fun, the players must control the up and down and left and right of PacMan using inflatable Space Hoppers. The game has been exhibited in many international design and art exhibitions including the V&A in London, the Salone di Mobile in Milan, and has been featured on the BBC.

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Collabolla is a game which tries to change how you think about collaboration. By taking the controls of a familiar 80s arcade game, PacMan, and dividing them up to share between two players, it forces two people to work together to complete the game. I created Collabolla with Simone Pia and Jennifer Bove.

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How to apply Gamification on Government elections

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How to apply Gamification on Government elections

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We can use the same principle as the Highway lottery uses in order to lift people’s motivation to go out and vote.

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S ome of the most difficult problems in the worldto solve are social ones. Since there is no way to solve all problems in the world, I decided to focus on solving problems in my country. Croatia has many problems, and people not going out to vote is a big one. I've been asking myself: how to motivate people to go out and vote, how to incentivize them to give their 20 minutes of time so they would have a possibility of a better future?

As a UX Designer, my goal is to solve problems in order to achieve the business goals of the company whilst putting their users or customers in the center of attention. But what if a business is a Country, and owners & customers are every one that lives in that particular country?

Incentivizing people to do something they don't want can be a tricky thing to do. Many businesses that have experts in their teams fail in that task. So, after some thinking, I returned to the basics of human psychology. And then it struck me. Everyone likes to play games of some kind. Not just computer games, board games, or other types of social games, but we play games more often than we think.

We play them while we're driving, while working or while resting, and we are even not aware of that! Have you ever saw the piano stairs? This "minigame" resulted in 66% of the increase in people using stairs. It's a small game that changed people's behavior.

The first question I had to ask about my particular problem is Why people don't want to vote at elections? For that I've turned to a Croatian Reddit community and got some very interesting insight:

1. People don't feel like they are doing something meaningful when they go out and vote, because everything "stays the same" after the election no matter who won them

2. Low trust into government & government structures

3. They have no one to vote for

All 3 problems are extremely hard to overcome especially because we don't have control over people's inner feelings, so I've decided to search for a new approach that would motivate people externally. And I know intrinsic motivation is better than extrinsic in many cases, but here we don't really have a choice. So, what approach would work for this case? I saw a potential solution in the Gamification of elections to make people feel like they are playing a game while actually doing something productive. In order to do that, we need to analyze what is called an "Engagement loop"

Motivation is the first step of an engagement loop. After a person is motivated to do something, they hopefully take the action, which hopefully provides feedback, which then hopefully leads back to motivation. If one of these three elements is not engaged, the engagement loop will be broken, and the person won't do the desired action.

So as we see from our Reddit data gathering, feedback from previous elections is bad (people think nothing has changed no matter who won the elections), so they are not motivated, which results in a lack of action to go out and vote at elections, which again worsens the feedback. This loop is hard to break with incremental changes. That's why we need a radical turnaround.

Another problem is the lack of tangible reward system - Voting doesn't provide any tangible reward for your effort - Sure, a party you support may win the elections, and you might benefit from that indirectly, but that is not a real tangible reward. Except because of corruption and nepotism in Croatia, you really do have a direct reward if you vote for the "right" party, but that is another issue we will solve later ;)

Tangible and Intangible reward systems. Source: https://www.slideshare.net/maryanneportuguez/1motivation

Fogg Behavior model can help us understand why people change their behavior. Behavior change according to Fogg is a result of 3 factors: motivation, ability & trigger. If action is easier to do, and at the same time person has a high motivation to do the action, people will more likely respond to a trigger we create in order to change their behavior. That trigger could be as simple as a text message, notification, or an incentive of some other kind.

Let's say for example you receive a notification from your phone. If you are motivated to see a message soon eg. waiting for a message from your crush, or an important faculty exam results, and your phone is right next to you, you will almost immediately respond to receiving notification. But if you are showering and unable to get to the phone. That means your ability to respond to a trigger is lower, and you won't respond as fast. So, the person will do the desired action if the motivation and ability are high.

Now, the most common solution I hear for an increasing number of people going to vote is digital voting. But digital voting via PC/Smartphone could actually decrease engagement because voting will feel more virtual. This way voting can even feel less significant to people which will result in a decrease of engagement, breaking down the engagement loop even more. (This thesis has to be tested tho...)

Many principles could be used in order to elevate a person's motivation, and there are many great examples of doing so, like highway lottery. I could give you many more examples of gamification of elections, but in my opinion, this one is the most suitable for our situation.

The way Highway lottery works is they reward people who are not speeding by giving them money from people who had to pay fines for crossing the speed limit. So, the solution for getting people to vote is literally to give them money. But giving them money directly could be a problem since we would have to give a large sum per person, making elections very costly. We can use the same principle as the Highway lottery uses in order to lift people's motivation to go out and vote.

The example I would like to propose is that for every one vote, one kuna (Croatian currency) goes into the reward pot. Every 1/1000th person wins 1000 kunas for their voting. Of course, we need to calculate this more precisely or take different numbers in the equation, but for now, you get the idea. This would cost as much as around 4 million kunas (there are around 4 million Croatians), and the cost of elections is around 40 million kunas, which means this would add up to 10% on the cost of the elections alone.

By doing a game of lottery we will incentivize people to go out and vote, and even not voting for a candidate but drawing on the voting paper is still better than nothing. By doing this we will give an extrinsic, tangible meaning to elections, which will increase the motivation of people to take action, choosing better parties (receiving better feedback from elections), and going out to vote again.

This way we are starting an engagement loop, hopefully fixing at least one problem in our beautiful country.

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How to apply Gamification on Government elections

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S ome of the most difficult problems in the worldto solve are social ones. Since there is no way to solve all problems in the world, I decided to focus on solving problems in my country. Croatia has many problems, and people not going out to vote is a big one.

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The interactive experience provides commuters with answers to the questions posed in The Economist's 'Never Stop Questioning' TV ads

The Economist, a leading source of analysis on international business and world affairs recently expanded on its new ''Never Stop Questioning' TV commercials with a companion experiential activation at London Victoria train station.

The experience continued the guiding thought of The Economist's new TV ads - the value of always questioning the world around us - by displaying the thought-provoking questions featured in the direct response commercial on a large interactive screen within the station. The questions are based on articles from The Economist, including 'Does social media help or harm democracy?' and 'Are plastic bags better for the ocean than paper ones?'

As each question was displayed, passers-by were encouraged to interact with a button on the screen to find out the answer. When pressed, the button triggered the screen's integrated printer to release a preview of the corresponding article. QR codes on both the print out and screen took users to the full article on Economist.com, where non-subscribers could also register for free access.

"At The Economist, we have always believed it is by posing and debating difficult questions that society progresses and moves forward. This experience brings to life the idea that we survive and thrive by asking why," said Mark Cripps, Chief Marketing Officer at The Economist. "By consuming our content, readers will be better armed with the tools they need to prepare themselves for the future."

The experience was conceived and brought to life by brand experience agency Sense London.

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The Economist expands on new brand TV ads with experiential activation - Fieldmarketing

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The interactive experience provides commuters with answers to the questions posed in The Economist's 'Never Stop Questioning' TV ads The Economist, a leading source of analysis on international business and world affairs recently expanded on its new ''Never Stop Questioning' TV commercials with a companion experiential activation at London Victoria train station.

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Artex wanted an exhibition display stand that would encourage tradespeople to interact with their products and showcase their individual features and benefits.

The objective was the customers would walk away from the stand thinking "I need to be using these products on my jobs".

We studied the persona types that would be attending the show and created an exhibition space full of informative activity that would appeal to the types of customer that Artex wanted to attract.

This included custom plinths with actual products that visitors could try using. Using data capture technology, we ensured that, once visitors were engaged, they could then take action to register interest in using Artex products.

To create some fun and more activity, we integrated an interactive spinning wheel into the design, where visitors could spin to win various prizes.

The overall result of the stand was Artex exceeded their target of quality contacts by 125 per cent.

Artex - https://www.artexltd.com

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Spin of a Wheel Delivered Good Fortune for Artex

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Artex wanted an exhibition display stand that would encourage tradespeople to interact with their products and showcase their individual features and benefits. The objective was the customers would walk away from the stand thinking "I need to be using these products on my jobs".

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More than just a body, you are a complex blend of your experiences, choices, personality and environment.

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The Museum is temporarily closed. Details

More than just a body, you are a complex blend of your experiences, choices, personality and environment.

Who you are is also shaped by how you care for yourself and choose to enjoy life. Your mind, body and spirit have a vital connection, one you can use to improve your overall sense of well-being. The potential for greater health and vitality is within you ... it's only a conversation away. A conversation with yourself.

Talking with You, About You

When did you last stop to appreciate how amazing you are? That's not mere flattery. Rediscover the incredible organization and resiliency of the body and mind. Trace the journey of life from its first moments. See your body from new perspectives: inside out, or years into the future. Wherever you are in life, and whatever your priorities, you'll have plenty to consider about how far you've come, and what more is possible.

If you live to be 100,
what stories will you have to tell?
What advice will you give?

Aspects of daily life and health come together in a hands-on exhibit that examines and celebrates the experience of living.

Make a 13-foot-tall, animated 3-D heart beat in time with yours. Go for a jog in a human-sized hamster wheel. Clear your mind to win a battle of relaxation. Go past the hype over diet and activity to discover choices that suit who you are. Just a few of the moments, big and small, that will have you will rethinking what it is to be you.

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The Museum is temporarily closed. Details More than just a body, you are a complex blend of your experiences, choices, personality and environment. Who you are is also shaped by how you care for yourself and choose to enjoy life. Your mind, body and spirit have a vital connection, one you can use to improve your overall sense of well-being.

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https://www.pinterest.co.uk/nexusengage1/interactive-hoarding/
https://www.facebook.com/NexusEngage/

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Finnkino, the largest cinema chain in Finland, has recently released Leffapeli (Finnish for "Movie Game"), a new crossmedial game to go along with the moviegoer experience. It is a game that is controlled through mobile devices and played on the big cinema screen five minutes before the actual film starts showing in the theater. Several people can attend the game at once and compete for a small prize that is cashed out from the cinema cashiers after the screening is over.

Even though the concept is technologically impressive and could potentially facilitate a number of different, interesting game mechanics, the developers have seemingly dodged a bullet by not attempting to create any experiences that would be considered cinematically or technically stunning, and instead have developed simple and easy-going casual games for early birds to have a go at. This seems to work pretty well and doesn't interfere with the commercials nor the immersive film that follows. The observers who are not playing are still sort of participating in the game, since the prize sponsors get to have five full minutes of huge silver screen brand recognition. In other words, advergaming has now reached movie theaters.

The Leffapeli mobile app requires Facebook integration to work. I can't really tell why this is, and especially when I realized the game puts my Facebook profile picture right on the big screen for everyone else in the audience to gaze, I was left to wonder if they had really tested this game with real people in real-life situations. There is a separate link for attending the game as an underage child without a Facebook account, but I'm unaware of how this works in practice.

The game mechanics are pretty simple, and different brands (Axe and Hesburger so far) feature different games, from flipping and memorizing cards to shooting bubbles. Reviewing Leffapeli alone from the perspective of game mechanics, however, cuts short in the sense that the game mechanics can evolve over time and there might be more game modes to come. Meanwhile, context plays a big part and Leffapeli wouldn't be nearly as interesting as a standalone mobile game without the big screen, the prizes, or the cringes of showing off your face in the cinema for the sake of winning those prizes.

Title: Finnkino Leffapeli
Developer: CinemaTaztic
Publisher: Finnkino
Platform: Mobile (Android & iOS) as second screen
Genres: Casual, free to play, advergaming
Age Rating: PEGI 3
Released: 2017
Language: Finnish
Online: http://www.finnkino.fi/leffapeli (in Finnish)

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Finnkino Leffapeli - Casual mobile gaming in the movies

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Finnkino, the largest cinema chain in Finland, has recently released Leffapeli (Finnish for "Movie Game"), a new crossmedial game to go along with the moviegoer experience. It is a game that is controlled through mobile devices and played on the big cinema screen five minutes before the actual film starts showing in the theater.

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Electroland has an international reputation for large-scale interactive light and sound sculptures and interactive light and sound environments.

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Electroland has an international reputation for large-scale interactive light and sound sculptures and interactive light and sound environments.

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Created by Klaus Obermaier with Stefano D'Alessio and Martina Menegon, EGO is an interactive installation that explores the concept of 'mirror stage' objectification resulting in a conflict between one's perceived visual and emotional experience.

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Consumer surveys have evolved over the years, with the transition from traditional research methodologies such as mail and telephone surveys to enhanced experiential surveys.

More specifically, experiential and online surveys continue to further adapt to consumer technology trends with shopping receipt surveys, mobile optimized surveys, and recently gamification.

Gamification is the concept of incorporating gaming elements into other activities, often for businesses. The main idea behind gamification is to create a more positive or fun experience for the targeted respondents.

In market research, gamification has countless applications within experiential surveys. In this post, we'll discuss what shape gamification takes in market research studies and what businesses stand to gain by using it.

Create a winning market research study with gamification by incorporating a layer of fun and interaction for respondents.
Benefits of gamification in experiential surveys

We've heard it before. "Why would I go to the trouble of making questions more like a game for respondents, if standard questions collect the same feedback?"

There are a few key advantages that make gamification worth the effort.

To start, gamification methods make the research experience more interactive than just a question and answer style for respondents. It would be easy to make a survey in which a respondent just ticked boxes twenty times in a row, but you have to consider respondent engagement.

A respondent seeing the same format, page after page is bound to lose interest and in turn compromise the data quality. Gamification elements elevate a survey experience to escape the more repetitive, traditional flow.

Furthermore, if survey participants are contacted for follow-up interviews, a positive experience will encourage respondents to keep participating in the research. Gamification in experiential surveys will help respondents associate your brand with being fun or creative.

For many respondents, gamification makes questions easier to understand. Visual learners can benefit from the recognition of elements like drag and drop or image selection. Again, this contributes to a more positive experience for respondents.

Using gamification in qualitative research

While only recently being used in market research studies as a whole, gamification has been a part of focus groups and in-person interviews for a long time. These qualitative market research methodologies frequently include activities for participants to help capture information.

It is common to see at least a couple of respondent participation activities in longer qualitative research sessions to keep participants engaged. Some examples include writing on index cards, voting on topics, and physically ranking services or brands.

For example, a marketing agency is updating their logo after 15 years in business. The marketing agency chooses to conduct focus group research to guide their decision of what logo best represents their brand based on audience feedback.

At a focus group facility, a moderator shows participants a number of different logos

to understand what logo is most and least appealing as well as further implications of making this change such as brand recognition or confusion.

Using gamification in quantitative research

Gamification has more recently been adopted into quantitative research methods such as online surveys. It is now easier than ever for researchers to program gaming elements into questions through survey management platforms equipped with user friendly options for question creation.

Our market research firm, for example, uses a survey management tool that offers question types such as:

Slide scales

Star rating grids

Drag and drop

Image selection

Even more so, studies attracting younger generation participants find the use of video or audio capture capabilities particularly powerful survey feature types.

Depending on the information you are looking for, the questions in a survey can also be organized in a format that calculates a score. Think of testing awareness of local businesses or product usage. The scores of participants can be compared to other survey respondents and aggregate in real-time to spark engagement.
Contact Drive Research
Drive Research is a market research company located in Syracuse, NY. Our team of experts has the tools and experience to design a customized market research project with gamification.

Interested in learning more about our market research services? Contact us any of the following 4 ways.

Message us on our website
Email us at info@driveresearch.com
Call us at 888-725-DATA
Text us at 315-303-2040

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What is an Experiential Survey? | Gamification in Market Research

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Consumer surveys have evolved over the years, with the transition from traditional research methodologies such as mail and telephone surveys to enhanced experiential surveys. More specifically, experiential and online surveys continue to further adapt to consumer technology trends with shopping receipt surveys, mobile optimized surveys, and recently gamification.

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I can appreciate these awesome Quirky Wallbrights as a significant improvement on the glowing star stickers I had on my bedroom ceiling as a child. These whimsical decals are actually embedded with LED lights and equipped with fine connectors around their edges to link up into customizable clusters.

Designed by Debra Courtenay, these delightful decorations come in hexagonal pieces and lengthy stripes that adhere easily to walls. They can be arranged freely into whatever shape or pattern a person desires, so long as one unit in the series is plugged into a socket.

One of the best features of the Quirky Wallbrights is that they can be controlled remotely with bluetooth by means of a smartphone app. Your mobile enables you to switch them on, off and even alter their color.

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I can appreciate these awesome Quirky Wallbrights as a significant improvement on the glowing star stickers I had on my bedroom ceiling as a child. These whimsical decals are actually embedded with LED lights and equipped with fine connectors around their edges to link up into customizable clusters.

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BrewDog is once again hovering the promise of beer in front of people to prevent them from abstaining in Thursday's (12 December) general election.

Branded on a bus - a tactic made infamous by the 2016 EU referendum campaign - the copy reads 'Vote Punk' alongside the offer of a free pint for anyone that votes.

This is a nod to the Brexit Bus that inaccurately claimed the UK sends over £350m to the EU which could be spent on the NHS, the BrewDog bus includes the disclaimer '*100% of the statement on this bus are accurate.' To receive the free pint, voters are asked to take selfies outside the polling station and then present this to staff in any of BrewDog's UK Bars.

'We want to reward anyone voting in the General Election with a Punk IPA on us. Whatever your views, whatever your status, every vote was created equal," said James Watt, co-founder of BrewDog.

"We're not affiliated with any political party, we don't care who you vote for but we would like to buy you a beer. Whatever is next for our country, drinking great craft beer might just get us through it,' he continued.

The self-styled 'punk' Scottish brewer started 'Vote Punk' back at the 2017 general election - something it called the 'world's first beer-fuelled election poll.' However, rather than placing a provocative bus placement, it took inspiration from the inaccuracy of official polls.

Hoping to predict the outcome, the brewer went out to the streets to ask the general public who will be getting their vote.

BrewDog is not the first brand to use a bus placement to wade into the 2019 general election debate. Earlier this month, a cheeky Burger King ad appeared on a red bus, that read 'another whopper on the side of a bus. Must be an election.'

Outside this election, the scandalous Brexit bus has set a trend, with daring brands emulating its execution. Earlier this year, Three plonked a branded bus outside Westminster to inform its customers that it will foot the bill for £187m worth of roaming charges if the nation does indeed leave the European Union.

In February, Radioactive PR ran a digital ad on the side of 45 London waste management vehicles that read 'Our PR campaigns get an AVE of £350m a week... some people will say anything to get the results they want... get in touch for PR results that aren't a load of bullshit.'

Back in January, Channel 4 jumped on the Brexit bus bandwagon to promote its series with Benedict Cumberbatch. Instead of 'take back control' the red bus read 'take back the remote control. Watch gripping new TV drama.'

And in 2017, the fintech startup Monese capitalised on the notoriety of the bus when it subverted the £350m offer with one of its own.

Greenpeace was one of the first to respond to Brexit bus, back in 2016, when it hijacked Vote Leave's old campaign bus - covering up the emblazoned claims the giant text that read 'Time for the Truth.'

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BrewDog jumps on Brexit bus bandwagon with a pints for voting promise

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BrewDog is once again hovering the promise of beer in front of people to prevent them from abstaining in Thursday's (12 December) general election. Branded on a bus - a tactic made infamous by the 2016 EU referendum campaign - the copy reads 'Vote Punk' alongside the offer of a free pint for anyone that votes.

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These Tangrams for teachers from Walls360 are a fun way to bring interactive art into the classroom for the new year.

Walls360 will be giving out free samples of this interactive art internationally. These interactive stickers are a fun way to get children to participate in a classroom setting, making for a fun learning experience. The Tangrams for teachers from Walls360 are printed with eco-friendly ink, adding eco-consciousness to kids education.

Implications - xx
The face of education is changing rapidly, as interactive teaching tools and technology are overtaking more traditional means of teaching which have educators talking down to their students. These Tangrams from Walls360 are just one of many examples of educational tools which will help students become an active part of their education experience.

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These Tangrams for teachers from Walls360 are a fun way to bring interactive art into the classroom for the new year. Walls360 will be giving out free samples of this interactive art internationally. These interactive stickers are a fun way to get children to participate in a classroom setting, making for a fun learning experience.

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Cadbury and Posterscope have developed a digital out of home ad format letting the UK public vote on the chocolate giant's next Dairy Milk flavour.

The public can select one of three limited-edition Dairy Milk bars, which have been in stores for some time. The variants were created by 'inventors' last year and now digital ad boards will share live polling data, presented in the style of a political advertising campaign between three candidates, to decide which one will remain on sale.

Posterscope, working with Carat, placed the campaign across 50 large digital format screens and more than 500 digital 6-sheets, supported with static large and 6-sheet formats throughout July. The work will be locally clustered in the hometowns of finalists too.

Lyndsey Homer, junior brand manager of Cadbury Dairy Milk, said: "We wanted a campaign that we could be confident would get the public behind our three Inventors and encourage them to take part in selecting which flavour we introduce to the Cadbury Milk Bar range. Using the live polling data will create a sense of excitement and urgency among the public to get out and vote for their favourite."

Juliet Pigache, comms planning manager at Carat, added: "It was a no brainer for us to use digital out of home for this stage of the Cadbury Inventor campaign. It gives us nationwide reach while also having the ability to use location data to home in and serve tailored creative executions in our inventors' hometowns and counties, helping to drive local support in the final voting."

Fleur Greenfield, client executive at Posterscope, said the campaign will draw on live voting and location data to serve a campaign that is relevant to consumers wherever they are in the country.

As part of the final vote, celebs have been drafted to support each flavour in activity organised by Golin.

The celebrity line-up includes Leeds-born comedian Keith Lemon supporting 'SIMPLY THE ZEST', former The X Factor judge Louis Walsh supporting 'CHOCA-LATTE', and finally Mancunian Take That's Howard Donald, backing 'THE RASPBERRY SHORTCAKE'.

The winner will be announced in September.

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Cadbury runs a chocolate election with real-time polling for new flavours

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Cadbury and Posterscope have developed a digital out of home ad format letting the UK public vote on the chocolate giant's next Dairy Milk flavour. The public can select one of three limited-edition Dairy Milk bars, which have been in stores for some time.

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Attention, HVBRD n'a rien à voir avec les hoverboards qu'on croise sur les trottoirs parisiens.

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The future of digital signage games

We think there's a ton of innovation happening in the space. On the user interace side, we're seeing various technologies being deployed in-tandem with the digital signage software. Through our data collection, we saw Chromecast powered games, Kinect-based gesture games, multiplayer games, augmented reality games as well as Bluetooth/RFID enabled games.

In terms of content, we see a higher quality of creative ideas being converted into games. The target demographic is still casual gamers. In fact, it could be an overstatement to use the word "gamer". The goal is to give consumers an fun experience, be it rolling a dice, getting pictures taken, or participating in a really simple game to make use of the 30 seconds they have.

On the game software side, we see HTML5 technology being continuously used by various brands in favor of other closed game systems. The versatility of HTML5 games is evident - they can be easily converted and optimized into Android / iOS and other digital signage compatible mediums.

Geography-wise, we expect to see more digital signage games deployed in more countries around the world.

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Digital Signage Games - The future of outdoor engagement

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We think there's a ton of innovation happening in the space. On the user interace side, we're seeing various technologies being deployed in-tandem with the digital signage software. Through our data collection, we saw Chromecast powered games, Kinect-based gesture games, multiplayer games, augmented reality games as well as Bluetooth/RFID enabled games.

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PubNub Demo Showcase: Second Screen Gaming with a Smartphone Controller

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Demo it here: http://www.pubnub.com/developers/demos/pongnub/
Blog post & tutorial (w/ code!): http://www.pubnub.com/blog/building-a-browser-based-game-w-a-phone-controller/

PongNub is a second-screen game with a smartphone controller. The controller uses JavaScript and JQuery in a mobile browser, and the game interface uses JavaScript in a browser. 

Users can control their paddle in realtime using the control, with Pub/Sub Messaging (http://www.pubnub.com/how-it-works/data-streams/) taking care of streaming the signals.

All PubNub demos: http://www.pubnub.com/developers/demos/
--
Music: "ColoR Me," by Vinmara

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This tutorial shows you how to build a second screen game in a web browser with JavaScript that uses a phone as a controller.

You may already know how others are using PubNub to create amazing second screen experiences. Viggle is a social mobile app that rewards you for checking in and interacting with content taking place on TV. Manchester City Matchday Centre is a web app that streams real-time updates and statistics to fans, and works on phones, desktop, and tablets.

However, second screen experiences need not be limited to television or football matches. Recently, there has been a surge in second screen gaming. Nintendo's latest console, the Wii U, is completely centered around the second screen experience, and some games on Sony's PlayStation 4 allow you to use a PlayStation Vita as a second screen.

Some of Google's Chrome Experiments also utilize a phone as a second screen for various web games. World Wide Maze turns a website into a 3D maze, which you then have to find your way out of using your mobile phone as a controller. Roll It lets you use your phone as a controller to play skeeball.

In this tutorial, we'll walk you through how you can use PubNub to build second screen capabilities into a game. In our Pong example, users can open the game in a web browser, scan the QR code onto their phone, and control the game with their phone controller. We'll show you how easy it is to build a second screen game, with realtime signaling using PubNub Data Streams.

PongNub: Second Screen Phone Controller Demo

Play the live second screen Pong demo here, and check out the complete source on GitHub. Just scan the QR code with your phone and the game will automatically begin.

Getting Started

We begin this tutorial with an already finished implementation of the game of Pong. Currently, you control the paddles with the arrow keys, and start the game by hitting the enter key. Once the game ends, you can restart it by just hitting the enter key.

Now, the first thing we'll want to do on our quest for a second screen gaming experience is to disable these old controls, which will render our game unplayable for the time being. Do not despair though.

Soon we'll be able to control the pong paddle with our MIND! phone.

In fact, we probably want to remove the default way the game starts too. Instead of starting the game with an enter key, we'll start whenever someone pairs a phone to an instance of the game, which we can accomplish with PubNub Presence.

The last default action we'll want to change is what happens when a player wins, i.e. when they score 10 points. Perhaps a modal should pop out on the phone screen, asking the player if he wants to play another match. Or we could automatically restart the game after a countdown. There are many possible choices, but we don't necessarily have to pick one right now. We can decide on a proper course of action when the time comes. For now, we just have to disable the default behavior that occurs when the game ends.

Pairing: Transferring Data Between a Phone Controller and Browser

The first question we're going to have to answer is how are actions performed on the phone/controller going to be sent to our game? Of course we have PubNub to facilitate the actual transfer of data, but then we have to ask what channel should this data be sent and received on? If we just hardcoded a channel, then only one instance of the game could be played at a time. So obviously, we should just randomly generate a channel, like so:

But if the channels are randomly generated, how would the game and the controller know which one they should be published on?

To solve this dilemma, we can take a cue from some of the second screen apps I mentioned in the beginning of this tutorial (such as the World Wide Maze). We can add a parameter to the URL of the link to the controller that contains the random 4 digit number we generated, like this .../controller?id=1234.

We can also generate a QR code to this URL with JavaScript, using QRCode.js.

Then when the player goes to the link by scanning the QR code with his phone, the controller can just grab this parameter with some simple JavaScript, so it knows which channel it should publish on.

Building the Phone Controller

Now let's begin working on the controller itself. Our second screen controller is going to be rather simplistic in appearance. It'll consist of two opposite facing arrows that are scaled to fit any window size with jQuery.

Then we'll just attach some event listeners to the entire document, which will publish "touchstart", "touchend", "touchleave", and "touchcancel" events onto the PubNub channel we get from the URL parameter. If we also want the game to work for anyone who doesn't have a phone handy, we can attach event listeners to "mousedown", "mouseup", and "mouseleave" events too.

We could send the entire event object in our messages, but that's really just wasting bandwidth. Instead we'll break down the events, and only publish the info that our game really needs to function properly, i.e. "touchstart" on the "up" arrow.

Also, notice that you don't have to be subscribed to a channel to publish to it! But we'll want to subscribe to the channel, so that our game client can know when a phone is connected to the game.

Message Handling: Connecting the Dots

Now that our controller is going to be sending us data, it's time for us to connect the dots game side. This is about as easy as connecting literal dots on a literal sheet of paper with a literal crayon. "up" and "touchstart"? Move the paddle up. "down" and "touchend"? Stop moving the paddle down.

Now we're ready to play Pong on our second screen! Well, we're almost ready. If you tried to play the game right now, you would notice something strange...

Nothing happens, because we still need to handle how our game should start!

Starting a New Game

We're going to want to start our game as soon as a phone connects to our PubNub Channel, so let's use PubNub Presence. To do so, enable PubNub Presence using your demo keys in the Developer's Portal.

The PubNub function here_now returns a list of uuids currently subscribed to the channel, and also an occupancy number that is the total current occupancy of the channel.

To determine when someone has connected their phone to our Pong Game, let's set up an interval that will repeatedly call here_now, and if the occupancy is greater than 1 (since the game is also subscribed to the channel, occupancy will be 2 when a phone connects), start the game.

When the game ends, let's just pop up a modal that asks the user if he wants to play again.

Now our game is finally ready! Play it here, and check out the complete source on GitHub!

You may be thinking that it'd be pretty easy to extend the ideas presented in this blog to make not just a second screen experience, but a multiplayer experience, and you would be right! Check out some of these older classic blog posts that explain how you can use PubNub to build real time multiplayer games.

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Building a Browser-based Game w/ a Phone Controller | PubNub

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This tutorial shows you how to build a second screen game in a web browser with JavaScript that uses a phone as a controller. You may already know how others are using PubNub to create amazing second screen experiences. Viggle is a social mobile app that rewards you for checking in and interacting with content taking place on TV.

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The Quartier des Spectacles Partnership is pleased to announce that domino effect by Ingrid Ingrid is the winner of the 9 thedition of Luminothérapie. The participatory installation, composed of a set of giant sonorous and illuminated dominos, will be presented until January 27, 2019 at Place des Festivals, located in the heart of the Quartier des Spectacles, Montreal.

Play as a catalyst for new encounters
As part of the novel winter experience provided by Luminothérapie, domino effect consists of 120 dominos distributed across several stations. The public is invited to play with sets of 10 giant, brightly coloured dominos in different ways, creating a wide range of sound and lighting effects. Every set features a different sound profile (vocals, percussion, marimba, balafon, flute and so on), and when players topple the dominos in a long cascade, the resulting multi-coloured domino orchestra plays a unique musical work in a colorful and luminous bow of pastel hues!

Ingrid Ingrid delivers a fun and entertaining experience that brings people together and fosters a spirit of cooperation. Players can join forces to set up the dominos faster and trigger the next cascade, or nudge them in the opposite direction to reverse the sound sequence. And since each domino makes its own unique sound, visitors can even play DJ by "scratching" a domino, spinning it at different speeds or drumming on it with their fingers.

The installation is rounded out by an architectural projection on UQAM's Pavillon Président-Kennedy, created by Nouvelle Administration. The projection borrows the installation's colourful hues and pairs that graphic language with visuals that reference the world of dominos. Space, sonority and colour are at the centre of this exploration, where the chain reactions and original decomposition of the dominoes are caused by sound.

With its vintage tropical colours, the interactive and collaborative domino effectexperience makes for a positive, energizing outing. Come join us and forget the winter gloom!

"Congratulations to the team of Ingrid Ingrid for making Place des Festivals sparkle and bringing it to life with the power of interactivity. And thank-you to the team at the Quartier des Spectacles Partnership for coming back for a ninth consecutive year with this temporary luminous event, which brightens up downtown Montreal in the dark winter to delight passers-by of every age. Ingrid Ingrid's installation illustrates our homegrown creators' immense talent in finding new avenues for occupying public spaces all year round."
Valérie Plante, Mayor of Montreal

With this project, we wanted to celebrate public and physical space as a place for get-togethers and surprises - the kind of place where it's fun to play and relax. The domino effect is our impact on each other, the contagiousness of happiness, the idea that we can accomplish extraordinary things when we get together. - Geneviève Levasseur, creative director, Ingrid Ingrid

Photo credit | Nicolas Gouin - l'Hibou

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The domino effect Interactive Installation Brightening Up Place des Festivals This Winter

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The Quartier des Spectacles Partnership is pleased to announce that domino effect by Ingrid Ingrid is the winner of the 9 thedition of Luminothérapie. The participatory installation, composed of a set of giant sonorous and illuminated dominos, will be presented until January 27, 2019 at Place des Festivals, located in the heart of the Quartier des Spectacles, Montreal.

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NEW MOON: an interactive moon sculpture by Caitlind r.c. Brown & Wayne Garrett

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2014

More information: www.incandescentcloud.com

Music by AM Static: soundcloud.com/amstatic

NEW MOON was sponsored by Lexington Art League in Lexington, Kentucky, USA http://www.lexingtonartleague.org/

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ARTISTS | Caitlind r.c. Brown & Wayne Garrett

VIDEO & EDITING | Caitlind r.c. Brown

PRODUCERS | Lexington Art League (Becky Atkinson Alley, Kelly Karbowicz, Stephanie Harris, and Candace Chaney)

COMMISSIONED BY | Lexington Art League

TECHNICAL TEAM | Shawn Gannon, William James Posey Jr., Rosamond McCallum, Fishhook, Kendra, Matthew, and more BCTC students!

INTERNS | Jay "Hammer Heal" Hawkins, Tatiana Aristizábal, Katie Brooks, Brittany, Rebecca, Rachel, Amy, and many more in passing

SPECIAL THANKS | Linda Posey, Gayle Cerlan, Georgia Henkel, John Long, Bill, Arturo, Anthony, Griffin & Sarah Wylie, Kurt Gohde and Kremena Todorova, and our Moms + Pops, Bluegrass Community + Technical College, and last, but certainly not least, Lexington Art League!

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NEW MOON is an interactive light + shadow sculpture inviting viewers to manipulate the phases of the moon. Exploring the whimsical and alluring nature of our nearest celestial body, the sculpture draws on the universal familiarity of moonlight to all people. A mysterious, seductive, and powerful entity, the moon draws the tides and eclipses the sun. And yet, perhaps by virtue of its relationship with night and darkness, the moon is an intimate celestial body – she casts her silver light as if for each dreamer individually.  With NEW MOON, the artists build a playful allegory for the human fascination with exploration, adventure, and new frontiers, while also gently implicating the darker side of progress: humanities mortal terror of the infinite and unattainable expanses of outer space. By manually shifting the faces of the moon, viewers become temporary time travelers, altering time and space to meet, if only briefly, together in the moonlight.

The fourth in our series of light sculptures utilizing re-appropriated domestic light bulbs, NEW MOON was created from approximately 5,500 burnt out incandescent bulbs. While the brightness of the sculpture is enchanting, for us as artists, the real epiphany of working on this sculpture came from recognizing the incredible value of darkness in relation to a work characterized by light.

NEW MOON was commissioned by Lexington Art League, and installed in Lexington, Kentucky for Luminosity, a light exhibition in January/February 2014.

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De vluchtelinge stemwijzer is een interactieve installatie waarbij jouw mening over vluchtelingen visueel naar je wordt terug gespeeld. Hiermee wilde we bereiken dat mensen die nog geen mening hadden over vluchtelingen deze konden vormen, en mensen die al wel een mening hadden laten inzien wat die mening werkelijk betekende. Wat houd het werkelijk in als je roept: "vluchtelingen zijn een bedreiging voor de samenleving"?

De installatie maakt gebruik van augmented reality. Zodra je met de tablet de poster scant krijg je een stelling voor je waar je eens of oneens op kan beantwoorden. Tegelijkertijd loopt er een 8-bit geanimeerde vluchteling met je mee door alle vragen heen. Op het einde loopt deze zelfde vluchteling door een scenario waarin jouw visie op vluchtelingen verbeeld wordt.

Na de vluchtelingenwijzer ingevuld te hebben kregen mensen een stempas met nog een keer hun antwoorden en een boekje met uitleg en een neutrale blik op de stellingen. Aan de stempas zat een afscheurstrookje waar de stemmer zijn of haar mening over vluchtelingen nog verder op kon onderbouwen of feedback kon geven op onze installatie. Dit werd dan in stembus gedaan.

De vluchtelingen stemwijzer is gemaakt in samenwerking met Saskia Gerrits en Don den Boef

Mijn bijdrage was de 8-bit animatie van de vluchteling, de aankleding van de installatie en het achtergrond onderzoek voor de stellingen.

The refugee voting guide is an interactive installation where your opinion about refugees is visually played back to you. With this installation we wanted to help people who did not yet have a opinion about refugees with forming an opinion, and to show people who already had a formed opinion what this opinion really meant. what does it mean when you shout: "refugees are a threat to society"?
The installation uses Augmented reality. As soon as you scan the poster with the tablet, the first question pops up, asking for your opinion. you could answer agree or disagree. While you are going from poster to poster answering questions, a 8-bit animated refugee walks with you. At the end, this same refugee will walk through a cutscene, visually showing your opinion on refugees.

After the cutscene is over, you would get a voting pass, again showing your answers, and a two-page booklet with some more neutral information about the background of the questions. The voting pass had a strip that you could tear off to substantiate your opinion or to give feedback on our installation. This could than be put into our voting bin.

The refugee voting guide was made in collaboration with Saskia Gerrits and Don den Boef My contribution consisted of the 8-bit animation of the refugee, the dressing of the installation itself and doing the background research where the questions were based on

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Vluchtelingen stemwijzer (Refugee voting guide)

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De vluchtelinge stemwijzer is een interactieve installatie waarbij jouw mening over vluchtelingen visueel naar je wordt terug gespeeld. Hiermee wilde we bereiken dat mensen die nog geen mening hadden over vluchtelingen deze konden vormen, en mensen die al wel een mening hadden laten inzien wat die mening werkelijk betekende.

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"Images are revealed by controlling an array of LED lights, which are diffused by glass lenses embedded within the stone. The aim is to create an enjoyable and dynamic experience for pedestrians, which reflects the changing weather fronts" goes the press release.

"The installation will be able to detect static shadows from buildings, light and shade resulting from different times of day and seasonal changes, as well as dynamic movement from surrounding people and trees." it continues "Jason Bruges Studio took inspiration from the characteristic lake effect 'weather fronts' experienced in Toronto; weather boundaries that separate two masses of air of different densities, that dramatically affect the city's climate all year round."

The studio previously created Nature Trail, an interactive wall in the corridor of a children's hospital, designed to ease children's journeys to the anaesthetic room as LED animals come to life on the walls which they can touch and engage with.

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Interactive Artwork Will Turn Your Shadow Into An Animation

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"Images are revealed by controlling an array of LED lights, which are diffused by glass lenses embedded within the stone. The aim is to create an enjoyable and dynamic experience for pedestrians, which reflects the changing weather fronts" goes the press release.

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Images courtesy the artist

Thanks to new interactive light installation, Quantum Space, you can become a shapeshifting digital humanoid inside a Moscow art gallery. Working with Ku-Flex Visual Labs, digital artist Igor Tatarnikov, a.k.a. Sodazot, linked projectors, computers, and motion tracking cameras together with openFrameworks software to create a digital mirror. Only, instead of your reflection, it reveals an ephemeral body of swirling light, neon geometry, and particles.

The shapes and colors that make up your new digital reflection are actually based on real particle physics simulations. "When you come into Quantum Space, you break down into quantums of light and you communicate with universe," explains Sodazot. Ultimately, the experience seems like joining Universal Everything's walking man on his jaunty, animated stroll.

Quantum Space runs at the M'ARS Gallery in Moscow through April 15, 2015. Check out Ku-Flex's work on their website, and visit Sodazot's portfolio for more.
'Grapheme' Turns Memories Into An Interactive Projection Sculpture The Interactive Video Projections Of Team Iregular Light Show Turns Sound Waves into Projection-Mapped Galaxies Interactive Light Display Turns Floor Of Moroccan Church Into Magic Carpets

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Walk Through a Digital House of Mirrors in This Interactive Installation

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Images courtesy the artist Thanks to new interactive light installation, Quantum Space , you can become a shapeshifting digital humanoid inside a Moscow art gallery. Working with Ku-Flex Visual Labs, digital artist Igor Tatarnikov, a.k.a. Sodazot, linked projectors, computers, and motion tracking cameras together with openFrameworks software to create a digital mirror.

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Moving Creates Vortices and Vortices Create Movement

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designboom | architecture & design magazine

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'nature trail' by jason brugesimage courtesy jason bruges studio

london-based lighting design house jason bruges studio has completed 'nature trail' - an interactive project designed specifically for the great ormond street hospital, england as a means for children to brighten their journey to the operating theatre. the concept was informed viewing the hospital walls as a natural canvas - a digital forest, with scenes depicting various 'forest creatures', including horses, deer, hedgehogs, birds and frogs, to the passerby.

the work has been installed in the theatres floor within the hospital's new morgan stanley clinical building, the first part of the mittal children's medical centre. 'nature trail' covers the corridor walls and has essentially two main elements; integrated LED panels and bespoke graphic wallpaper. the LED panels are embedded into the wall surface at various heights in order to be accessible to the eye levels and positions of patients moving along the corridors. across these surfaces are abstract 'animal movements' which are interactive animated patterns of light that reveal themselves through the trees and foliage of the forest. the artwork consists of 70 LED panels, with a total of 72,000 LEDs.

a video showing the installationvideo courtesy jason bruges studio

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interactive installation at children's hospital by jason bruges studio

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'nature trail' by jason brugesimage courtesy jason bruges studio london-based lighting design house jason bruges studio has completed 'nature trail' - an interactive project designed specifically for the great ormond street hospital, england as a means for children to brighten their journey to the operating theatre.

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Images courtesy the artist

We're jealous of the children in Akita, Japan who get to play in a sea of electrons, pal around with planets, and bask in an aurora thanks to teamLab's new installation at the TDK Musuem. Interactive Magnetic Field Theatre is an immersive artwork that drops viewers into outer space, atomic matrices, and life-sized landscapes, distorting perspective like a Yayoi Kusama infinity room with projections instead of mirrors.

Visitors will be able to "walk around freely through a space surrounded by images on the floor and in every direction, helping them experience a visual display of the forces of magnetism, which are normally invisible to the naked eye," teamLab states in the project description. The images on the walls, ceiling, and floor are rendered in real time and react to visitors' bodies. As in the majority of teamLab's immerisve artwork, no two observers will have the same experience. Pieces like their Floating Flower Garden and Crystal Universe are also stunning, but Interactive Magnetic Field Theatre has the added bonus of being educational, teaching children about star systems and how electricity travels between atoms.

Check out Interactive Magnetic Field Theatre in the images and video below.

See more of teamLab's work on their website.
Undeniable Proof Kusama's 'Infinity Room' Is the Best for Photos 1000s of Motion-Activated Glass Lamps Form a Hanging Garden of Light Crystals and Flowers Explode in New Infinity Room on Tokyo's Artificial Island

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Play in the Aurora Borealis at a Room-Sized Interactive Installation

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Images courtesy the artist We're jealous of the children in Akita, Japan who get to play in a sea of electrons, pal around with planets, and bask in an aurora thanks to teamLab's new installation at the TDK Musuem.

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ReFILL is an interactive installation that gives a glimpse at the pile-up of would-be trash that's destined for a second life; everything that goes in is scanned super quick, then projected onto an adjacent building like a big game of urban Plinko.

Digital artist Lukasz Karluk came up with the idea for this year's Vivid Sydney festival of lights-a perfect venue considering how many extra folks generally come out for cool city-wide events and, despite everyone's best efforts, produce a bunch of extra garbage in the process.

So Karluk, along with Pete Stopniak and Nick Clark, created a custom plywood box with a trapdoor for a top; any item placed on it is photographed before it falls into the hole, then the pic is shown bouncing down a wall, hitting windows and doors in "real time" all the way down, until it rests at the bottom with the growing collection of discards.
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Interactive trash bin turns recycling into a giant game of Plinko

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ReFILL is an interactive installation that gives a glimpse at the pile-up of would-be trash that's destined for a second life; everything that goes in is scanned super quick, then projected onto an adjacent building like a big game of urban Plinko.

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The Mill's experiential and interactive team teamed up with Nike's North America retail experience design team to collaborate on an installation for their flagship store in NYC that celebrates the unique performance benefits of the new Nike Joyride product line.

The Nike Joyride Trial Experience playfully and scientifically explores Nike's latest innovation; The Joyride Running Shoe, through three immersive games that inspire running, jumping, bouncing and laughter.

The experience takes the form of a 'Testing Facility'; a structure outfitted with a reactive floor that creates a playground for three games. The games are specifically engineered to create a visceral experience of the product's benefits and innovative design, awarding players with digital beads, which accrue in a giant interactive digital ball pit.

Users check-in and are outfitted with a pair of Nike Joyrides. Three at a time, they play a series of three games inspired by carnival amusements, traditional children's games and agility exercises, winning digital beads along the way. Users can share their experience via a social media generator that captures them in the action and publishes content for them to share.

Visit the House of Innovation Nike flagship store at 650 5th Ave through mid-October 2019.

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Nike: Nike Joyride Trial Experience by The Mill

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The Mill's experiential and interactive team teamed up with Nike's North America retail experience design team to collaborate on an installation for their flagship store in NYC that celebrates the unique performance benefits of the new Nike Joyride product line.

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Public installation Wecup offers a simple and interactive solution for dealing with the large amounts of waste left after festivals and outdoor events.

The Wecup idea is brilliantly simple: it is made up of two large clear containers with a statement hanging above each one. By placing your plastic cup in one of these containers, you are casting your vote for the corresponding message. The social design project was designed and initiated by Studio Squash, Giacomo Boffo, Allessandro Carosso, and Oana Clitan and first presented at Wereld van het Witte de With Kwartier Festival in Rotterdam.

The installation addresses the problem of the large amount of garbage that is generated at outdoor events such as festivals or concerts, and it works to get people engaged by turning something as uninteresting as throwing out garbage, into a game. It's a fun way to get festival-goers to be more conscience about what they do with their plastic cups, bottles, and food containers once they're done with them.

Since it is very common to see the ground littered with plastic cups, containers, and bottles after a festival, its great to see a project such as this work to promote more sustainable public events by making the collection and disposal of recyclables easier. The options are generally light-hearted and cover questions about music, culture, or even urban issues, and the public is then invited to deposit their plastic waste into either container, voting with their trash.

By changing the simple task of throwing out trash into a sort of game, Wecup engages more people to participate and has the possibility to promote environmentally-conscious behaviours at the same time. We hope to see more installations such as Wecup at festivals and open-air events, because whether it's expressing a preference for either Elvis or Michael Jackson, there is something competitive and delightful in having your vote count in such a small way.

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Public installation Wecup offers a simple and interactive solution for dealing with the large amounts of waste left after festivals and outdoor events. The Wecup idea is brilliantly simple: it is made up of two large clear containers with a statement hanging above each one.

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The exhibition itself was upstairs, tucked into a corner of the 3rd floor. Guests entered not to a wall full of games but a series of monitors showing video of "game faces," the facial expression and body language of players as they interacted with games in the exhibit. We don't see the games; instead we are invited to focus simply on the players. One of the points that the exhibit attempted to raise is that Art may not simply be in the game itself but in the interaction between the viewer and the creation.

One of the difficult challenges that the exhibition had to tackle in the concept phase was letting a stream of museum-goers play some of the videogames without either causing massive traffic jams or constantly have to deal with broken hardware. The first room of the exhibit contains the solution; five games are playable, projected onto large walls and kept far enough away from each other that players can pick out the games' distinct audio while they play.

The games, each of which was playable for just a few minutes before the display reset itself, gave players a high-level introduction to major steps in the development of the medium: Pac-Man, Super Mario Bros., The Secret of Monkey Island, Myst and Flower. Each has the benefit of operating with very simple controls, allowing guests of all skill levels to briefly experience each one without needing to learn the control scheme first.

Past the playable games, a small door led in to the main room of the exhibit, in which 80 different games were on display thusly: 20 tall kiosks showed four games each with representative screenshots printed on acetate and backlit to look like screens. A video monitor with a telephone-like handheld audio system let you watch videos of each of the four games while an announcer explains what is interesting and unique about their designs.

The Super Mario Bros. 3 caption said in part, "Miyamoto wanted the focus of the game to be about the wonder of discovery in places you least expect it. While the ultimate goal of the game is to defeat Bowser, it is the journey, not the destination, that is important."

The fact that the games were split up into these discrete groupings was not without meaning. While these distinctions may be going away with today's crop of indie games, games have historically been created to fit neatly within particular genres. And it's difficult to show the development of the art form without pointing out that the tools of the artists - in this case, the hardware that powers the games - have developed at a lightning-quick pace themselves. So the games were grouped by platform, with inert game consoles sitting under glass beneath the lit screenshots. On each platform, the games were grouped into four major genres: Action, Target, Adventure and Tactics.

These narrowings of the scope of the exhibit helped create a more understandable experience for guests. They could follow the development of a single genre across the ages, or watch the development of games in general as hardware became more powerful.

I hope that Art of Video Games is not where the Smithsonian American Art Museum stops, but instead serves as an entry point for even narrower, more narrative-driven exhibitions that continue to educate about games.

For example, other exhibitions that are running concurrently with Art of Video Games include "Annie Liebovitz: Pilgrimage," a collection of photographs grouped around the theme of "the photographer's curiosity about the world she inherited."

And there's "Inventing a Better Mousetrap: Patent Models from the Rothschild Collection," which "illustrate not only the imaginative fervor of the era but also the amazing craftsmanship required to fabricate these often intricate works of art."

When will we get to visit something so specific about games? How about the as-yet-nonexistent exhibit "A Boy and His Blobs: The Pioneering Pixel Art of David Crane?" Or take a walk through the combination of utility and artistry embodied in, say, the enemy character designs of the Super Mario Bros. series?

With any luck, this is what the Smithsonian is thinking about now.
The Art of Video Games is on display through September 30 at the Smithsonian American Art Museum in Washington, D.C. and will tour other museums nationwide beginning later this year. All photos courtesy the Smithsonian American Art Museum

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Videogames Politely Invade Smithsonian Art Museum

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The exhibition itself was upstairs, tucked into a corner of the 3rd floor. Guests entered not to a wall full of games but a series of monitors showing video of "game faces," the facial expression and body language of players as they interacted with games in the exhibit.

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OCUBO

Interactive light projections
Local: City Museum of Ljubljana façade

Multimedia project Light Paintings invites visitors and passersby three nights in a row to paint with light. The interactive platform features different color patterns combining traditional ornaments and typical folkloristic elements from different countries that the visitors can use to create a kaleidoscope of patters in vivid colors. The project enables the visitors to express themselves and to show and share other ways of seeing a building and its architectural elements.

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Spectrum - Light Interaction in Public Spaces

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Spectrum - Light Interaction in Public Spaces, is a succession of four European Light Festivals, each one exploring light as an aesthetic and technical medium, the beauty and benefits that its advancement can bring. The programme is a transnational production, with partnership collaboration between Portugal, Estonia, Latvia and Slovenia, with each partner organization having a substantial responsibility in the production and development of the project.

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Cave of Sounds invites audiences to be active explorers within a musical ensemble.

The award-winning project began in 2012 during Tim Murray-Browne's time as composer in residence at Music Hackspace through Sound and Music's Embedded programme. Murray-Browne announced an open call to join an experimental collective of musicians. Each would each create an instrument encapsulating their individual identities and musical practice.

The eight instruments are arranged in a circle facing inwards. Each can be approached and played by audience members and any number can be played together. They are all designed to be played with no prior experience. Diverse methods and sounds emerge, with an equitable experience for participants that treats those with no musical experience the same as it treats those who are musically adept.

In 2018, a new production of Cave of Sounds launched, debuting at Athens Science Festival to over 11,000 visitors.

Inspiration here comes from prehistoric musical practices, drawing on collective music making experiences using primitive and intuitive instruments.

Cave of Sounds creates an experience of curiosity, play and energy. It aims to capture the excitement and energy we imagine of prehistoric musical rituals around a fire, an active collaboration between people exploring new social practices and technologies of self-expression.

This inspiration is in contrast to a highly technical realisation of the concept. Each of these electronic instruments, which you can play with movement, light, shadow and touch, feeds into a centralised computer that keeps everything in key and on beat. No musical experience is needed to participate, which allows for an open flow of ideas and play without root in dogmatic modes of musical practice.

In the centre, a glowing hub emits flickers of dancing lights in response to the musical activity, illustrating connections between the instruments and how participants can interact with each other through sound. Inspired by drumming circles and other non-hierarchical musical practices, this layout aims to encourage participants to look up beyond their own instrument and connect with those around them.

Some musicologists such as Christopher Small have argued that any musical ritual, from an orchestral recital to an illegal rave, serves to celebrate or reinforce a particular model of how society is sociopolitically organised. In this light, we challenge the specialisation of creative expression within contemporary society, and, for many, the relegation of artistic experience to passive consumption.

The circular arrangement of the instruments facing inwards is inspired by prehistoric stone circles. It encourages collective play both between and for participants, rather than to an audience of spectators. We're aiming to loosen preconceptions that participants have about performance, composition, collaboration and improvisation.

Through this, we want Cave of Sounds to embody the human capacity for a social organisation that emerges organically and without hierarchy. Through collective action, empowered by accessible technology, the work is a flagbearer for the maker movement, grassroots activism and a vision that empowers individual agency in a post-industrial world.

The Instruments

Cave of Sounds began in November 2012 at London's Music Hackspace as part of Tim Murray-Browne's Embedded artistic residency with Sound and Music. The eight artists, led by Tim, each developed a musical instrument for what was, at the time, an imagined eight piece ensemble.

Sonicsphere by Panagiotis Tigas

A palm-sized sphere with an embedded wireless gyroscope that you can use to warp and charter spaces of heavy digital timbres.

Joker by Wallace Hobbes

A punchy drum kit you play by wearing a mask and tapping your fingers onto conductive tape.

The Animal Kingdom by Daniel Lopez

A world of sounds you awaken and shepherd by casting hand shadows in the shape of animals onto a table top, which are read and interpreted by an interior camera.

Generative Net Sampler by Tadeo Sendon

Experimental audio samples, created from digital field recordings of the internet, are triggered as you move through invisible cylindrical trigger zones, detected using a 3D camera.

Lightefface by Kacper Ziemianin

A deep drone you control by shining lamps over 24 light sensors, each of which modulates the intensity of a different harmonic of a fundamental frequency.

Campanology by Dom Aversano

Generative rhythms derived through the mathematics of church bell ringing patterns, controlled through free movement of your hands using a 3D camera.

Mini-Theremin by Susanna Garcia

Using hand gestures, you control a DIY theremin running through a pitch-tracker, turning it into a controller to mangle noise synthesis.

Wind by Tim Murray-Browne

A breathy flute sound you play by moving your hands around your body through a grid of harmonious notes, sensed using a 3D camera.

Visitors interact with each instrument in a radically different way, embodying the dynamic and creative hacker scene that this piece of work emerged from.

They are designed with simple and primal input methods in mind, much like the prehistoric music makers that inspired this project, yet are capable of producing diverse and complex sounds. The musical possibilities become even greater when played together.

Origins

Cave of Sounds began in 2012 when Tim Murray-Browne, composer in residence at Music Hackspace, announced an open call to the community to join an experimental collective of musicians. Each would create an instrument that encapsulates their own identity and musical practice.

We adopted an experimental process of group improvisation, akin to a jam session stretched over many years. Each creating one instrument, we met regularly to share ideas, experiment, listen and discover what themes and ideas resonated. This process allowed musical roles to emerge organically without hierarchy or an authoritative vision.

Over the following five years, the ensemble evolved as we exhibited these evolving prototypes to international audiences and spaces, including the Barbican and the Victoria and Albert Museum in London, 90dB Sonic Arts Festival in Rome, an Adidas shoe launch at Village Underground, London. We exhibited to entrpreneurs and policy makers at the Waterloo Innovation in Canada, and were subsequently invited to extend our stay to exhibit at a children's museum.

These diverse audiences of over 5000 people created an ongoing dialogue between audience, artists and environment, allowing us to understand and evolve the work along the way. We've been continually surprised by the ways in which people interact with the instruments, as well as the variety of musical outputs. Often we'll see spontaneous jams develop and the natural emergence of musical roles. Participants who don't know each other will connect through interacting with Cave of Sounds - echoing the prehistoric collective music making practices that inspired the project.

In 2018, with funding from Arts Council England, we completed the project into a tourable installation format, recoding and re-engineering the technology, and building a bespoke sculptural form, all while retaining the musical experience that we had developed. We previewed this at Somerset House Studios with Music Hackspace on 11 January 2018.

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Cave of Sounds invites audiences to be active explorers within a musical ensemble. The award-winning project began in 2012 during Tim Murray-Browne's time as composer in residence at Music Hackspace through Sound and Music's Embedded programme. Murray-Browne announced an open call to join an experimental collective of musicians.