Research: Interactive Installations
Funded through an NSF EAGER grant from the Cyberlearning program, our 2012-13 interactive digital mural project furthered the Interpretive Media Laboratory partnership between UCLA REMAP and California State Parks while incorporating research in the learning sciences.
The project aimed to create a prototype cyberlearning experience at the Los Angeles State Historic Park (LASHP) through the development of an interactive mural. This public space installation was an opportunity for informal learning experiences, but also a tool for local community members to generate their own content. Sensors enabled the public to interact with the mural through body movements.
Los Angeles State Historic Park, 2012-2013.
Esteros del Ibera (EDI) is an interactive installation in Buenos Aires named after and exploring the protected wetlands of the same name in northwest Argentina. A collaboration between UCLA REMAP and cheLA, EDI was built at cheLA's complex and installed at Tecnopolis, the largest exhibition center in Latin America for science, technology, industry and art.
Buenos Aires, 2016.
Originally installed as the aboutface project for the Non-Fiction/Digital Media Showcase at the 23rd annual UCLA School of Theater, Film and Television Film Festival, Faces is a modified version being installed at the Los Angeles State Historic Park.
UCLA School of Theater, Film and Television at the Los Angeles State Historic Park, 2014-present.
REMAP led the design and installation of six interactive colored lanterns in the window of UCLA Family Commons to reflect how the citizens of Santa Monica feel each day. These lanterns have 600 individually addressable elements whose colors change to reflect the Family Commons' community's feelings that day. Participants can share their emotions anonymously through the web and Facebook, and these responses affect the colors of the lanterns.
UCLA Family Commons, Santa Monica, 2009-present.
REMAP collaborated on the creation of a sculpture which visualized creative labor and its relationship to GDP across the world. It had five intertwined strands of 50 lighting elements, each of which represented a country. They were arranged by GDP per capita, progressing from the so-called “global north” (Norway) to the “global south” (Ethiopia). The system faded through a decade of creative labor data from the UN for each country. The installation of recycled materials, LEDs, and software was commissioned by Transmedia 2012.
Transmedia Conference, University of Southern California, 2012.
Memoria Barrial is an installation in the Buenos Aires Subway, created by Fabian Wagmister with technology conceived by Jeff Burke and built by Zening Qu, James Dellemonico, Taylor Fitz-Gibbon, Santiago Núñez and others at REMAP and cheLA. The interactive, multi-projector installation explores a 3D dimensional space containing media artifacts from the history of Parque Patricios, the neighborhood of the newest Subte station in Buenos Aires.
Buenos Aires, 2011.
Ecce Homology was an immersive interactive visualization of genomics data based on Chinese calligraphy. It was created through a unique collaboration between media artists, computer scientists, molecular biologists and bioinformaticists. The piece visualized the operation of a working version of Basic Local Alignment Search Tool commonly used in bioinformatics. Funded by Intel, UCLA, and others.
Fowler Museum of Cultural History and the Hammer Museum, 2003.
SIGGRAPH, 2005 .
Shown in Argentina, this installation by REMAP's Fabian Wagmister established interactive relations between the processes and developments of science and technology and the quotidien context in which the residents of Buenos Aires live. In its structure and functionality, the work appeared like a mirror that, in addition to reflecting the habitual, revealed the technological structures and their influence on our cultural identity.
Buenos Aires Piensa, Secretaria de Cultura; Buenos Aires, Argentina; November 3-14, 2004.
A multi-screen environment explored the intimate relationship between two modes of communication as one traveled through the Pampas region of Argentina. Created by Fabian Wagmister with interactive media systems by Jeff Burke, this interactive media environment reflected the transference of people’s communicational needs (and how others experience them) into the public space. Viewers’ bodies controlled the sound mixing, switches of videos and a series of digital zooms on the individual screens, creating a dynamic collective collage of audiovisuals.
Festival d’Arts Multimedia Urbains, Belfort, France, 2001.
This video installation by Peter Wollen, Kevin Fisher, and Jeff Burke explored the materiality of digital compression and analog film, based on Peter Wollen's 1977 film of the same name.
n01se: A series of exhibitions about information and transformation, Kettle’s Yard, Whipple Museum of the History of Science, Cambridge University, 2000.
In a room-sized environment of interactive sculptural objects and water features, visitors, as they approached or touched the installations, heard seamlessly overlaid stories of memory and loss about a family with a father suffering from Alzheimer's disease.
MB5 2000, Oakland, 2000.
Tech Museum of Innovation, San Jose - GroundZero Launch, 2001.
Konstmuseum, Goteburg, Sweden - International Computer Music Festival, 2002.
... two, three, many Guevaras is a digital multimedia database documentary by Fabian Wagmister that explores the legacy of Ernesto Che Guevara through the artistic representations and the artists he inspired. The piece was initially commissioned by the Fowler museum of cultural history, and has received broad distribution and media attention.
Movimiento Territorial de Liberacion, Buenos Aires, Argentina, November 2007.
First shown in 1997.
An immersive, interactive media installation, Time & Time Again... explored the intersections of technological dependency and cultural identity. The piece integrated sensing technologies, live media streaming, real-time video manipulation, and web-based show control. Databases created technological structures of interdependency in which museum visitors and web viewers depended on each others' participation for the conceptual loop to be completed.