Limbic Media

Limbic Media

Category: Events

From Glowflow to Burning Man: The Evolution of Interactive Media

Want to learn more about interactive media? Contact us about Aurora.

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On day 3 of the 2012 Coachella Valley Music and Arts Festival, onlookers were captivated by a computer-generated recreation of Tupac Shakur to perform with Dr. Dre and Snoop Dogg. The animation used projection mapping in combination with a theatrical technique called “Pepper’s Ghost” to create a 3D holographic effect. The project employed a team of 20 artists, lighting designers, and technicians to create an unexpected, immersive audience experience.

Festival season is upon us, and with it comes more opportunities to showcase and explore interactive media. From music, to performance art, to technology-based installations, the event lead-up is a full-time engagement for artists, technologists, and festival organizers seeking to stand out in what has become a multi-billion dollar industry worldwide. Technology has hugely influenced festivals’ ability to engage audiences with interactive media. Where has this attraction for interactive and technology-driven media come from, and how is it impacting other public spaces?

 

Computer mapped Tupac

Virtual Tupac at Coachella 2012

 

Interactive Media is Not A New Concept

Technological developments of the last half-century have breathed a new novelty into the concept of interactivity. Physically and emotionally participating in entertainment, which was the norm, became less common after the relatively recent advent of “passive” entertainment, like television and cinema.

 

“The reason we suddenly need such a word [as interactivity] is that during this century we have for the first time been dominated by non-interactive forms of entertainment: cinema, radio, recorded music and television.

Before they came along all entertainment was interactive: theater, music sport — the performers and audience were together, and even a respectfully silent audience exerted a powerful shaping presence on the unfolding of whatever drama they were there for.

We didn’t need a special word for interactivity in the same way that we don’t (yet) need a special word for people with only one head.”

—Douglas Adams, How to Stop Worrying and Learn to Love the Internet

 

Technology moved us away from interactive media, and ironically, technology is orienting us back to those original values when it comes to art and leisure—perhaps in an even bigger way than before TV. As much as technology has the power to isolate us, interactive media today is also more accessible, more invigorating on a multisensory level, and more likely to establish a genuine human connection than ever before.

 

Technology Has Revitalized Interactive Media

Using technology to create new forms of interactive media goes back to the mid-20th century. In the 1950s and 60s, Morton Leonard Heilig was one of the first to create VR in response to the passive experience of cinema.

 

“Without the active participation of a spectator, there can be no transfer of consciousness, no art.”

—Morton Leonard Heilig

 

Sensorama, which was patented in 1962, was a prototype for what he imagined would become “experience theatre.” It combined a stereoscopic 3D colour display, stereo sound, fans, olfactory dispensers, and tilted, vibrational seating to provide single viewers with a multisensory experience over the course of a short film. Heilig was unable to find funding to get Sensorama to industry players, and the project dissolved.

 

virtual reality sensorama Morton heeling

Morton Heilig’s Sensorama

 

7 years later, Myron Krueger developed one of the earliest forms of computer-based interactive art. Glowflow was first installed at the University of Wisconsin’s Memorial Union Gallery. Pressure-sensitive pads were activated by viewers’ footsteps, triggering a real-time visual response from phosphorescent tubes and aural response from a Moog synthesizer. Glowflow was one of such interactive environments that lead to Krueger’s cornerstone project, Videoplace, in 1988. Videoplace is an artificial reality laboratory that creates reactionary light art out of viewers’ motion.

Much of Krueger’s work was motivated by a desire to redesign computers by addressing features that take away from an inherent human desire to connect and interact.

 

“There were things I resented about computers. I resented the fact that I had to sit down to use them. I resented the fact that I was using a hundred-year-old device to operate them—a keyboard—and the fact…that it was denying that I had a body of any kind, and that it was all perceptual, sort of, symbolic.”

—Myron Krueger

 

interactive media virtual reality Myron Krueger

Myron Krueger’s Videoplace

 

Krueger modeled Videoplace after the relationship that artists and musicians have with their tools, seeking to create a type of computer that people could experience rather than use for the sole purpose of efficiency. The first rendition of Videoplace superimposed Krueger’s hand-drawn data tablet doodles onto a screen in the Memorial Union Gallery a mile away. The doodles would appear to interact with viewers’ shadows, which were also projected onto the screen in real-time. Almost by accident, Krueger noticed that viewers were most engaged when their motion appeared to create the doodles.

 

“We discovered that there was this very natural desire to identify with the image on the screen. Their image was them, and they expected it to do things in the video world as much as it did in the physical world. It was as if evolution had prepared us for seeing ourselves on television screens combined with computer images.”

 

Suddenly, here was a real, tangible example of how technology had the potential to bring human connection full-circle—back to what interactive media had done for us prior to the age of passive media. From VR to public art, interactive media has come a long way since Videoplace.

 

Burning Man: A Lasting Example Interactive Media’s “Rebirth”

Unlike static art, interactive media is unique by involving the viewer in its creation, forming a platform for human connection and community. Passive media is presented with the intention of presenting audiences with a static piece to derive meaning from, rather than involving their participation in the media’s creation and forming a community from that involvement. A good example of the rebirth of interactive media, especially as it relates to the growth of art festivals, is Burning Man.

On June 22, 1986, Larry Harvey and Jerry James built an 8-foot human figure out of scrap wood in their Noe Valley basement. They hauled the wooden man down to Baker Beach and quickly drew an audience of close to 40 people as flames engulfed the figure. Before you could say gasoline, the spontaneous hootenanny was singing a fire-themed tune on the fly, and a woman was literally hand-in-hand with the pyro-masterpiece.

 

“That was the first spontaneous performance…that was the first geometric increase of Burning Man. What we had instantly created was a community. And…you know if we had done it as an art event, people would have come, and come to the gallery or something, and said ‘It’s very interesting, perhaps a little derivative, what are you going to do next?’”

—Lee Harvey

 

The festival has since grown into a 70,000-person gathering based on the values of immediacy, participation, communal effort, radical self-expression and self-reliance, egalitarianism, and creativity—so unsurprisingly, the festival has become a global platform for the convergence of art and innovative interactive media, informing values within the tech industry (and perhaps vice versa). What began as a novel concept associated with underground movements became its own city with the power to impact the culture and values behind one of North America’s largest industries.

 

 

Interactive Media’s Impact

Aside from influential Burners taking those core values back to the office after Labour Day each year, the impact of cultural phenomena like Burning Man has been a driving force behind the evolution of interactive media. Interactive media has re-infiltrated mainstream society, evolving in just a few decades from what was once associated with counterculture and festivals or niche, university-affiliated galleries like Videoplace.

Interactive technology and art are increasingly incorporated into civic space and public institutions like art galleries, science centres, shopping malls, and schools. Those behind designing and coordinating these spaces are realizing the advantage that interactivity has over passive forms of media in community building and increasing a return audience. Growing public values in interactive media are also expanding the tech industry, leveraging advances in interactive technologies like wearable tech, sound-to-light mapping, motion-tracking, VR and AI.

 

interactive public art

Montréal’s Impulsedezeen.com photo

 

Passive media is still the norm for a culture built on Netflix. But the values behind traditional forms of interactive media has been experiencing a rebirth over the last few decades, thanks to innovators like Myron Krueger and events like Burning Man—and the technology behind our ability to realize those values is growing every day.

CASC 2018 Conference: LHULH’UTS’UT’EN

Representatives from Canadian science centres and museums came together last week to embody LHULH’UTS’UT’EN—working together—at this year’s Canadian Association of Science Centres‘ 2018 conference. CASC attendees came to Prince George this year to seek inspiration, network, and learn about the challenges facing science centres and museums across the country.

Limbic Media’s Marketing Associate, Deanna Foster, and Lead Design Engineer, Gabrielle Odowichuk, attended the event with an Aurora Jam Tent (check out our Aurora Jam Tent video from Tectoria 2018). Here are a few highlights from their time up north.

 

CASC 2018 Conference

 

Welcome Reception

This year’s CASC attendees had a chance to be kids again in the Two Rivers Art Gallery’s Maker Space. Activities ranged from felting, to learning code, to traditional Lheidli T’enneh wood carving. Participants also enjoyed traditional drumming by the talented Khast’an drummers. Check them out for a truly mesmerizing show!

 

CASC 2018 Conference

 

The Way-Late Play Date

Clad in their finest plaid, CASC-goers were invited to eat, drink and wield some good ‘ol saws and axes. Logger sports and a relay race kicked off the night, followed by dancing and Northern BC’s finest brews. The Exploration Place provided an interactive setting to network and learn about industry trends and challenges. Highlight of the evening? Chocolate-covered bacon.

 

CASC 2018 Conference

 

The Exhibitors

Limbic Media’s Jam Tent, an Aurora-lit enclosure filled with musical instruments, was among a variety of science and museum exhibitors. Little Ray’s Nature Centres (aka. Average-sized Ray’s Nature Centres) provides permanent and traveling hands-on, zoological education exhibits. Sadly, Shane from Little Ray’s was unable to bring a sloth to CASC—but here’s hoping for next year.

Big shoutout to Pathfinders Designs, who was a huge help in Limbic Media’s Jam Tent setup. Pathfinders, based on Vancouver Island, designs and creates wooden science kits.

 

CASC 2018 Conference

 

CASC 2018 was an exciting reminder of the open-mindedness and innovative thinking of Canada’s industry leaders in science centres and museums. Each attendee left with new connections and inspiring ideas for their home audiences. We had a lot of fun seeing everyone have jam time in our Aurora Jam Tent, and hope to see sound-to-light interactivity infiltrating more science centres and museums across the country in the next year!

 

CASC 2018 Aurora sound-to-light engine reacting to music

 

Contact us today to plan a Jam Tent for your next event!

How to Maximize your Investment in Holiday Lighting

Looking for more holiday lighting content? Subscribe to Limbic Media’s monthly newsletter!

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We talked to Darren Vader, a holiday lighting installation expert, in our last blog to discover the biggest trends and challenges facing the industry today. Darren’s business focuses mainly on commercial lighting installations, retail/wholesale, and cutting-edge technology in the lighting industry.

This week we want to focus more on small-scale residential or small business lighting installations. Residential lighting made $27-billion in revenues for the 2017 season across the United States, and is growing every year. We received feedback from WeHangChristmasLights.com and JVS Christmas Lighting to gain some insight for this article on the residential installation arena.

There is a huge demand for holiday lighting installation services, and the industry is growing beyond just Christmas-themed displays. Quality custom installations from reputable installers are not cheap—but planning the right design offers potential for installations with year-round appeal. Versatile, high-quality installations enhance your home’s aesthetic and can have a significant ROI for small businesses looking to stand out. If you budget for professional holiday lighting installations each year, here’s how to maximize your investment.

 

Holiday lighting

Government Street, Victoria, BC—Derek Resch Photo


Consider lighting installations that aren’t Christmas-specific.

Victoria, BC’s main drag along Government Street is lined with light-adorned trees. Season after season, the lights remain, but the colours change depending on the season; soft white for strolls on warm Summer nights, orange for Halloween, and alternating red and green for the holidays. The lights add an aesthetic appeal to the city’s downtown core and drive foot traffic even after the shops are closed.

Smaller-scale lighting installation customers tend to invest in Christmas-themed projects with an installation life of 2-3 months at most. New trends and technologies in the lighting industry are allowing for more adaptable installations that make better use of your investment.

According to Josh Trees of WeHangChristmasLights.com, Halloween, event, wedding, and other non-Christmas events are some of the largest growing aspects of smaller-scale installation projects. This shows a willingness for customers to think past lighting displays as a traditionally Christmas-focused endeavour and become more integrated into other events or residential décor. The huge commercial market for lighting in non-Christmas events and festivals is trickling down to the smaller-scale installation market. Technologies like RGB and light interactivity is making it possible for these projects to easily evoke different moods depending on the time of year and audience without having to redesign or reinstall the display.

RGB Lighting is one of the fastest-growing segments of the holiday lighting installation industry. RGB lights combine red, green and blue light to create a full range of colour options from a controller, making installations much more versatile. The same RGB light installation you invested in to set mood-lighting for your patio and landscaping in the summer can then be easily controlled to create Christmas or Halloween-themed lighting, for example. This allows you to keep your installation up year-round and reinvent the lighting’s appeal, whether it’s for the patio of a cafe or a private home audience.

 

Hire an installation company and make sure they’re certified.

Thousands of people each year receive treatment for holiday-related decoration injuries. Holiday lighting installations can result in property damage or even injury when done DIY-style or conducted by unqualified installers that are more focused on providing a cheaper service than a quality service. Small-scale residential installers are constantly dealing with installations that need to be set up quickly in harsh weather conditions in the safest way possible and returning client properties to their initial state.

According to Josh Trees, the biggest challenge facing the industry today is unqualified installers that are dropping their prices at the expense of installation quality and safety. By investing in a highly qualified, certified installer, you not only get a quality design and hassle-free service, but also benefit the industry as a whole.

If you are investing money into a lighting installation, hire a company that is certified by CLIPA (Christmas Light Installation Pros Association). CLIPA installers have been trained and tested on installation techniques and are certified to ensure that:

  • Lights are removed on time
  • Maintenance issues are troubleshooted and resolved quickly
  • Installations are configured and power-routed properly
  • Safety is a top priority and all necessary tools and equipment are provided
  • Quality installations are designed effectively with ideas and consulting provided
  • There is no property damage left after the installation
  • Their company is properly insured for lighting installations
  • Installation designs are of high-quality for all of the following::
    • Commercial and residential rooflines
    • Trees, bushes, landscapes
    • Sidewalk and driveway perimeters
    • Windows, doors, archways and dormers
    • Pillars, fences and gates
    • Wreaths, sprays and garlands

 

Wehangchristmaslights.com Photo

 

Budget and plan for your installation far in advance.

Most smaller-scale lighting installers deal with short lead-times before the winter holiday season, which means installations can be rushed with shorter daylight times, bad weather and tight deadlines. Adaptable RGB installations that look as good for Summer events as they do for Christmas beat rush times and spread your investment out over a longer period.

Planning versatile installs in advance also provides installers with revenue in the off-season, and gives them time to invest in a quality custom design. Installers are well aware of industry trends and new lighting technology, especially early in the season, so if your goal is to be the Joneses, your property will be trend-setting in your area.

 

Pay attention to what commercial lighting installers and companies are doing.

If you want to stay ahead of the game with your holiday lighting installations, look to the bigger commercial installers—the companies tackling festivals and public spaces—for industry trends. The commercial lighting industry almost always informs trends happening in residential and small-scale holiday lighting businesses. For 2018, RGB LEDs, interactivity, synchronized sound-to-light, and multisensory installations are trending.

Observing lighting installation trends in commercial spaces is the best way to set trends and be cutting-edge for residential and small-scale installations. If you’re a small business, staying on top of these trends is a good way to maximize your investment in lighting installations, set your business apart from the others, drive traffic to your business and increase your ROI.

 

 

Holidays are increasingly commercialized each year, which means the demand for holiday lighting is growing and installation planning and execution is happening earlier each season. The industry is seeing growth in RGB lighting, and most installers now also design non-winter holidays and event lighting. If you’re looking for a way to enhance your home’s architecture or landscaping, but also stand out in your neighbourhood for seasonal holidays and events, invest in a professionally-installed, controllable RGB display. Lighting technologies and certified installers are making it easier to maximize your investment and still look great for any season.

 

On the road again

Only weeks after dusting off the saddles from our inaugural Las Vegas trade show experience – Limbic Media was back on the road. This time on a mission with Tourism Victoria to prove to the world (or at least Ottawa and Toronto) that Victoria is a great place to host a technology event.

You wouldn’t think this was necessary considering that Victoria is home to over 900 techology companies and that these companies collectively generate over 3 billion dollars in annual revenues (yes that’s billions). Word is slowly getting out – a recent Vogue Magazine article referred to Victoria as Tectoria (a brand created and promoted by the fine folks at VIATeC). Still most of the outside world doesn’t know that Victoria has become a major technology center. Sometimes the only way to get the word out is to get off the island and go talk to folks.

Tourism Victoria had a game plan – bring a group of Victoria based event planning professionals to meet with their peers in Ottawa and Toronto and pitch why they should consider Victoria as a potential destination for their next big technology event. Limbic Media was brought on board to dazzle them with some local tech talent.

jtc4304-1024x698Our journey began at the Mill Street Brewpub in Ottawa. The pub is located in a 140 year old converted mill located right on the Ottawa river. One of the largest challenges faced when hosting events like this is how do you encourage people to interact with other attendees that they don’t know? If you were at the recent 2016 VIATEC awards (we were a finalist for Innovative Excellence) you would know that Limbic Media has designed a product to specifically overcome this problem. Social Wearables is a technology platform designed to playfully encourage people in groups to meet each other. At the brewpub we gave each of the event planners a wearable and had them play a game called “Rainbow Roundup”. In Rainbow Roundup each participant is given a wearable light pendant in one of six colours that is capable of sharing its colour with another pendant. The goal of the game is to “round up” all of the colours by holding them against other pendants. To encourage people that didn’t know each other to connect we made sure that the event planners from Victoria had different coloured pendants than the local event planners. It is amazing to see how a simple and fun technology can transform an event.

 

In addition to the Social Wearables we were also asked to bring Limbic Media’s Aurora™ lighting system. Aurora™ is a lighting system that changes colours and patterns based on the sound in the environment. When we heard that Victoria City Councillor and internationally renowned poet, Jeremy Loveday, was going to deliver a poem about Victoria – we knew we had the perfect product to complement his work. The result was a perfect marriage of human talent and technological innovation and a showcase for what makes Victoria so great.jtb2779-1024x676

The result was impressive as each word spoken by Jeremy caused the lights to emphasise the intensity and emotion of the words he was speaking adding an element of magic to his performance.

 

The final stop on the road trip was Toronto. This time the the meetup took place in a super cool venue – a large converted bank vault. In addition to Social Wearables and Aurora™ we had one additional technological trick up our sleeves to wow the locals with – a custom voice controlled multimedia installation called “Show me” created by Limbic Media for Tourism Victoria. To use the installation a person chooses a phrase from a list of possible choices and says the phrase into a microphone located in front of a screen. When spoken each phrase triggers a multimedia slideshow featuring elements of the selected phrase on the screen in front of speaker.

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The installation was popular and proved to be a great way to get people to engage with targeted content in an interactive and playful way.

“Show me” is easily customizable with other phrases and multimedia content – please contact Limbic Media if you are interested in having one at your event! So was our trip a success? Tourism Victoria thinks so and for me when I heard the phrase “I can’t believe you guys are from Victoria” spoken repeatedly during the course of the two events I knew we had succeeded.

 

 

 

To end I’ll leave you with an image I captured on our way home of an exhausted Limbic team member thwarting the anti-sleeping technology at the airport – demonstrating that with enough creativity and gumption you can overcome any obstacle in your path. Special thanks Emma C Parston for believing in us!nap-time-1024x793

 

Limbic Media profiled in BC Innovation Council video

Limbic Media was recently recently profiled in a BC Innovation Council video where we get to talk about our company and Aurora™ -the audio-reactive lighting system we are launching later this year. Atagamaton – a motion controlled kinetic instrument we developed with Monkey C Interactive is also featured in the video.

After the video shoot in December we were invited to showcase Aurora™ and the Social Wearables at the sold out inaugural #BCTECH Summit in January. Kudos to the BC Innovation Council – the event was a major success! We’ll definitely be back next year.

Special thanks to Tarah Ferguson (BCIC) for a great interview and to Tahira Endean (BCIC) for helping us showcase our work at the Summit.

Massive Voice Controlled LED Walls + More

Busy times at Limbic Media these days. We have worked on a number of creative and amazing projects over the last few months: A distributed remote controlled air horn instrument (blog post coming soon, we promise), a computer vision/inertial measurement based performance tracking system which will debut at Victoria’s first Circus Festival next April 2-3. Check out our guest blog post, we threw a killer art show “Lux Voluptus II” featuring some incredible digital artists (blog post also coming soon), and we had the pleasure of working with the amazing talented group at HFour from Vancouver to realize 2 massive voice controlled LED walls for the Escapade Music Festival and Heineken in Ottawa.

The response was wicked, we continue to learn that people want to interact, they want to play and participate, they want to meet and connect with each other, they just need an excuse to do it. Art is that excuse.

Check out HFour’s portfolio, pretty impressive. Here are some images of the LED walls:

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Lux et Voluptas- Interactive Lighting Exhibition

Back in September, we hosted an incredible gallery exhibition as a part of the Integrate Arts Festival. We featured 23 different artists and engineers, and it was was a weird and wonderful night. As the light became sound and the sound became light- most of the grown-ups became delighted little kids.
We are always so inspired to see the way beautiful, interactive technology gets us out of our devices and in to shared experience (including wine and compulsory bad puns, of course ;). There were awesome interactive artworks and some of the most beautiful humans. Check it out:

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