Abstract

This paper seeks to further a dialogue regarding human use and perception of digital technology in the natural environment through the use of miniature digital mobile projection. We question whether the human experience of sensorial awareness of “nature” can be perceived and possibly changed through the experience of using digital mobile projection technology in outdoor settings.  Initial research studied the use digital Liquid Crystal on Silicon (LCoS) pico projection technology in the production of two live technology-mediated experiments in a coastal forest setting and the Kaumana Cave on the Big Island of Hawaii.  We argue that pico projection studied in atypical ways may provide further understanding of the human relationship to digital technology.   We report on the audience experience, as well as the issues and challenges faced by artist-users.  We further posit that this research may be of importance in the study of locative mobile projection because it assists in understanding the human relationship to digital technology, which consequently inform their design.

• Laura Lee Coles has been a multi-disciplinary artist for over 30 years working in performance art, music, installation [both gallery and site-specfic] photography and video. She has worked as a consultant in environmental education during the 1990’s. She is currently interested in using solar-energy and portable energy systems to study and explore human interaction with digital technology while in natural settings. Her current work questions whether different experiences of technology in nature can subvert preconceived notions of the human-nature and nature-technology relationship. Liquid Crystal on Silicon (LCoS) pico projection technology was studied during the production of two live technology-mediated experiments on the Big Island of Hawai’i; the first in a coastal forest setting and the second in Kaumana Cave. We argue that mobile projection studied in outdoor laboratory settings may provide further understanding of the ever changing human relationship to both nature and digital technology. LOCOMOTOART is a creative field backpack that gives the user the capacity to explore and make digital art from and in the natural environment with independent power, capture, production and display capabilities. We question whether digital visual projection changes, transforms or alters the human sensorial connection to raw nature when using mobile projection in natural settings.
• Philippe Pasquier (FR/CA) After studying computer science, artificial intelligence and cognitive sciences in Europe, Canada and Australia, Philippe Pasquier joined Simon Fraser University’s School of Interactive Arts and Technology in January 2008 as an assistant professor. Philippe Pasquier is both a scientist specialized in artificial intelligence and a multi-disciplinary artist. As a scientist, his work has focused on the development of models and tools for endowing machines with autonomous, intelligent or creative behavior. Contributions vary from theoretical research in individual and societal agent theories to applied research in computational creativity. As an artist, he has been acting as a performer, sound designer, composer, producer, jury, committee member and teacher in many different contexts. He is serving or has served as a member or administrator of several artistic collectives (Robonom, Phylm, MIJI), art centers (Avatar, Bus Gallery) and artistic organizations (P: Media art, Machines, Vancouver New Music) in Europe, Canada and Australia. His work has been shown internationally and funded and supported by more than 20 scientific and or cultural institutions including the National Sciences and Engineering Research Council, the Canadia Council for the Arts, the French Ministère de la Culture et de la Communication, the Australian Research Council and the Australian Council for the Arts.   philippepasquier.com/home   metacreation.net   sfu.ca/siat.html

Full text (PDF)  p.  487-492 [somewhat different title]