[ISEA2015] Paper: Jing Zhou — Living Mandala: The Cosmic of Being

Abstract (Long paper)

Keywords: Mandala, Visualization, Data, Interactivity, Real-time, Cosmology, Mythology, Universe, Knowledge, Symbol, Graphics, Icon, Nature, Generative, Technology, Digital Art, Processing, Arduino, Center.

This paper presents the motivation, background, and implementation of Living Mandala: The Cosmic of Being, an interactive graphics installation that combines real-time data, multi-cultural mandalas, scientific imagery, cosmological symbols, and sound. Built with an open source programming language and environment, this living contemporary symbol is an exploration into uncharted territories of the human soul sculpted by our present time. Its interactive revolving graphical system visualizes our perceptions of life (microcosm) and the universe (macrocosm), our connections to ancient mythology, cosmology, and cultural heritage, and the relationships among humankind, science, technology, and nature in a globalized society. Merging cultural traces – art, history, science, and technology – this living organism alters every moment, responding to the movement, color, light, sound, and temperature of its surroundings. Following ancient quests, it separates indigenous mandalas from traditional cultural context to build one that is contemporary and universal.

  • Jing Zhou, Associate Professor, Monmouth University, New Jersey, USA. Born in China, Jing Zhou is a multimedia artist, designer, and educator in USA. Her work has been widely shown and collected internationally including: Triennale Design Museum, Milan; British Computer Society, London; Asian Cultural Center, New York; SIGGRAPH Art Gallery; ISEA; Royal Institution of Australia; Danish Poster Museum; Sardinia Film Festival, Italy; Athens Video Art Festival, Greece; Taksim Republic Art Gallery, Istanbul; FILE, Sao Paulo; Korea Visual Information Design Assn.; Goethe Institute Alexandria, Egypt; Hungarian Electrographic Art Assn., Budapest; Mundaneum, Belgium; Brown University; public collection of the WRO Media Art Center, Poland; Waikato Museum, New Zealand; SDAI Museum of the Living Artist, San Diego; and Chinese Culture Center of San Francisco. jingzhoustudio.net

Full Text (PDF) p. 173-176