Interactive Installation

Hot & Cold Mirrors

Interactive Installation을 하는데 Hot mirror와 Cold mirror가 왜 필요한 걸까?
의문을 갖는 사람들이 있을것이다.
하지만 항상 IR 조명과 Visible Light를 주로 사용하는 우리들에겐 굉장히 중요한 내용이다.
Hot Mirrors
쉽게 말해서, 핫미러는 가시광선은 통과 시키고, 적외선은 반사 시키는 특성을 가지고 있으고, 투명한 유리와 같은 모양을 가지고 있다.
Mirrors Filters act as heat protection by adding the hot mirror in the path beam of the light source, so reducing the temperature.
The hot mirror reflects IR and transmits visible. Our standard range is at 0° angle of incidence however we can supply 45° angle of incidence.
Cold Mirrors
콜드미러는 핫미러와는 달리 우리가 일반적으로 많이 보는 거울과 같은 모양을 가지고 있다. 하지만 이 거울의 특징은 가시광선은 반사 시키고(일반적으로 우리가 쓰는 거울과 같음)
적외선은 투과 시키는 특수한 성질을 가지고 있다.

UQG Cold Mirrors are suited for high power illumination systems when high temperature lighting is not desired. Separating the heat from light radiation they reflect visible light and transmit the infrared dividing the IR and visible more sharply.

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Healing Series, Brian Knep, 2003-4

Brian Knep: Healing Series



2003-2004, video camera, video projector, computer, custom software, people, 9’x6′ to 12’x9’The Healing Series is a set of interactive floor pieces that explore responses to the change caused by interaction.

The series is currently made up of three separate but similar interactive floor pieces. They are dynamic and change in response to visitors. When a piece encounters a foreign body, such as a gallery visitor, the pattern on it pulls away, creating a wound. When the foreign body leaves, the pattern heals itself and the wound closes, but each piece heals itself in a different way.

In Healing #1 the sides of the wound never actually touch. A scar forms — a memory of the interaction between the visitor and the mat. Over time the scar may be obliterated, but its effect on the pattern’s growth is permanent. The pattern looks the same qualitatively, but it never looks exactly the same as it did before the interaction.

Healing #2 is minimal and meditative, with the mat oozing over the wound caused by visitor interaction. The mat heals itself until only the essence of each scar is left. Eventually this essence also disappears, leaving a solid glowing mat.

In Healing #3 the reaction is more violent, with the pattern pulsating and quickly reforming over the wounds. Again, as in Healing #1, the pattern is forever changed by the interaction with the visitor, but visitors’ long-term effects on the pattern are less visible.

The pieces in the series are about interactions. They are an attempt to distill and explore the changes that happen when things interface with each other, whether it’s two people talking, a person walking through the woods, wood rotting underwater, or other types of interaction. The contact causes changes in all participants, and so has a destructive quality, but change forces growth, and so has a regenerative quality.

Each piece is playful and encourages visitors to explore it in different ways. Some approach it meditatively, walking across the carpet slowly and then watching it heal. Some play with it like a pet, others try to destroy or ‘kill’ it. Some stop to dance, lie down, or roll on the carpet, watching the pattern react.

Others place objects, like scarves, umbrellas, even pets, on the surface to see what happens. They learn to push and pull the pattern, and can coerce it into different shapes. They experiment, trying new ways to interact with the piece, and they watch and learn from each other. In collaboration, they might even be able to destroy the entire pattern, forcing it to grow from scratch. In all these ways, they interact not only with the carpet but with each other, creating changes and forcing growth.

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The Earth Room

The Earth Room-Walter De Maria,1977

Hidden away on the second floor of a nondescript building in SOHO is The Earth Room, a studio apartment sized space filled with 280,000 lbs. of dirt. You’re not allowed to walk on, sit in, or even photograph the dirt, but you can look at it. When I visit, I usually look at the dirt for about five minutes and then leave. Then I spend the rest of the day scratching my head and smiling.

인간은 자연을 기반으로 하여 인공적인 구조물을 만들어낸다. 지금까지 그렇게 해왔고 지금도 끝없는 자연의 파괴와 인공화에 너무나 바쁜게 사실이다. 작년 이맘때쯤, 난  New York Soho 로 Field Trip을 간적이 있다. 나는 그곳에서 The Earth Room이라는 정말 이상한 작품을 만나게된다. 허름한 소호의 빌딩에 아무런 마크도 없는 2층의 계단을 올라가면 한켠에 경비원이 서있고 자그마한 문으로 옆에 보이는 사진과 같은 높은 천정의 스튜디오를 볼수있다. 그런데 이 스튜디오 안에는 온통 검은 먼지(흙)으로 1m가량이 가득 차있다. 습한 흙의 향기를 느낄 수 있으며 살아있는 흙의 생기를 느낄 수 있다. 잠시동안 저 무게를 이 스튜디오의 바닥이 견뎌 낼수 있을까…하는 걱정이 들었지만. 이것은 자연의 도발과 같은 느낌 이었다. 그냥 사람이 있어야 할 공간에 자리잡은 280,000파운드의 흙이 오히려 자신의 자리를 찾아 자리잡고 있는것 같았다.

나는 이 느낌을 가슴에 간직했고, 인공물 속의 자연의 힘이 얼마나 대단한지 느낄 수 있었다. 그리고 2007년 내 작업에  Real Elements로White Sand가 사용되는 영감을 제공하기도 한다.

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