By Gerfried Stocker, Christa Sommerer, Laurent Mignonneau
Christa Sommerer and Laurent Mignonneau are of the main cutting edge and the world over popular media artists and researchers. Their paintings has been referred to as "epoch-making" (Toshiharu Itoh, NTT-ICC Museum, Tokyo) for constructing average and intuitive interfaces and for employing medical ideas comparable to synthetic lifestyles, complexity, generative structures and nanotechnologies to their leading edge interface layout. This monograph represents a entire review of Sommerer and Mignonneau s artwork and learn. as well as offering distinct undertaking descriptions of every interactive paintings, it comprises essays and articles by way of hugely well-known media students and theoreticians who carry the interactive works of art of Sommerer and Mignonneau in an artwork and media artwork historical past viewpoint.
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Extra resources for Christa Sommerer & Laurent Mignonneau: Interactive Art Research
CHRISTINE SCHÖPF HANNES LEOPOLDSEDER The Open World of Christa & Laurent 36 Interactivity has probably been with us since the beginning of humankind. First artifacts attest to the fact. Yet as a topic, it first came into fashion sometime in the 1980s. At countless congresses on interactivity and multimedia, the industry and the media began promoting the idea and promising people the moon: imagine all the data that would be available at the push of a button in the near future! The industry’s favorite product – the CD-ROM – was considered the non plus ultra of interactivity.
Additionally, images of the virtual plants are also “reflected” through a virtual water surface, and a merging of the virtual plant imagery with the reflected plant images takes place on the screen. The more visitors interact with the real plants, the more the virtual scene of aquatic plants builds up – all changes in the their interactions are translated and interpreted, leading to constantly new water garden images. R EA LIT Y-V IRT UA LIT YR EFLECT ION The virtual pond in Eau de Jardin becomes a mirror of the “reality” of virtuality.
HAZE Express Setup Drawing © 1999, Christa Sommerer & Laurent Mignonneau 2 I. Sakane, “The Expanding PERSONA L IN VOLV EM EN T IN THE Perceptual World,” in A Museum IN T ER ACT I V E A RT MOV EM EN T of Fun Part II (Tokyo: The Asahi Shimbun, 1984), 20–23, 154–157. 3 I. Sakane, “Introduction to Interactive Art,” in Wonderland of Science Art – Invitation to Interactive Art (Kanagawa: Kanagawa International Art and Science Exhibition, 1989), 3–8, 38–42. 4 I. Sakane, The Interaction ’95, Dialogue with Media Art.