Google+

Interactive Storytelling

The Hanging Garden
Ryan Crooks
Assistant Professor in Interior Design at the Ernest G. Welch School of Art & Design at GSU

In addition to his post at Georgia State University, Ryan Crooks is a Licensed Architect and his research explores the interaction of sensory experience and technology on the built environment. In addition, his practice develops strategies to lower the environmental impact of new construction and promote the use of renewable energies. Ryan's recent work includes the Beacon Municipal Complex site planning and design in Decatur, Georgia.

 Ryan Crook’s installation was inspired by Grégory Lasserre & Anaïs met den Ancxt aka Scenocosme’s Akousmaflore - an interactive installation that we first recreated at Plutopia 2012 in Austin, TX. It is a small garden composed of living musical plants, which react to human contacts. Each plant reacts in a different way to contact by producing a specific sound. The plant «language» or song occurs through touch and the close proximity of the spectator. Our invisible electrostatic aura acts on the plant branches and encourages them to react. The plants sing when the audience is touching or stroking lightly them. A plant concert is created.

Whilst, Ryan Crooks version continues to reflect the alliance between nature and digital technology, the technology he is using to do so is unique.

Plants are natural sensors and are sensitive to various energy flows. Digital technologies permit us to establish a relationship between plants and sound. Ryan will demonstrate the effects of random data flow and plant interaction. The data is modified as the spectator meanders around and touches the installation, resulting in a random musical universe. Audience gestures and movements generate sound effects and changes in the texture of the sound.

Scenocosme described their creation as the “design of the invisible”.

Our body continually produces an electrical aura, which cannot be felt. This phenomenon exists in the environment immediately surrounding us. In our research, the «design of the invisible», our approach is to animate that which we cannot detect. Mixing reality with imagination, we propose a sensory experience that encourages us to think about our relationship with other living things and with energy. Indoor plants can have an ambiguous existence that swings between decorative object and living being. It is said that «inanimate objects» can react when they receive human attention. Wandering through the Hanging Garden installation, the plants will let the visitors know about their existence by a scream, a melody or an acoustical vibration. 


Sensing Places - Immersive History

Immersive history – demonstrates cutting-edge sensing technologies allowing visitors to engage with the stories on display through immersive embodied interactions. We designed a highly theatrical space in which technology animates historical characters and places to foster playful learning driven by the public’s own spontaneous curiosity and engagement. Our design includes interactive name tags for visitors, and a large immersive historical village in which people experience how their lives would evolve had they been born in Lugo at various times throughout its history.


Endless Stories/Sun Child
Phillippe Safire

New York-based artist Philippe Safire creates multimedia installations, synthesizing a variety of media from animations to still images. His work explores the constraints of the digital age and relies on the endless possibilities offered by the digital medium. As digital culture continues to redefine human identity and our relationship to the natural world, Safire deems it imperative to use the digital as a lens for considering the natural world.

Sun Child - Installation

Sun Child - Installation

Inspired by both nature and the absurdity of Times Square, his art contrasts the serenity of the natural world with the frenetic pace of mass consumerism. As he so eloquently puts it: 

Artists often fixate on their medium: Pollock on painting, Hitchcock on cinema, Proust on literature. I am interested in exploring the topics of marketing and communication because of their strong association with our new digital realm.

Endless Stories

Endless Stories

"Endless Stories… consists of an assemblage of colored pixels, each containing text, images or videos. Philippe Safire alludes to the act of writing by integrating Latin, Cyrillic, Chinese, Japanese, Arabic or Sanskrit characters. The project Endless Stories… is composed of 4 distinct parts in which the artist evokes different ways of reading: left to right, up and down, right to left, and down and up. Lines progressively appear, then disappear, leaving their place to new elements. Safire speaks to the saturation of images in modernity, and also to their hypnotic properties. The title refers to methods of communication in which the strategy is to tell seductive stories, and thus to create new realities. The human brain is solicited from everywhere, but can never truly be receptive to the totality of messages contained in this infinite flux of information. Instead, the viewer finds herself in an alienated state, and can only anticipate the next story." (Philippe Safire)


McGraw Hill Education

At McGraw-Hill Education, we believe that our contribution to unlocking a brighter future lies within the application of our deep understanding of how learning happens and how the mind develops. It exists where the science of learning meets the art of teaching.

Educators have been and always will be at the core of the learning experience. The solutions we develop help educators impart their knowledge to students more efficiently.  We believe that harnessing technology can enhance learning inside and outside of the classroom and deepen the connections between students and teachers to empower greater success.

By partnering with educators around the globe, our learning engineers, content developers and pedagogical experts are developing increasingly open learning ecosystems that are proven to improve pass rates, elevate grades and increase engagement for each individual learner while improving outcomes for all.

Why? Because learning changes everything.


Experimental Geography

Experimental Geography sometimes called Experiential Geography is our small display that explores the distinctions between geographical study and artistic experience of the earth, as well as the juncture where the two realms collide (and possibly make a new field altogether). The examples on display will present a panoptic view of this new practice through a wide range of mediums including interactive computer units, sound and video installations, photography, sculpture, and experimental cartography.

Derek Woodgate was inspired to include Experimental Geography in this event after reading the book of the same name edited by Nato Thompson who is a curator at Creative Time, as well as a writer and activist. Thompson was formerly a curator at MASS MoCA, where his exhibitions included The Interventionists: Art in the Social Sphere and Ahistoric Occasion: Artists Making History.

The task of the geographer is to alert us to what is directly in front of us, while the task of the experimental geographer—an amalgam of scientist, artist, and explorer—is to do so in a manner that deploys aesthetics, ambiguity, poetry, and a dash of empiricism.

The manifestations of “experimental geography” (a term coined by geographer Trevor Paglen in 2002) run the gamut of contemporary art practice today: sewn cloth cities that spill out of suitcases, bus tours through water treatment centers, performers climbing up the sides of buildings, and sound art. In the hands of contemporary artists, the study of humanity’s engagement with the earth’s surface becomes a riddle best solved in experimental fashion.

We see the role of Experimental Geography as one that provides a more immersive and interactive involvement in the deeper as well as the broader layers of the subject matter. It fosters an experiential approach to learning and teaching geography generating fresh perspectives on the scope of the subject and new structures for curricula.  


The History of Teaching Tech
Matt Burge

An exploration of technologies and techniques through the ages to the modern day that have been essential to the development of teaching practices and methods.

The History of Teaching Tech is a multiscreen experience where the viewer is invited to participate in the execution/triggering of content. 

Utilizing projection mapping and VJing techniques, the History of Teaching Tech provides the audience with an interactive experience through realtime image sequencing and interactive imaging.