Giedion/Kircher is my vehicle for applying art, music and technology to create brand experiences, immersive environments and various other interactive media solutions. In 2024 a primary area for R&D is the application of theories involving the symbolism and meaning of architectural experiences to further digital/interactive narratives.
My friends at RabCup here in Los Angeles recently made this cool video that features a number of my designs, seen at venues from Washington DC to Las Vegas and beyond.
Finishing off 2019 with a live audiovisual set in Barcelona: this was an opportunity to give the latest version of the live performance video tool a test run in front of a festival audience. With only minor UI issues that were easily worked around, the touchscreen-driven visual instrument performed admirably on stage. On return, I used VSx as a presentation tool (imagine a realtime motion graphics version of a PowerPoint deck) at a local Los Angeles forum to tell the story of the event and describe some key features of the application. With the full feature set now tested in front of live, discerning audiences, I’m looking forward to further visual adventures in 2020.
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Every medium is a context for a message, with characteristics that shape any narrative it conveys. At the same time, every medium has its own contexts: historical, cultural, and technological. These two assertions could not be more relevant in the case of what we call virtual reality – and an understanding of the various aspects of these contexts is valuable when imagining and designing VR experiences.
Earlier this year I joined the Poetic Kinetics team in the creation of a 50′ tall animated art piece for the 2014 Coachella music and arts festival. This dynamic sculpture included fully articulated arms and hands and was able to move from stage to stage and all around the vast festival environment. During the day, the astronaut’s helmet visor was covered with a reflective gold cover (as we’ve seen in photos of NASA astronauts) – but at night, the cover could be removed, revealing a curved rear-projection surface. Working with our friends at Pearl Media Productions, we designed and installed a multiple-projector system that could fill the astronaut’s visor with dynamic images. This gave us a large-scale canvas to work with for visual effects.
In April the CNI team was in Las Vegas for Interop ’14, presenting the latest installment of the “infinite game” series, titled “The New Rules of the Infinite Game.” This presentation was built upon the story we developed for networking company Brocade and presented at Supercomputing 13 and VMworld EMEA in Barcelona.
