0G - Interactive Installation

Interactive installation - 0G

Luis Soldevilla Zero G - Project description and Registry

External view 0G

External view 0G

The spectator nds a very rustic and primitive tent or tee pee located in a speci c site. Inside the tent we notice a lit camp re, when approaching the viewer discovers 4 oversized cell phones that look at the re as totems in a ceremony.

Internal view

Internal view 0G interactive INSTALLATION

Once inside the tent, the spectator can see the campfire and the four totems or cell phones around it in greater detail.

In their screens images of other campfires in various landscapes are displayed. These campfires change randomly and independently within each cellphone until a spectator seats on any bench.

0G

Internal view - images on cellphones

Once inside the tent, the spectator can see the camp re and the four totems or cell phones around it in greater detail.

In their screens images of other camp res in various landscapes are displayed. These camp res change randomly and independently within each cellphone until a spectator seats on any bench.

Interactivity

Interactivity

When a spectator sits on any bench the images of campfires disappear and instead the viewers see themselves projected inside the cell phones. But the cell phones do not display in selfie mode, instead they project on the cell phone in front, acting like a mirror in front of another mirror, replicating the image of the viewer and the cell phone, but inside another cell phone.

When the spectators get up from the benches, the totems once again project the images of campfires. Each moments are reinforced with sound within the installation.

This piece aims to take us to the primitive origin, to the beginnings of civilization in which we supposedly lived in greater connection with nature and in community, but at the same time contrasting it with the world through the screens that we now live and embrace.

Video Registry of the installation

In the following link you will nd a video registry of the installation mounted at the Museum of Contemporary Art of Lima (MAC) from July 11th to October 2nd, 2022.

Scenographic

AsSEMBLY 0G

The 4 TVs are placed vertically with a 65 degrees angle of inclination towards the campfire

An octagonal iron structure serves as a base and supports the entire installation. This base has holes where the logs that stand the tent fit in. This base also supports the TVs weight and inclination.

65°

the central campfire is placed together with the ventilation duct that feeds with air the turbine that makes the fire effect blowing a very fine fabric.

The campfire is machine that blows a fine fabric illuminated with LED lights underneath giving the sensation of a burning fire.

AsSEMBLY

The logs are placed and secured to the base and top vertex of the tent.

The false campfire machine is placed at the center and the 4 TVs secured to the structure. Octagonal iron structure that works as a base for the entire piece.

AsSEMBLY

Once all the elements are placed and secure, all the electrical, programing, video and audio wiring is attached to the iron structure

Later all the structure and wiring is covered with MDF wood that also works as a floor for the installation.

When the floor is finished the ventilation duct and proper function of all the electrical components needs to be tested.

AsSEMBLY

The cell phone-shaped casing made of wood and acrylic is placed on the TVs. The webcams are also located and framed.

The next step is to cover up the tent structure with the coarse cotton fabric.

Then the gaps between the wood plates are filled and a scenographic finish of earth is given to the wood floor.

AsSEMBLY 0G interactive INSTALLATION

The 3 benches of palm trunks are placed and fixed. Then the top is covered with lambskin. Between the trunk and the lambskin are the sensors that detect the presence of the spectator.

stones and firewood are place surrounding the campfire to hide the mechanism and to give it more realism.

Speakers hidden behind the totems reproduce the sound of the campfire and the sound designed for when the spectators sit on the benches.

AsSEMBLY 0G interactive INSTALLATION

Outside the installation is the control area where there are 2 mac minis, an arduino and adapters from where the installation is turned on and all the programming runs.

Programing & interactivity A B C D

The oversized cell phones project images of campfires on their screens, as if it were a representation of the campfire to which the cell phone points, this gives a certain "anima" to the totem. Each campfire is in a different landscape and atmosphere, and relates to the idea of object and representation. As long as there are no spectators sitting on the benches, the images of the campfires go by randomly and independently on each cell phone.

PROGRAMing

Each Totem has a video bank that passes from one to another randomly.

Each clip starts and ends with a fade to black. The duration of each clip is varied.

The clips pass from one to another until a spectator sits on one of the benches, then this cycle is interrupted.

Sound

During this moment you will hear the surround sound of the campfire, firewood burning, wood creaking, etc. as well as in the background sound, what would be heard in the outside environment of a tent in the woods at night.

Programing & interactivity

When the sensors detect the presence of spectators sitting on the benches, the computers send the live signal from the cameras installed on the totems. This generates the loop by the video feedback.

The cameras do not reproduce on the cell phone's own screen (as if it were a selfie) but reproduce the image on the screen in front of it, as if it were a mirror in front of another mirror. The image is repeated in a loop inside the cell phones.

Sound

During this time the sound of the campfire is maintained. But the ambient sound (exterior forest night) is eliminated and in its place a sound specially designed to reinforce the video loop enters.

Lucho Soldevilla

INTERACTIVE INSTALLATION 0G

This piece was sponsored by Locomotor with the support of the Museum of Contemporary Art (MAC Lima) and Centro Fundación Telefónica.