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Issue No.01 - January/February (2005 vol.25)
pp: 20-23
Jussi Angeslev? , University of Arts Berlin
Ross Cooper , Ross Cooper Studios
ABSTRACT
The Last clock displays the history and rhythm of a space. The application is connected to a digital display and a digital camera. Last clock represents the time in the form of an analog clock where trails behind the three hands paint the clock face with the feed from the camera, creating an easy to read mandala of archived time. Last Clock shows what has been happening in the space over the last minute, last hour, and last 12 hours. The video feed can be any live video source: a camera mounted on the clock itself looking at what is happening in front of it, a remote camera streamed over the Internet, or a television signal. Thus the clock can display the local space, remote space, or media space respectively. As an installation, the system can be used as a living aesthetic element reacting to the usage and activity of the space.
INDEX TERMS
interactive art, ambient media, information visualization, time
CITATION
Jussi Angeslev?, Ross Cooper, "Last Clock", IEEE Computer Graphics and Applications, vol.25, no. 1, pp. 20-23, January/February 2005, doi:10.1109/MCG.2005.13
REFERENCES
1. A. Davidhazy,Synchroballistic Photography, 2004; http://www.rit.edu/~andpphtext-strip-synchro.html .
2. E. Elliott and G. Davenport, "Video Streamer," Proc. Conf. Companion on Human Factors in Computing Systems, ACM Press, 2004, pp. 65-68.
3. A.W. Klein et al., "Stylized Video Cubes," Proc. ACM Siggraph/Eurographics Symp. Computer Animation, ACM Press, 2002, pp. 15-22.
4. J. Sauter and D. Lüsebrink,Invisible Shape of Things Past, 1996; http://www.artcom.deindex.php?lang=en&option=com acprojects&id=26&Itemid=144&page=6.
5. A. Bueno,Moving Pico-Seconds Transverser, TX-Transform, and "Light in Flight," v2, Inst. Unstable Media, 2000; http://framework.v2.nl/archive/archive/node/ text/default.xsltnodenr-67823.
6. S. Jaschko, "Space-Time Correlations Focused in Film Objects and Interactive Video," Future Cinema: The Cinematic Imaginary after Film, MIT Press, 2003, pp. 340-345.
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