• Statement
Dessine-moi un Monde...
Virtual garden for interactive collaborative graphic and sonic creations

Short project description:
"...total socialisation of Art where each individual could be his own creator and the consumer of his own creation."
Nicolas Schöffer - La ville cybernétique (1969)

"Draw me a world..." is an "uni-media" interactive and collective application, inspired and motivated by research on
collective intelligence. [ The uni-media is the digital support, gathering image, sound, video, text, and other digital medium of communication.] It allowsvarious participants to make multimedia sculptures, in a virtual 3D world, and to move around, interacting with other(s') creations.
It is a Museum in perpetual re-creation, where the visitor of the virtual world is also its creator. Each person brings its own personal contribution to the garden. This place is nomadic : it is meant to move in various places where people of different culture would express with the same creation tools. The immersion is similar to "Doom-like" videogames, except it is not about exterminating monsters or humans, but to build something together. Choosing the paintbrush rather than the gun.

Trans-lucid machine:
This world is open to all kind of participants, children, adults, thanks to an intuitive navigation and interaction :
no prerequisite or special ability is necessary, except using a pen to draw on a Pen tablet, just like on a paper sheet, to elaborate complex forms in a 3D space. We can just sing a tune at the location where we are, and it will remain floating in the air at this very place. Navigation is made intuitive by using very simple and universally recognizable symbols: one points at a foot icon in order to move around, at a hand icon to draw, at a rainbow to choose a colour... etc. These icons appear on virtual "physical" objects with inertia and integrated in the virtual world. Instead of being optimized for the quickness of their use as in industrial software, they should be optimized for stimulating a mental state of "creative flow".

Virtual gallery:
The garden can be a place for exposing artists. We think then of proposing collaborations between a sound (Musician, composer...) and a graphical artist (drawer, painter, photograph, video maker...), so that they could present their work in a virtual space they could model with their own aesthetics.
Artists have thus the freedom to create in an extended space, composing land- and sound-scapes. They can also
involve the public, breaking the traditional artist/public split in a creative process where anyone can take part
to its elaboration. All creation in the garden can be stored on a disk. An online web library and the downloadable application will allow web surfers to visit their worlds. When one approaches a particular work of art, information (title, date, author notes, visitors impressions...) will appear on the screen, and the Web visitor could eventually contact the authors, and order a material version of it, or simply let a comment on his/her feelings.

Installation in public places of the city:
In a museum, the toilet of a bar, a supermarket, a library, a train station, a garden... The place and context, where people face an interactive art installation greatly influence their behaviour towards the machine. Anyone can let a word on his/her feelings, present thoughts, small "table-cloth" drawings, graffiti, and other instantaneous expression forms. These are some of the ideas motivating this first step work, but the underlying software layer is not limited to the particular aesthetic we presented here. "Draw Me a World..." remains open to multiple explorations, and could be declined with different applications. Here lies the main artistic and anthropologic goal, which consists in putting together in the same framework and with the same expressive tool, works realized by people of different cultures, and in various contexts.

Steps to an ecology of creative mind:
"Until now, we essentially imagined and built virtual worlds which were simple simulations of real or possible
physical universes. We propose here to conceive virtual worlds of shared significations or sensations,
the opening of places where collective intelligence and imagination could spread themselves."
Pierre Lévy - L' intelligence collective. Pour une anthropologie du cyberespace. (2002)

Luminous insects are flying by, throwing light on the path in the dark night; the sculptures are floating with the wind and the visitors' presence; slow evolutions giving them a living and ephemeral nature: life and death, changing climates, visual and sonic atmospheres evolving along the day, their fragility is perceptible...
One should then take care of them like a plant, by looking at them and handling them : sculptures that we watch and modify stay alive and strong, while those no one pay attention to will collapse and die. The liberty is given to the visitor to re-use and even to destroy existing sculptures: each and everyone has the "ecologic"
responsibility of the world in which one travels. The ideal situation is when the sculptures have the same reactions as living organisms: reproduction, mutation, and resistance developing when it is being attacked. Hence, in the future, the use of Artificial Intelligence, genetic algorithms, and retroactive feedback will allow the environment to have a mutating response depending on the context.







media art | design | netart | public art


Kyd Campbell | Neli Mitewa | Mila Odazhieva




Goethe-Institut Sofia

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