installation with traffic lights

Red, Green, Wait 红绿灯 | Emotion Detection v4.0
The image above is a preliminary design view of an installation the applies the use of Emota v4.0. The installation uses 25 actual traffic lights controlled with a Rapsbery Pi3 microcontroller, a vision system, 64 relays. The lights that modify pattern states based on emotions detected in a public space.

The video below is an in-progess example of the traffic light array firing in a random pattern.


Building on the work in previous iterations of facial detection and emotion detection, this work seeks to explore the possibilty of how visual states in art works and interactive experiences can be mediated through the capture of participant's emotions detected in public spaces. Cameras can be strategically situated in a gallery, museum or other public space to detect faces in the field. The image is segmented to detect faces and analysed for emotion experssions detected. The resulting emotion states are stored in a time tracking database. Emotion states are averaged over a short time interval to create a composite of the emotions detected. The state of lights is modified based on the composite emotion detection.

The installation, can also use other forms of sensor detection. one method being explored is position tracking of individuals in the space. Considering historical examples, artists have explored the use of projected imagery or light works as a primary medium. These works may fall into one or more genre or may be in-between different genres of art. Looking at examples of installation, or environmental art works, the work of Dan Flavin [10] is exemplary in the use of light as a singular imaging medium. Flavin’s work, as he has described it, is created and experienced in a strict formalist approach. Formalism focuses on the way objects are made and their purely visual aspects. Nevertheless, the works, such as Flavin’s, though static light alter or inform, audience spatial perception of spaces where installed. In our study of the use of interactive elements, we ask, can the viewer’s perception be altered by the shifting of color or imagery based on responses detected from the viewers themselves? In our study of the use of interactive elements, can the viewer’s perception be altered by the shifting of color or imagery based on responses detected?
Further, can we use the detection of subtle emotional cues to alter the qualities of the imagery or installation? More recently, the projection of video or animated imagery on building facades or in public spaces has become a common way to effect viewer engagement. In these types of new media art work experiences, such as the 2011 transformed façade of St. Patrick Cathedral and the New Museum in New York [12], these altered architectural and public spaces become a “canvas” where images and media content can be viewed outside of the special circumstance of the gallery or museum. Considering possible ways to allow for audience interaction, we know that sensors and vision systems are being used to encourage audience participation. Can subtle emotional cues be used as well?

Collaborators: Pensyl, W. R.; Song Shuli Lily; Stanziano, Zach; Canal, Chris; Acevedo, Leo; Pendergast, Sean; Treadway, Shane; Rhee, Paul

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