Guillaume Hutzler

:: DiverCity ::

DiverCity Plastic and musical numeric installation © B. Gortais/T. Delor/M. Brouillard/G. Hutzler

:: Credits ::

• Bernard Gortais (scenography and plastic design)
• Guillaume Hutzler (technical design and programming)
• Thierry Delor (musical design)
• Mireille Brouillard (musical design)

:: Exhibitions ::

• January 8^th-30^th: Quand l'art rencontre la technologie, MJC Fernand Léger, Corbeil-Essonnes (France)
• November 21^th-22^th: Fête de la science, Évry-Val d'Essonne University, Évry (France)

:: Publications ::

In English

 Hutzler G., Gortais B., Orlarey Y., "Mutations: Plastic and Musical Improvisation by Distributed Agents", in World Multiconference on Systemics, Cybernetics and Informatics 2001, Orlando (Florida, USA), N. Callaos, X. Zong, C. Vergez and J. R. Peleaz eds, Volume X, pp. 380 385, IIIS, Orlando, 2001.

 Hutzler G., Gortais B., Drogoul A., "The Garden of Chances: a Visual Ecosystem", in Leonardo, Vol. 33, Issue 2, pp. 101-106, April 2000, International Society for the Arts, Sciences and Technology, MIT Press.

In French

 Hutzler G., "Le Has(Art) et la néce(Cité) - Une approche (auto-)poïétique des systèmes complexes", Thèse d'Habilitation à Diriger des Recherches, Université d'Evry-Val d'Essonne, 15 juin 2011.

 Hutzler G., "Le Has(art) et la nécessité", Esthétique et Complexité - Créations, expérimentations et neurosciences, Z. Kapoula et L.-J. Lestocart éds., pp. 85-102, Editions du CNRS, Paris, 2011.

:: Presentation ::

Multimodal interaction in an ambient environment

Although Jardin des Hasards includes interactivity with the spectator, offering the latter the possibility of "cultivating" his garden (adding a plant, removing one, watering them, fertilizing them), this interactivity has remained limited until now. With Divercité, the spectator takes an active role in the creative process. The aim is for the overall dynamics of the system to be the combined result of a dynamic endogenous to the system, and an exogenous pressure exerted by the spectators. From a scientific point of view, this work moves from a visualization issue to a human-machine interaction issue.

Has(art) and necessity

In Mutations, the principle of decentralized musical composition is based on a set of situated agents capable of singing and triggering singing in other agents. Why shouldn't the spectator be able to sing and make others sing? All that's needed is for him to be situated, in a space that, if not common, must be "in correspondence". In other words, the spectator's position in his space must be matched by a position in the agents' space. To achieve this, we use a 3-metre-long sensory mat, made up of a grid of 64 sensors (8x8), which recovers the coordinate (x, y) of the sensor where the spectator is located, and transmits it to the simulation software. By moving over the carpet, the spectator is able to disturb the system and observe the reorganizations that may result. These disturbances can have the effect of instantaneously modifying the musical ambience by associating a sound sample with each tile of the sensory mat. They can also have the effect of producing a song, which in turn can trigger the singing of neighboring shapes.

Towards ambient cognitive environments

The potential introduction of multiple capture modalities from one or more users, and the enrichment of restitution modalities, initiated with the Mutations project, lead to interactive devices that prefigure, transposed into the artistic field, the new types of interaction that ambient computing is beginning to produce. Indeed, Divercité can be seen as a metaphor for interaction situations in which users will interact with a set of communicating computing resources embedded in their environment.