Home of the Brain

Fleischmann & Strauss
© fleischmann-strauss.de ; Fleischmann & Strauss

(collective) Monika Fleischmann | Wolfgang Strauss

Home of the Brain ,
Co-workers & Funding
Concept & Management: Monika Fleischmann, Wolfgang Strauss.
Technical Team: Dirk Lüsebrink, Henrik Tramberend, Uli Weinberg, Josef Speier, Gavin Hodge. Supported by Prof. Edouard Bannwart, ART+COM and Deutsche Telekom/Berkom
Music for the demo video: Wheelbarrow Walk, Michael Nyman
Awarded with Ars Electronica Golden Nica of Interactive Art 1992.
Documents
  • Home of the Brain Mix
    image/jpeg
    1134 × 1365
  • Letter from Vilèm Flusser 1991
    image/png
    703 × 525
  • Home of the Brain Video Part2Sound Michael Nyman Drowning by number 1990
    video/mp4
    720 × 540
  • Home of the Brain, Video Part1Sound Michael Nyman Drowning by number 1990
    video/mp4
    720 × 540
  • Home of the Brain Voices, Video 1991
    video/mp4
    720 × 576
  • Home of the Brain Live from ARS ELECTRONICA 92
    video/mp4
    352 × 288
  • Home of the Brain Four Houses 1990
    image/jpeg
    631 × 438
  • Home of the Brain_Minsky House 1990
    image/jpeg
    1134 × 846
  • Home of the Brain_Flusser House 1991
    image/jpeg
    1134 × 744
  • Home of the Brain Overview 1990
    image/jpeg
    1134 × 766
  • Home of the Brain Sketch 1990
    image/jpeg
    1134 × 802
  • Letter from Virilio 1991
    image/jpeg
    768 × 1024
Description
HOME OF THE BRAIN (1990-91) - PHILOSOPHICAL DIALOGUES IN VIRTUAL SPACE

Ever wanted to get inside the minds of great thinkers? With Home of the Brain, we have created a virtual reality space where you can do just that. Imagine hearing the voices of influential figures as you wander through a digital realm. Depending on how they move, each visitor creates a unique montage of the contrasting wisdom of the four protagonists.

In a virtual replica of the Neue Nationalgalerie in Berlin, the VR installation Home of the Brain represents the thoughts of four philosophers as metaphorical virtual houses. Chosen for their contributions to the discourse on artificial intelligence, human-machine interaction, network culture, and the impact of technology on society, the installation presents the contrasting theories of Marvin Minsky, Joseph Weizenbaum, Vilém Flusser, and Paul Virilio. Equipped with a data glove and data glasses, the viewer enters the virtual space of the philosophers' houses, a networked computer brain. The thinkers’ voices become audible through the participants’ movement. The audience experiences an interactive scenario in real time.

Home of the Brain aims to reflect on the new medium. It stages the media discourse as a philosophical debate. Each of the four Denkhäuser was associated with a main statement. This resulted in combinations depending on how one moved through the virtual environment.
Here, in the medium of this virtual environment, the theoretical discourse on new media that usually takes place in books is directly experienced. Flusser is heard to say: "People are getting worse, but technology is getting better. Minsky argues that there is no difference between the real you and your digital clone. Weizenbaum wonders: Why do we need this? What is the difference between a virtual hand and a real one? Minsky suggests implanting chips in the human brain to speed up learning. Virilio describes the development of the digital world as a rapid standstill. Their opposing positions on digital culture become visible and audible as a battle of words-a heated debate that forms the narrative basis for the cognitive mood of this virtual environment.

The art historian Oliver Grau calls the Home of the Brain “one of the earliest memory spaces that represented a completely new form of public space—that of global computer networks. … A modern version of a Stoa, it offers a simulated, highly symbolic information space in which to engage in a metaphorical discourse about the ethical and social implications of new media technology” .
Voices are heard as if someone were standing next to the viewer. Those who think speak disembodied, but those who participate do not act disembodied. They have a new experience of their bodies through gesture and movement. The quality of the visual atmosphere is enhanced by what is probably the first use of special image synthesis in a 3D environment, which normally appears graphically flat due to standard rendering methods. In "Home of the Brain", however, the virtual space is bathed in physically calculated light that uses a specially developed radiosity algorithm to cast shadows and make individual objects glow when approached. The spatial effect is reminiscent of Giorgio de Chirico's Pittura Metafisica (Metaphysical Painting). The ability to simulate magical light scenes is a powerful way to convey attention and meaning. In 1992, Home of the Brain was awarded the Golden Nica at the Prix Ars Electronica.
Software: VPL Body Electric, Star UX, Alias Wavefront, Inhouse Radiosity.
Keywords
  • aesthetics
    • acoustic
    • cybernetic
    • immersive
    • installation-based
    • interactive
    • multi-user
    • narrative
    • real-time
    • three-dimensional
    • virtual
  • genres
    • conceptual art
    • installations
  • subjects
    • Art and Science
    • Arts and Visual Culture
    • Body and Psychology
    • History and Memory
    • Society and Culture
    • Technology and Innovation
  • technology
    • displays
    • hardware
    • interfaces
    • software
Technology & Material
Material
HW-Platform: HP-Workstation, Silicon Graphics VGXT, Apple Mac 2, Head Mounted Display (Eyephone) und Dataglove of VPL Research (Jaron Lanier, Tom Zimmerman)
SW-Platform: Star UX 3D Geometry, Wavefront/Softimage, Inhouse Radiosity Rendering, VPL electric body data-management. Output: SGI Stereo-Rendering.
Bibliography