| The Imaginary Museum of Revolution 1988-1991: a project by Jeffrey Shaw & Tjebbe van Tijen. Programming by Gideon May, sound Fred Gales; computer graphics in collaboration with Marijke Griffioen, Curt Adelbert and Bas van den Berg; photography Pieter Boersma, historical research Hans Derks, Claudia Takens.
|| Exhibition of first proposal for competition 'Inventer 89' in 'La Villette' Paris. 1988, showing mockup of vending machine with small size replicas of monuments and statues that represent revolutions.
|| Interfaces to dramatize historical information using interactive compact information carriers. (example digital collage Suffragette Revolution beginning of 20th century).
|| 200 replicas of monuments, statues that are conveyors of information about 200 revolutions from the last three centuries from throughout the world assembled in one place (square at Musee Moderne de la Ville de Paris, opposite Eiffel Tower).
|| This mega-project intended for Paris has remained mostly imaginary, but a pilot version has been produced for the Brucknerhaus in Linz in 1989. Example of computer collage used, representing the Russian Revolution of 1905.
|| Touch screen interfaces to travel in space, time and ideology (collage picture Hungarian Revolution 1956). Image, sound and textual information can be called with a chosen statue or monument as a start. The original idea was using small replicas (with embedded triggers). The pilot version used postcards with barcodes.
|| Pictographic classification system for 'revolutionary moments': actions, actors and motives; and design for circle of interactive videodisc installations (1988) (as interactive digital images and sound was hardly possible at that time).
|| Collage of Chinese Cultural Revolution in the sixties of the 20th century, using imagery of Communist China combined with counter propaganda from Taiwan.
|| Another interface for the pictorial materials of The Imaginary Museum of Revolution (1990) by Jeffrey Shaw: a monitor that can be pushed around showing with each of the 360 degrees a historical collage. This installation used a videodisc.
|| Computer collage of the Czech Velvet Revolution of 1989 by Tjebbe van Tijen.
Also cover of the convolute binding of the mid 17th century book "Orbis Sensualium Pictus" (the world explained in pictures) by the Czech scholar Jan Amos Kamensky (Comenius).
|| This multi-language book (including Latin) with its 150 picture tableaus representing the whole world in text and images for children inspired the interactive installation "Orbis Pictus Revised" by Tjebbe van Tijen and Milos Vojtechovsky (1991-1996). The research was sponsored by the Amsterdam Historical Museum.
|| First version produced for the Zentrum fuer Kunst- und Medientechnologie (ZKM) Karlsruhe, shown in 1994. Programming and interface technique Rolf Pixley; graphic design in collaboration with Marijke Griffioen and Bart Haensel; sound Fred Gales; furniture design Frank Hoogveld and Gert-Jan Leusink; photography of original books Pieter Boersma.
|| Setup of installation in a adapted version in the Theatrum Anatomicum in De Waag building Amsterdam 1996, as the opening exhibition for the Society for Old and New Media.
|| Associative assemblages by Milos Vojtechovsky that depict in an often humorous way the tableaus of Comenius. Design for drawer in which a replica of the book opened at the page with the tableau represented by the assemblage. This one is Deus/God.
|| Coelum/The Heaven and Ignis/Fire.
This design (that has not yet been realized) has 'speaking drawers' underneath each assemblage. When the drawer is opened and one sees the tableau and its related text... the title of the tableau is spoken in Latin.
|| Aer/The Air (represented by a small feather on a tiny string that one can blow) and Arbor/Tree.
|| Fructus Arborum/Fruits of the Trees and Aves Domesticae/Tame Fowl (represented by an egg and a pot of chicken extract).
|| A view of the installation in 1996 in Amsterdam with pinpoint lighted assemblages and one of the interfaces "touching and feeling" with speaking objects. Also one of the 'cosmograms' used in the graphic interface representing the geocentric world vision of the mid 17th century.
|| Two 19 inch screens with the bottom screen showing 1:1 a selection of books that can be chosen from a virtual book shelf at the upper screen. All images have been photographed from original books in different European libraries and scanned and shown at a very high resolution.
|| When one of the book spines on the lower screen is touched, the book will be taken from the shelf and shown first as an object *side, front, back, title page and a few pages browsed). This is to clarify the function of the book medium and images through time.
|| The chapters of each book are represented in one circular diagram that is inspired by an early 17th century book on the Micro and Macro Cosmos by the English doctor Robert Fludd. Color codes distinguish each chapter,
|| At each stage the context of a picture tableau is shown. Instead of the text and the parallel numbers in the tableaus, the tableau; numbers themselves have been made to speak one of the possible languages (Latin, German, English or Dutch). By pressing one of the three color dots at the bottom of the screen the language mode can be switched and also the color of the numbers in the tableaus do change.
|| At the top examples of associative assemblages inspired by the 17th century tableaus of Comenius. From left to right: Deus/God, Anima Hominus/The Soul, Pictura/Painting, Machinae/Machines, Lanionia/The Butcher. Lower part of sreen: different stages of browsing and comparing of visualization of the world for children through time (from the 16th to the 20th century).
|| Interface "touching and feeling", a table with handsize objects representing words and ideas, linked to tableaus of the Orbis Pictus book of Comenius.
|| When an object is chosen and is put on one of the sensors of the table a short sequence will be shown and heard which gives both the 17th century definition by Comenius and a 20th century one yaken from a modern children's dictionary.
|| Also a sound associated with the object will be heard first as a kind of 'earcon'. This example shows a mahor shift in definition of the hand. over time The table speaks Latin, English, German and Dutch.
|| "Neo-Shamanism" an installation as a part of a big exhibition on shamanism in the Royal Tropical Institute in Amsterdam (1997-1998), showing modern forms of shamanism. A project by Fred Gales and Tjebbe van Tijen. Furniture design Frank Hoogveld and Gert-Jan Leusink.
|| In a mathematically constructed 'yurt' stands a big (real) drum which has 16 pictograms that can be hit and which will trigger audiovisual sequences that are projected from below on the special drum head Special scrolls boxed in wood and Plexiglas give background information.
|| The background information scrolls and the drum have the same pictograms. The picture sequences are high resolution digital collages that 'pan' across the drum head. Each sequence can be stopped or started at will.
|| "Sixteen ways of the shaman", an installation as part of a group exhibition "Portable Sacred Grounds - telepresence world" in the Inter Communication Center of the NTT in Tokyo by Tjebbe van Tijen en Fred Gales (1998). Japanese production by Yayoi Wakabayashi, Maaike Boots and Shuichi Fukazawa.
|| Drum interface and sound recording by Robert Bos, furniture design Gert-Jan Leusink and Frank Hoogveld, technology speaking stones interface Rolf Pixley, textile work by Mariet Overbeek, photography Pieter Boersma and Italo Bertolasi.
|| 'Telecommunication rivers' made of (broken) fiber optics and fluorescent knotted cords have to be crossed using a broken bridge to enter the 'realm of the shaman' with the big drum that shows 16 different forms of shamanism both new and ancient. The audiovisual sequences are projected through a big mirror that stands as a ritual object in the space.
|| The fluorescent cords have been twined and knotted using the ancient system of the Inca 'kippu'. This was an old so called topological or tactile information system used to store numerical/statistical information. The cords could also be bound together to be transported by running messengers across the Inca empire.
|| Two sample fragments from moving sequences on shamanism projected on the big drumhead: the top one 'Itako' a Japanese blind woman seer.
|| Bottom, a sequence based on a book by the Dutch author Couperus describing the fear of the white man for Javanese ghosts.
|| Stone age interface for listening to creation myths from different cultures across the world, like Hopi, Fulani, Edda, Rig Veda, Kojiki, Genesis.
|| By putting a stone or stone like object linked to a certain culture and story on the magic mirror one can select a creation myth. Sound is through infrared headphones.
|| A 'magic wand' (barcode pen) and a scroll book with the same symbols as on the big drum, make a direct link to different Internet sites with background information on each of the 16 sequences on shamanism.
|| Ground plan design for the shaman installation in Tokyo. The four red islands with the stone age and cyber age interfaces are covered with deep red felt. The space is darkened and lit by the fluorescent kippus, the glowing fiber optics, the computer screens and the projection drum.
|| Principle of drum projection system. The computer and LCD projector are situated underneath the big drum.
Drum system working with tiny magnet switches fitted in the side of the wooden drum. Strong magnets are embedded in the big drum stick.
|| Principle of the stone interface with passive transponders embedded in the stones and an antenna/sensor below the mirror pane.
|| Flow chart of the barcode pen interface for background information on the drum sequences. The catalogue of Internet information is generated by a special database for visualized web content (Occasio digital history project, an initiative of Tjebbe van Tijen).