credits Cinimod Studio, Mark Roberts Motion Control, Philips Lighting.
It is a given that light changes space, but in Walk The Light it becomes the visitor who determines that change in the lighting. Their movement through the Victoria and Albert Museum‘s Exhibition Road tunnel entrance directly controls this innovative lighting installation.
This experimental interactive lighting design project creates a band of white light that physically follows the visitor, forming a bright line of light tracking their journey. As one person passes, the white light jumps to the next arrival. Either side of the white band, washes of strong colour are pushed and pulled along the tunnel creating an ambient lighting effect that represents the overall ebb and flow of the day’s visitors. Throughout the day these colours shift in the hue and saturation as they respond to the prevailing direction of movement of the crowds.
Using a combination of technologies, including thermal camera tracking and Philips LED lighting mounted on a moving monorail, Walk The Light demonstrates lighting design’s increasing sophistication as it playfully – and beautifully — transforms the experience of arriving at the Museum.
credits Author: Matteo Massimi
COLLAPSE is a tangible media player that interacts with the objects placed over the glass. Every object, named 'lapse', is a simple piece of wood with an icon that identifies a particular music genre. The software, developed in VVVV, recognizes via REACTIVISION the presence of the 'lapses' and reproduces the music-playlist selected. Just choose a music genre, take the right lapse and put over the glass. The user can change the song by rotating the 'lapse' , change the volume with the 'mainlapse' or reproduce the songs contained into an external device (like USBkey, ipod ecc...). COLLAPSE is cool for parties, live events, music festivals, pubs and lounge bar.
Adding a projector, it can reproduce also video files projected where needed and allow the user to control the animation itself (animation type, colour,effects, animations position/mapping directly via the position and rotation of the 'videolapses').
COLLAPSE is going to be a collective tangible DJ/mixing station....check modular-drops.tumblr.com/
for updates and software download.
the credits of the songs belong to their rightful owners
Sky Sailing - A Little Opera Goes A Long Way
Maroon 5 feat. Wiz Khalifa - Payphone
Carl Perkins - Blue suede shoes
Ehime Daruma crea conexiones consigo misma desarrollando un comportamiento público, extrovertido, y otro privado, de recogimiento. A través de la proyección del ser que habita su espacio y de su propio funcionamiento físico, bascula entre el estímulo exterior y su tendencia al ensimismamiento. Irremediablemente atraída hacia alguno de estos dos polos (como si de un castigo eterno se tratara), se busca en la presencia y en el movimiento del otro, o en su ausencia. A la vez, induce al espectador a actuar en función de los vínculos que establece con esa conducta, provocando el deseo de ver cómo se mueve, o de permanecer invisible junto a ella.
Autor: Patxi Araujo
Edicion video: Funtsak
Software: VVVV, CCV 1.5
Thanks to Dottore for Particles GPU Shader
The Mood Conductor is an interactive installation enabling a single user at a time to be empowered to express their mood on an unforgettable architectural scale. It is the first time a large public landmark within London has been controlled directly by members of the public. The Mood Conductor allows participants to control the 640 light fixtures on the EDF Energy London Eye from a platform on the London Eye Pier.
credits elliotwoods mimison
A hemisphere of 5,500 white blocks occupies the air, each hanging from above in a pattern which repeats in order and disorder. Pixels play over the physical blocks as an emulsion of digital light within the physical space, producing a habitat for digital forms to exist in our world.
A group of external projectors penetrate the volume of cubes with pixel-rays, until every single one of the cubes becomes coated with pixels. By scanning with structured light, each pixel receives a set of known information, such as its absolute 3d position within the volume, and the identity of the block that it lives on.
The spectator is invited to study a boundary line between the digital and natural worlds, to see the limitations of how the 2 spaces co-exist. The aesthetic engine spans these digital and physical realms. Volumetric imagery is generated digitally as a cloud of discontinuous surfaces, which are then applied through the video projectors onto the polymer blocks. By rendering figurations of imaginary digital forms into the limiting error-driven physical system, the system acts as an agency of abstraction by redefining and grading the intentions of imaginary forms through its own vocabulary.
The flow of light in the installation creates visual mass. The spectator's balance is shifted by this visceral movement causing a kinaesthetic reaction. For digital to exist in the real world, it must suffer its rules, and gain its possibilities. The sparse physical nature of the installation allows for the digital form to create a continuous manifold within the space across the discreet blocks, whilst also passing through each block as a continuous pocket of physical space.
The polymer blocks are engineered for both diffusive/translucent properties and to have a reflective/projectable response to the pixel-rays. This way a black can act as a site for illumination or for imagery.
The incomplete form of the hemisphere becomes extinct at its base, but extends through a reflection below, and therein becomes complete. It takes inspiration from nature, whilst becoming an artefact of technology.
credits see box below..
The GS Caltex pavilion is presented as a immersive light ensemble which, at first glance, is reminiscent of an outsized rice field. 380 fiber blades sway like grass in the wind with a height of 18 metres (59 feet). Touching activates individual sensitive blades and illuminates them. A centrally located star-shaped, mirrored pavilion building is optically withdrawn in its entirety. Via raised corners of the star, the visitor can gain access to the also mirrored entrance area on the ground floor. The centre of the pavilion is on the upper floor; a seven-metre-high round room with panoramic projection. Poetic images in a reduced black-and-white aesthetic convey the company’s readiness to assume responsibility with regard to sustainable energy concepts. (Text: Atelier Brückner)
The new Google Campus is situated in the Old Street area of East London or “Silicon Roundabout” and is regarded as the UK’s answer to Silicon Valley.
The opening was a great success and in classic Google style, the unveiling of the plaque was not the typically dull moment found at most launches.
As the Chancellor pulled on the lever, he triggered the mapping of the graffiti style plaque with dynamic 3D visual effects, creating an electrically themed animated show.
George Osborne was suitably wowed by the performance, stating:
“I’ve opened some plaques in my time, but this one was by far the most interesting.”
He went on to deliver a well received speech to entrepreneurs and techno-enthusiasts, expressing his desire for the UK to become the hub for technology in Europe”.
The launch follows a line of previous events where we’ve provided our digital expertise to internet giant Google. In November 2011, we supplied 8 custom YrWall Digital Graffiti Walls for Google’s EMEA sales conference in Dublin, and again in February we provided a YrWall and two of our award-winning interactive Digital Surfaces for the opening of Google’s new offices in Covent Garden.
credits Stix, stroon
finally stroon convinced me to release preview of our performance, i wanted to make a music video rather than preview of live show, but here it is!
This version is simplified, so fraps can make 720p recording, I still haven't made proper interface in second renderer, so its little bit slow because I didn't want to mess with patch during recording too much.
Also all i turned off all feedback/blending effects, but still you get the picture of how it looks so enjoy .)
Its all made in vvvv, only moon is made in blender, oh and thanks for that great boids node :)
and here you can find more of awesome music made by stroon:
credits Marco Tempest, onformative, checksum5 et al.
Special thanks to David Britland for his amazing script, Michael Ricar for the music and sound design. Tebjan Halm for additional vvvv programming. Enrico Viola for the relentless OF sandboxing and prototyping.
Jason Saragih for sharing his FaceTracker library. Tobias Beckwith for the voice cameos, Sherry and Matt for being amazed and to Steve Cohen for bringing Jean Robert-Houdin to life one last time.
Prof. Nik Haffner: Projektleitung.
Arístides García: Projektleitung, Konzept, Programmierung.
Nikola Pieper: Technische Leitung.
Körper: Emilia Pfohl, Marine Bertrand, Hanne Müller, Marieke Hohberge, Swann Nowak.
Tanzer: Juan Gabriel Harcha.
Kamera: Hannes Mück.
Musik: Volta do mar, Sound after day
Special thanks to Dottore, Mr Vux, Unc, and the VVVV developers.
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