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credits elliotwoods mimison
Overview
Original article
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
Kimchi and Chips
- Mimi Son
- Elliot Woods
Production staff
- Minjae Kim
- Minjae Park
Mathematicians
- Daniel Tang
- Chris Coleman-Smith
Videography
- MONOCROMhttp://monocrom.co.kr/
- Mimi Son
- Elliot Woods
- Music by Johnny Ripperhttp://soundcloud.com/johnny_ripper
Manufacturing
- Star Acrylic, Seoul
- Dongik Profile, Bucheon
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
Hi!
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:
http://soundcloud.com/stroon
credits Marco Tempest, onformative, checksum5 et al.
the making of
TEAM
Created and produced by Marco Tempest
in cooperation with onformative and checksum5
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.
For more information and images please refer to the splendid documentation on onformative.com
For more of marco's magic visit him on marcotempest.com
credits lasal
UdK Berlin Intermediales Bewegungslabor
Campus-Kollision 2. bis 6. Januar 2012
HZT-Uferstudios.
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.
credits karistouf
- 2011: Ben ( grande forme),France, Theatre, L'arc électrique
A one-mask theatre play.
Lighting, and Video: Christoph Guillermet ( karistouf).
Animations were created by Magali Charrier.
Technique: White Cat Lighting Board remoting vvvv in artnet, jeenode ( arduino like rf ) remoting dimmers in 12v inside a pizza box and on the moped, dmx 512 for traditionnal lights.
Parts of animations were assembled thru VVVV patches to obtain quickly results and design interaction between videos and actor. Some animations are staying processed real time, other were finally outputted in wmv.
credits karistouf
A one woman theatre play, all video rendering done with VVVV, and remoted by whitecat in art-net ( CueList usage).
France, 2012
Written and performed by Marie Montoya
Directed by Lucie Muratet
Lighting, Video by Christoph Guillermet (karistouf)
PALASS
credits EWIGNEU
Kunde: EGGER Gruppe
Für / Team: PLAYFRAME, GROSSE 8
Jahr: 2010
EWIGNEU: Projection Mapping, VVVV Programmierung
credits
produced for City of St.Veit, Carinthia, Austria
Architecture, Exhibition Layout: Klaus Baumgartner,Trecolore Architects
Interactive Graphics, Wave Graphics, VVVV: Martin Zeplichal aka zepi
Interactive Surfaces: Antony Rayzhekoff and Emanuel Andel, This.Play
Serious Gaming, Unity 3D Production: Ovos Media GMbH, Vienna
Content Graphics: Francesco Prijapratama
Video Documentation: Andreas Haider, Alexander Boboschewski, Robert Pöcksteiner, Uul Schackl
plus several outstanding companies building the exhibition, please check here for detailed information.
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