Fairytale-themed projection mapped wedding cake by Candy & Grim, featuring princesses, Beauty and the Beast, Cinderella, fairies, an Ice Queen, Rapunzel, and baroque effects.
Sofia Aronov’s “Awake” is an interactive painting that combines paint, projected light, and capacitive sensors to create an engaging, “choose-your-own-adventure” viewing experience. Viewers are guided to follow their curiosity and explore the coral reef painting. When viewers touch a piece of coral, the painting comes to life with projections of marine-life animations. The experience for each viewer is unique depending on which marine element the user decides to interact with and the order of their interactions.
This piece is the first iteration of a series of interactive paintings that use sensor triggers and projected light. The marine illustrations were painted on white paper with Bare Conductive, a conductive ink. Each individual marine element is connected to an Arduino Uno via alligator clips on the back of the painting. The Arduino gathers proximity data and sends it to a Processing sketch, which triggers the projected animations.
Learn more about the project here.
Images & Video: Sofia Aronov
The Other Singularity group is an experienced group of makers and artists that creates interactive works of art examining the line between humans and technology. They deploy experiences that provocatively ask the question of when technology should be deployed. The group teamed up with Jared Ficklin, Chief Creative Technologist of Argodesign, to augment the porta potty reality at Burning Man 2018. Jared designs with technology and has a passion for innovative or unique interaction models, especially those involving interesting inputs and outputs like touch, multi-touch, voice, gesture, sensing and projection.
First, the portos will be wrapped in matte white vinyl to take on the austere flatness of the playa. At night, they will be illuminated with a warm white light so that from a distance, they will appear to float on the deep playa.
Each unit uses low resolution sonar sensors to measure the distance from door to anything occupying the space. These sensors are hidden and are not capable of producing imagery. They provide information on if a unit is occupied, whether the occupant is standing or sitting, and how long they have been inside.
Because projection on the playa is challenging, the group will convert the projection to scroll signs, which will work during the day and night. Each sign will have its own printed canvas with ten unique styles of imagery for indicating open, sitting and standing.
Conference in Toronto:
GRAFFMAPPING is a research project on new creative languages through graffiti and projection mapping.
This mural was designed by the Canarian graffiti artist Suglas, and it is a collaboration between Richard Santana, Aday Rodriguez and Felipe Garcia. It debuted at the Ibiza Light Festival 2017, an event that transforms emblematic places of the old area of the port of Ibiza, where light is the main element, creating a unique audiovisual atmosphere.
After painting the design on the walls, GRAFFMAPPING used two Panasonic 10,000-Lumen projectors, VDMX and MadMapper to illuminate the geometric shapes to the rhythm of the music in the festival.
Other projects made by GRAFFMAPPING can be found at http://www.graffmapping.com.
Ishikawa Senoo Laboratory developed VarioLight, a dynamic projection mapping system that combines a 1000 fps high-speed camera, a 1000 fps high-speed projector, and a high-speed mirror.
The “Infinity Room” exhibit is an immersive environment project created by award-winning media artist and designer Refik Anadol. It allows visitors to step into an otherworldly portal where they are enveloped by distorted light and perpetually morphing visuals powered by Epson’s state-of-the-art laser projectors. Anadol uses four Epson Pro L1505U large venue laser projectors’ to create the immersive twelve-by-twelve foot environment.
“By using Epson’s laser projectors, ‘Infinity Room’ has almost 50,000 lumens, which creates a magical environment for Exploratorium visitors,” said Anadol. “Light is the major element in this exhibit, and I think the most important part of the experience is the quality of light the Epson laser projectors provide, as it is used to blur and interconnect the boundaries between the two realms of actual/fictional and physical/virtual.”
“Refik Anadol’s ‘Infinity Room’ is an inspiring, eye-opening experience,” says Chris Flink, the Exploratorium’s Sakurako and William Fisher Executive Director. “Digital and physical realities merge, and you become more attuned to what is happening around you. This curiosity and awareness is what we cultivate and curate at the Exploratorium – you make sense of the world and you become more awake to its possibilities. We’re ecstatic to be able to share ‘Infinity Room’ with our visitors this summer on Pier 15, and grateful to Epson for enabling it with their impressive projectors.”
The “Infinity Room” exhibition will run at the Exploratorium, a museum of science, art, and human perception, from June 15 through July 15, 2018, and will be one of the featured installations for the Lightplay festival on June 16.
Photo courtesy: Gayle Laird© Exploratorium
Firewall is an interactive media installation created by by Aaron Sherwood and Mike Allison. A stretched sheet of spandex acts as a membrane interface sensitive to depth that people can push into and create fire-like visuals and expressively play music.
King Tut met 21st century design and technology at the California Science Center. Projection Designer Bart Kresa mapped the space shuttle Endeavor with images of King Tut’s spectacular golden sarcophagus for the Science Center’s recent Discovery Ball fundraiser.
Bart Kresa, who heads the international Bart Kresa Studio, transformed the space shuttle into the boy king’s tomb by projection mapping the fuselage and vertical tail with images of King Tut’s iconic jewel-encrusted sarcophagus. He also created 20 wall projections of scenes from the interior of the tomb. The shape of the space shuttle’s fuselage adapted well to the projection of King Tut’s sarcophagus; it appeared to levitate above the walls of the pavilion covered with vignettes of the tomb complete with projections of flickering torchlight.
Kresa designed two looks for the evening. “We started with a traditional warm, golden look then transitioned to the party with a cooler palette of blues and purples with a sparkling effect for dessert,” he explains. “We wanted to create a beautiful ambiance that didn’t take away from the gala experience.”
Kresa relied on WorldStage to supply the large complement of projectors required for the Discovery Ball as well as the digital routers, fiber optic cabling and power distribution. WorldStage provided six Panasonic PT-RZ31K and PT-RZ21K laser phosphor to cover the space shuttle’s fuselage, nose and tail. Kresa warped and blended the images with his Dataton WATCHOUT servers. WorldStage furnished 20 Panasonic PT-RZ770 projectors for the individual wall vignettes. They were positioned in the control area under the nose of the space shuttle, in an area port side aft of the aircraft and on vertical truss sticks close to the walls.
Since there was no opportunity to have redundant projectors, WorldStage devised a creative backup plan using the Panasonic projectors’ internal logo transfer software. “The screen grab of each image being projected effectively became a still store,” explains WorldStage account executive/project manager Joe Conway. “The content was saved in the projector itself so we could automatically go to that still store if necessary. If a projector suddenly lost a signal there wouldn’t be a black hole.”
Kresa’s new mobile studio contributed to the efficient technical operation on site. With 28 projectors mounted in the pavilion, additional equipment was kept to a minimum with Kresa’s 20 WATCHOUT servers housed in his mobile unit parked on the street. Fiber optic cabling ran video and Internet data from the mobile studio to the pavilion. “It was a pretty clean installation,” says Kresa.
WorldStage created a LAN network to communicate with the projectors via laptop. When the show was underway the network gathered information on projector status for live monitoring.
Loney’s team also featured WorldStage projectionists, Chris Gerrety and Alex Laux, freelance projectionist Joaquin Martinez and WorldStage projectionist/video engineer Linda Cappelletti.
For more information, visit www.worldstage.com
L’Atelier des Lumières, created by Culturespaces, is the first Digital Art Center in Paris for immersive exhibitions. The 16,000-square-foot venue, a 19th century disused foundry, received a complete make-over to allow the hosting of immersive digital art shows on a monumental scale. Its first exhibition is an immersive digital experience around Gustav Klimt’s work. It’s a stunning show bringing together monumental projection and music for a new artistic experience. Visitors are immersed in the work of the Austrian painter thanks to a massive AV set-up: more than 130 Barco PGWU-62 video-projectors were installed together with 35 Modulo Kinetic media servers by Modulo Pi.
Animated images of Klimt’s work are projected on the floor, walls and ceiling. Images flow in rhythm to the music and appear perfectly molded to Atelier’s architecture.
Faced with the technical challenge of equipping such a venue to achieve a 300 million pixels projection, Culturespaces and Cadmos, the integrator for the project, opted for the Modulo Pi system. Augustin de Cointet de Fillain, Multimedia Project Director at Culturespeaces, explains, “The exhibition is tailor made to the venue. It’s as much creation as it is staging, with a certain complexity due to the perspectives and different depth levels in the venue.”
To pursue its mission of bringing to the public a new way to discover art, Culturespaces is currently working on the launch of new immersive art exhibitions in the United States and Korea.
This year at Burning Man, artist Joe Crossley (Astral Projekt) will be producing and curating a collection of Human/ AI inspired media art pieces under the name IAMAI. The ethos is to create a ceremonial space where we can acknowledge and celebrate the declaration of co- existence between man and machine.
Artists from around the world are invited to submit media artworks to this theme to be displayed in a truly immersive setting at the foot of the man base this year.
Details on how you can be involved are below.
PROJECTOR LAYOUT: 6 x Projector 360 ̊ media surface (1920 x 1200 @ 15k Lumens Epson laser Projectors)
PROJECTION AREA: The Projection area will be a full 360 ̊ Wall intersected by two doorways (not show on output template).
OUTPUT FILE INFORMATION:
Green Areas denote the projection area, content falling outside these areas will be not visible. The grey area is the unused projector throw. The green areas will be stitched at both ends creating a full 360 degree surface. Animators should supply finished files with their camera angles included. Files will be played as received. Audio should be embedded in the video file, we wont be accepting files with detached audio unless pre arranged for a surround sound experience.
Warsaw-based art collective panGenerator created an interactive installation that invites people to take a selfie, which is then projected onto a screen before turning into a gravel cascade.
The Prizome is a projection installation with real-time generated 3D video content and interactive effects. It is a collaboration between maker Adam Barlev, interactive developer Yasushi Harada and 3D artist Jimmz Zhang.
Front Pictures‘ audition on America’s Got Talent 2018 consisted of performing a videomapping routine while detailing a story of a person who must escape a video game.
Located at London’s V&A Museum, Tellart’s Terraform table uses projection mapping to turn a giant sandpit into a vast aerial landscape of mountains, valleys, lakes and rivers.
Cloud Pink is an interactive installation by Seoul-based creative Everyware (formed by Hyunwoo Bang and Yunsil Heo) that invites visitors to poke and prod a fabric screen, thereby causing a visual reaction in the projected simulation of wafting pink clouds.