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MAD Studio est une agence créative basée à Genève en Suisse. Elle propose ici une installation de vidéo mapping, de plus . . .
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Pour l’ouverture du Orlando Game Space, notre ambassadeur américain Jesse James a participé à la création d’un . . .
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The foundation supports creative processes that encompass all cultural and artistic expressions or manifestations understood from a wide point of view.
They are looking for new artistic creations addressing the impact that Covid-19 is having on Catalan society and the challenges arising from it.
The artwork must have a clear transformation goal and must be developed in the public space, also incorporating a digital alternative to face possible new periods of lock-down.
Creators with a minimum career of two years and with residence in Catalonia are encouraged to submit their proposals.
One scholarship will be awarded per project and creator. Several creators cannot present the same project to be developed within the framework of a group.
All projects will be scrutinized during the month of September. The development process will take place between October 2020 and January 2021.
At the end of January the artists will be required to present a memoir reflecting the process and the creative proposal.
Until the 31st of July and from August 24 to 31 there will be a dedicated phone line for any arising questions: +34 932 090 948. The foundation can also be reached via email.
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The stage then turned into a ship launched into space with Tobin residing in a hyper-sleep pod. After dream-like hallucinations Tobin comes out actually wearing the suits shown in the animation.
A complex audiovisual narrative that blurs the boundaries between real and digital world, firing all sorts of trickery to cleanse out the audience of all their spatial references. Only when we lose all the anchor points we are truly primed to experience the digital voyage.
ISAM takes us on a journey through the unexplored universe generated by the EDM soundscape of Amon Tobin to the bring us back to the core of the action: the musician and his performance.
In my opinion, Xite Labs major breakthrough is their ability to truly animate their installation, snapping out of the static AV sculpture by delivering an immersive experience where all senses are captured within the space.
Their audiovisual world is disorienting and astonishing as it builds up in front of our eyes, departing far away from the bidimensionality of the screen experience.
Formed in the year 2000 as V Squared Labs by Vello E Virkhaus they have then merged with Tandem Digital Entertainment in 2018 to form XiteLabs.
Through the leadership of Greg Russell and Vello Virkhaus the audiovisual studio continuously executes next level experiential visual artistry.
The duo is always taking “never been done” concepts and turning them into reality. This process always starts with the blank page, and working with clients to define the words, scenery, illumination, content, interactivity, and the means to deliver it all.
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It is interesting to notice the wide range of categories not necessarily related to the new media arts world. The inclusion of animation and manga highlights their wide recognition in the Japanese scene as special forms of art.
The Japan Media Arts Contest offers opportunities for young and emerging artists as well as recognized professionals making the audiovisual event a turning point every year for artistic innovation and excellency.
The Japan Media Arts Festival has been awarding prizes to outstanding artistic works since its establishment in 1997.
It is supported by The Agency of Cultural Affairs, Government of Japan to develop and promote the creation of Japanese and international media arts.
Through the annual Exhibition of Award-winning Works, the festival has offered the opportunity to the audience of directly appreciating these celebrated works.
The attendants are also invited to participate to the side events such as symposia, screenings and artists’ showcases.
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Ars Electronica features a wide variety of activities every year: Symposia, exhibitions, performances, concerts and interventions spanning a broad arc from speculative futuristic scenarios to analytical considerations, from provocative actionism to philosophical debate.
Combining amazing artworks with fruitful conversations is the perfect recipe to create a meaningful experience that constantly scans the new media landscape to find the most inspiring projects. The projects are not simply chosen based on their technical realization but most importantly because the social and artistic innovation they incorporate.
The result of this consistent endeavour is the creation of a loyal community of audiovisual artists, researchers and visitors from all over the world that every year reunites in Linz to inspire and get inspired.
Since its inception, the festival has been dedicated to develop new themes for each edition and the organizers are also constantly on the lookout for interesting new venues.
Indeed, the ongoing effort to break out of the narrow confines of conventional conference rooms and artistic spaces, and to stage cultural and scientific encounters in the public sphere has become something of an Ars Electronica trademark.
Stay tuned: Ars Electronica 2020 theme will be released soon!
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The 2020 year theme reflects upon our primitive status in the foundations of the new hyper-informational world, where the data-flux is absorbing the entire existence reaching the status of God.
Is technology serving us or we are serving the data-totem by providing our more sensible information, giving up our privacy for a greater good?
Algorithms, already present everywhere in the digital realm, are reading us better than ourselves, better than our friends and siblings and in the name of optimization of our virtual experience, we are gradually letting them make decisions for us, filter our perceptions predict our behavior, our bio metrics, our emotions.
All manifestations of culture can now be experienced on a digitized basis, translated to a language (code, DNA) and stored for everyone who possess it to experience regardless the circumstances. Markets and Money are transfiguring into intangible algorithmic byproducts. Everything to serve the information flow.
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Marco Savo from Audiovisual City and Kate Rolfe from The Revels Office have never met in person. Theirs is a true digital relationship born of the pandemic.
Audiovisual City is a digital magazine that promotes and supports audiovisual artists and events worldwide. Connecting hundreds of digital artists from across the world, it is the go-to place for inspiration and information when it comes to the application of digital technologies in artistic expression.
The Revels Office is a cultural consultancy who specialises in finding new revenue for the arts, advising organisations on commercial opportunities and uniting them with funding partners who value the unique, high quality content that only the cultural sector can produce. Together with a network of consultants -The Catalyst Network – the team at The Revels Office manage a range of projects at the intersection between arts and commerce.
At a time when the sector is anxiously remodelling their core operations to survive months of low visitor numbers, reduced income through established business lines, and a new, uneasy socially distanced experience, we wanted to investigate what untapped value digital arts might offer.
We share with you here a summary of our findings, designed to inspire you at a critical time, to offer valuable ideas to consider in your re-modelling plans, and to decipher the role that digital can play in a sector based almost entirely on live and tangible experiences…
It is a collective strategy game in which different levels and challenges must be overcome, based on the idea of a labyrinth. Controlled externally by passers-by, Enjambre Celular offers an example of a pandemic-proof artistic installation.
They are invited to have contact virtually within the same image, bringing them together face to face. The head-to-head image created by the software is trying to constantly reduce the proxemic distance between the two people, creating unique and ephemeral meetings with the other and making a connection even when physically apart.
Put simply – do you need to move your live content online for commercial, audience or safety reasons, or do you want to create a new interpretation of your content that will explore your stories in an entirely new way? Neither choice is right or wrong, but it will impact the outcomes you achieve, as well as the process you go through.
“The importance of concept is key; you must start with your concept and then chose the technology to match”
Hayley Cantor
No solution is quicker for overcoming an image of being elitist, static or uninteresting than a digital initiative, so long as it is done well, has a clear purpose and audience, and so long as it incorporates some kind of live and/or unique element that ensures the digital is not simply a mimic of the live experience.
While digital design is fantastic for bringing to life educational and historic content, and is arguably simpler for translating to an online platform, where digital arts stands out is in the sensorial, emotive experience that they can create, lasting longer in people’s memories and creating a sense of community and harmony even if you encounter the art alone.
Via a VR headset, the user flies through a 3D data-point cloud formed, visualizing more than 1,700,000 documents present in SALT Research archive collections. Refik Anadol’s installation was displayed as an extension to the artist’s Archive Dreaming project.
Developed by Delight Lab, this project was realised in partnership with the SUMO design and museum office for DIBAM.
The price we have paid for the vast amounts of thrilling, comforting and informative digital content that has been dispersed throughout the global lock-down, is the expectation that digital means free.
In this way there is still value, there are no barriers to audiences engaging with you, and you can use data and reach to collaborate with new funding partners, upsell products and services, and request donations wherever possible.
In this way we have seen a really positive response during the pandemic, with culture-lovers willingly paying for online experiences, seeing this as a charitable donation to save something they love rather than a charge for valuable entertainment. However this has not yet translated into a consistent approach that audiences and funders recognise, or indeed made up the huge gap in revenue that arts organisations face.
Given the high value outlined by option 1, it seems reasonable that – just like the expectation to pay for the cinema or a gig – you will have to pay to participate in digital cultural experiences. This transactional view may not sit well alongside arts experiences that are traditionally free, such as museum-entry, but this demonstrates the opportunity presented by digital arts as opposed to digital design; by creating a new experience on a new platform, arts organisations can create something of value to their audiences (and new ones), one which better warrants a participation charge.
Ultimately this is an argument of supply and demand, but what we endorse is a collective reassessment of how and when to charge for digital experiences, thereby protecting arts organisations and artists from giving away valuable content for free, especially when for a time this might be one of their only viable sources of revenue.
The oldest full dome projection festival has been held virtually for the first time this year due to the pandemic, charging a ticket price for the online experience. A courageous decision from the organisers who decided to go full steam ahead, offering a 360 view of the festival using VR headsets.
Mutek is one of the top audiovisual events worldwide, born in Montreal and then expanded through an international network. The San Francisco edition has been online this year with their ‘Nexus Experience’, hosting live AV performers on two stages, offering digital galleries, online workshops, and ‘viewing party’ film screenings. The event was free and open to donations, with 100% of the festival proceeds going directly to the artists.
For those who want to consider digital as part of their future plans, digital arts producer Steph Clarke shares some considerations:
• Once a digital installation, artwork or exhibition is installed, it can often run 24/7 with minimal staffing and low running costs. Not only can this make valuable budget savings, it also accommodates far higher audience numbers over time, and can easily be adapted to allow for social distancing measures.
• Digital works can easily have their content re-purposed to suit different objectives. Content can be refreshed regularly to suit seasonality, adapted for VIP or stakeholder events, and used for advertising purposes if required.
• It is relatively easy to scale digital work depending upon size of venue or audience size, meaning this approach can be considered for a variety of projects, places and budgets.
• Digital can be used to extend and enhance audience engagement before and after the event/exhibition itself, through engagement online and via apps, creating more touchpoints with your intended audience and opportunities to capture insights and data.
• By digitalising the content for a digital installation, you are simultaneously archiving it too, preserving it for future generations and achieving important cost-savings.
• Given the huge range of digital formats available – apps, projection, light shows, VR, AR – there will always be a format suitable for your budget, timescale and objectives.
As part of the Bahidora 2018 festival, Medusa Lab created a unique experience for Ache Producciones and its client: Mezcal 400 conejos.
Piñata was a project made by MID for +Castro agency and the SAKE production company. The piñatas were installed as part of a collaboration with Trident Senses at Benicàssim International Festival.
This article was written by Kate Rolfe from The Revels Office and Marco Savo from Audiovisual City with contributions from Hayley Cantor (Audiovisual City Creative Director, Multidisciplinary Graphic Designer and VJ), Sean Carroll (Business Improvement Project Manager), Nicola Casperson (Brand Marketing, Events and Place-Making Consultant), Steph Clarke (Digital Arts Producer), Marta Minguell Colomé (New Media Artist, VJ and Photographer), Amy O’Brien (Events Producer), and Mónica Rikic (New Media Artist). Collectively our experience includes roles at the National Gallery, Natural History Museum, Secret Cinema, Battersea Power Station, Westfields, and London’s Philharmonia Orchestra.
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A small team creates magic installations and art projects, exploring mechanisms of interaction and inter-influence of inter-subjective reality and its digital projection.
Interacting with constantly changing projection, the viewer enters meditative state, turns from a passive observer into a co-creator. Thus, in “Symbiosis” installation the viewer literally merges with the alien creature, becoming a digital avatar that can be controlled by him or her.
Installations by Kuflex have been featured in many Russian and foreign exhibitions, festivals, museums, science and education centers in Moscow, Saint-Petersburg, Yekaterinburg, Krasnoyarsk, Tyumen, Abrau-Dyurso, Netanya (Israel), Antalya (Turkey), Athens (Greece, ADAF), Las-Vegas (USA, CES), Beijing (China,China Science and Technology Museum), Manila (Philippines) and others.
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Videomapping on 3 meters metal mask at Spotlight Bucharest Festival.
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In the colours of the old-fashioned carnivale and traditional Dutch imagery, video projections rotate around the carousel. Sometimes they move exactly with the carousel, and sometimes they turn the other way around. With synchronised lights, smoke en sound effects this carousel becomes more than just a regular fairground attraction. A magical and spectacular image, in an experience for all ages.
Concept and video mapping by Beeldjutters.
Carousel by Camping De Lievelinge.
www.beeldjutters.nl
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Elke Radtke aka Juladi performs since more than 10 years in almost 30 different countries. She specialices in analog handmade mirror visuals. Her style is very unique, she won the mapping festival VJ competition and she loves to VJ, make interactive video dance performances, mappings, still prints, audiovisual shows and interactive video installations. www.juladi.de
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Braingorillas a utilisé HeavyM pout ajouter une atmosphère visuelle sensationelle pour un clip de MP The Kid. Le studio a co . . .
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Sharmaine Kwan a réalisé une installation artistique très impressionnante avec du vidéo mapping sur le sol et plusieurs volumes sur un . . .
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L’artiste française Petronille Leroux a utilisé 2 kits Olga pour élaborer une magnifique installation éphémère en vidéo . . .
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« Hello Kinki » est le nouvel événement organisé, tous les vendredi, dans le centre de Bologne (Italie) par Hello Events dans l’un . . .
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CREDIT:
Direction_Design_Animation: Ouchhh (ouchhh.tv)
Sound Design: Audiofil
iOTA:
In mathematics, the inclusion map of one space into another is denoted by the lowercase iota. Light is the single element which can be perceived by the eye. Iota is a led installation inspired by light physics and a research to find the origin of geometry. Corresponding to the focus of the observer, the nature of light and its different phenomena can be seen beyond the perceptivity of the human mind and attempts to translate them into a unified, non-spatial form.
The post iOTA _ Live Data Sculpture Installation appeared first on Video Mapping Blog.
THIS IS MY LAST PRODUCTION OF VIDEO MAPPING 3D FOR A GREAT SUMMER DISCOTHEQUE IN SEVILLA. WE WANT TO PLAY WITH THIS BUILDING BECAUSE HAS CUBE FORM IS MINIMALIST AND MODERN, IT HAS NO ARCHITECTONICAL ELEMENTS IS ONLY A CUBE.
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Projection Mapping inatallation for Berlin Light Festival 2017
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For a second year in a row, we were invited by Nomada to participate at the Sharjah Light Festival 2017.
For this occasion we introduced Maestro, a new interactive video mapping, controlled by the user through a futuristic illuminated console.
The installation was set up on a half kilometer long building with 19 video projectors of 20,000 lumens and 8 sky-tracers.
The users were offered to choose between three original Mappings: SAND, MOSAIC and ORGAN.
To complete this creative and technological challenge, Tigrelab teamed up with great talents: Hand Coded was in charge of the generative visuals and sounds, our technological partners ProtoPixel took care of the creative technology and the lighting control, Thomas Aussenac from SoundBox created the Music and Sound Design, and Joan Molins and Roger Amat were in charge of the Motion Design and Animation.
This project has been rewarded during the Sharjah Light Festival 2017 for “Best Installation”.
Credits
Original concept, Creative direction and Animation: Tigrelab
PM, concept, generative visual-audio Development: Hand Coded
Creative technology and lighting control: Proto-Pixel
Motion Design and Animation: Joan Molins, Roger Amat
Music & sound design: Thomas Aussenac – Sound Object
Making Of: Felipe Mejia
—————————
Tigrelab Team:
Federico Gonzalez
Mathieu Felix
Javier Pinto
—
Nagyb Cedeño
Sergio Garcia Arribas
Julie Herbert
Sharjah Light Festival 2017
Organized by Sharjah Commerce and Tourism Development Authority
Produced by Nomada Les Arts Nomades Cie
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2018, Grand Parc Du Puy Du Fou – France
Puy du Fou’s new, original creation takes visitors on board La Pérouse’s voyage around the world,
which set sail from Brest in 1785. Aboard the famous seafarer’s ship, “La Boussole”, novice
explorers find themselves on the high seas, living and experiencing the expedition as it unfolds.
With this show, the Puy du Fou producers employ innovative special effects and succeed
in making visitors feel like they really are at sea. Throughout the experience,
enormous machines mimic the motion of a ship, while visitors witness a succession
of extraordinary scenes through the portholes. A combination of 3D video projection
mapping and highly realistic settings gives every stage of the voyage a different and
spectacular atmosphere: the port of Brest, Cape Horn, Easter Island, and the shipwreck…
Puy du Fou has even recreated climatic conditions: the clammy heat of the
Pacific, the icy winds of Alaska, and the dampness of the ship’s dark hold…
The visitor experiences all these sensations along the, at times, both exotic and hostile
journey of “La Boussole” and her sailors, all the way to their tragic end.
2018, Ruinart House, Reims – France
In the heart of the Champagne region, in Reims, is the Ruinart house. A prestigious place where the art of receiving is intimately linked to the art of champagne. In this context, My little Paris asked Holymage to realize a unique video mapping creation, a visual display of their dinner discovered. The main character “Petit R” takes us for 4 minutes through the history of the brand. On the border of the animation film and the video mapping, this visual gem is to be discovered on site, all year long during seminars or exceptional dinners.
2018, Paris
Opened on April 13, Atelier des Lumières, created by Culturespaces, is the very first Digital Art Centre in Paris. The 2,000 sqm 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 a fantastic 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 completely immersed into 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.
A fine-tuned show with spectacular results : animated images of Klimt’s work are projected on the floor, on the walls (who can reach up to 12m) as well as on the ceiling and other typical elements of the venue, such as the foundry’s former chimney. Images flow in rhythm to the music, and appear perfectly moulded to the 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 Modulo Pi’s systems from the project study phase.
Relying on his experience with the Carrières de Lumières based in Les Baux-de-Provence, South of France, Augustin de Cointet de Fillain, Multimedia Project Director at Culturespeaces, explains: “We initiated this type of exhibition in 2012 in Les Baux-de-Provence. This was achieved with a lighter AV system since the remarkable venue was already doing the show. However, we quickly realized that we would need a system with much higher potential and stability.”
Roman Hatala, Cadmos’ Director, further adds: “When Culturespaces told us about Atelier des Lumières, opting for Modulo Pi’s systems was evident as they are the most effective and adaptive systems on the market. We wouldn’t have done this project without it.”
After choosing video-projectors with higher resolution for better image quality, the teams of Culturespaces decided to rely upon Modulo Pi’s solutions to better answer their requirements for Atelier des Lumières, but also for their upcoming installations in France and abroad: “We are dealing with installations based on 90 to 130 video-projectors, which is huge. Therefore, we needed a reliable, comprehensive and powerful system that would allow us to work from site to site.”
For its first exhibition, Atelier des Lumières offers a three-part work around paintings of Gustav Klimt, the vision of the artistic director, and the former foundry now hosting the Atelier. “The exhibition is tailor made to the venue”, explains Augustin de Cointet de Fillain.
It’s as much creation as it is staging, with a certain complexity due to the perspectives and different depth levels in the venue. In this context, you need a really flexible operating system.”
The 35 units of Modulo Kinetic showed their efficiency at every stage of the project. Augustin de Cointet de Fillain provides more details about the crucial role played by Modulo Pi’s media servers prior to setting up : “We load a 3D plan of the venue, fill in the type of video-projector we’ll be using and what we want for each wall in terms of image pixel size and luminosity. Then, the Modulo Kinetic tells us where the VPs should be positioned, what the image distortion will be, the luminosity rendering on each area… Once this simulation phase is done on Modulo Kinetic, we move on to the venue.”
When at the venue, the installation and fine-tuning stages – central to the immersive effect – are done so as to give the impression of projecting one single image over the whole surface. Among other things, Modulo Kinetic helped handle the overlaps and soft edges, and made warping easy with the Xmap mode. The result was a seamless projection over the entire show surface.
Installation and fine-tuning had to be done within a limited time frame as Roman Hatala explains: “The audiovisual work comes at the very end. That was a real challenge to have everything set up and adjusted while the renovation work of the venue was still going on.” In this context, the features offered by Modulo Kinetic, allowing several users to work on settings at the same time, was key: “Modulo Kinetic allows shared and mutualized work on geometry. It helped us save a great deal of time by having someone working on a wall on one side, a second person on another side, and a third person working on the floor. To achieve all the fine-tuning in a shortened time, that was a real advantage.”
Once the set-up was over, Modulo Kinetic was then used as a show controller to handle and sequence all media that are part of the show: videos, music, images,… “That is the true force of Modulo Kinetic. It’s a comprehensive system in which anything can be centralized and controlled: videos, lights, sound, and interactive lasers”, comments Augustin de Cointet de Fillain. “Without Modulo Kinetic, we would have had no choice but to manage a string of not very reliable different systems, multiplying the overall system’s fragilities. We needed a super stable system with full and permanent control. We cannot afford to have a huge black wall.”
To make everyday management and maintenance easier, Modulo Kinetic comes with an app that handles the shows through pre-programmed loops, while also giving regular feedbacks ensuring the overall AV system is operating accurately at all times.
The show control and remote maintenance system was programmed by Cadmos’ teams, who have been working with Modulo Pi’s media servers for several years: “Modulo Pi was the best choice for this project. Their systems bring reliability, scalability and an image quality that cannot be reach with any other system”, explains Roman Hatala. “In our museum and contemporary art projects, Modulo Pi’s media servers allow us to work with Apple ProRes or uncompressed contents for better image quality. We also enjoy the capability of integrating custom show control and management options so that our clients can benefit from fully controllable and autonomous systems.”
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.
These new large-scale projects will also rely upon Modulo Kinetic for the simulation, set-up, show control and maintenance operations. “We were looking for a reliable partner for our upcoming projects, and it will be Modulo Pi”, states Augustin de Cointet de Fillain. “We confirmed that choice due to our requirements in terms of reliability, but also because these systems allow us to anticipate and transpose the creation of our upcoming exhibitions.”
An anticipation made possible thanks to a vignette system that enables to export and work with low definition versions of the media involved in each show. “It helps us anticipate future creations which is very important. This way, we don’t have to close our venues for too long. That gives us a very enjoyable anticipation base.”
Collanews 
