|
Physics Distorter
|
Jan van Nuenen
|
|
spacial projection, videomapping, globe, NIMK building, abstract generative animation, multi/single user, 180 large field of view, natural eye movement, user can influence projection with globe interface, non-linear graphics influenced by the public, anywhere, long setup, arduinio, processing, projection mapping, architecture
|
|
|
Psycho52
|
Geoffrey Alan Rhodes
|
2009 |
desktop, shape recognition, markers, video, multi-user, 180 large field of view, reacts to marker position, no narrative, used on any desktop computer with webcam, SnapDragonAR, MaxMsp, ISEA, RIT
|
|
|
Puma Lift
|
(Droga5, Puma) |
2009 |
recorded projection, filmed video-mapping, white room, people, video, animation, multi/single user, small field of view, linear story, played on any computer, ARvertising, puma, ad, commercial
|
|
|
Sculpture
|
Jeffrey Shaw
|
1981 |
mounted display, non, real space, different stills, single-user, 180 large field of view, no narrative, anywhere, simple, geometric, Melkweg
|
|
|
Sgraffito in 3D
|
Joachim Rotteveel
(AR+RFID LAB) |
2008 |
desktop, graphic image recognition, marker logo's, still, multi-user, small field of view, reactive to marker position, still, in front of any computer with camera, museum, informative, educational, history
|
|
|
Solo-exhibition Michael Guidetti
|
Michael Guidetti
|
2009 |
projection, video-mapping, painting, graphic animation, multi-user, 180 choice of perspective, large field of view, linear narrative, specific for that painting, painting, exhibition, museum, mixed media
|
|
|
Tag und Nacht
|
Till Botterweck, Nagehan Kurali
(Urbanscreen) |
2009 |
spacial projection, videomapping, Schürstabhaus, animation, sound, multi-user, large field of view, linear narrative, space-specific, projection mapping, performence, video
|
|
|
The Amazing Cinemagician
|
Helen Papagiannis
|
2009 |
spacial projection, graphic image recognition, paying cards, animation on fogscreen, multi-user, 360 large field of view, natural eye movement, non-linear narrative triggered by user, anywhere indoors, Georges Méliès, fog, spacial
|
|
|
The Artvertiser
|
Julian Oliver
|
2009 |
handheld binoculars, phone, graphic image recognition, image, advertisement, video, still image, single-user, 180 choice of perspective, large field of view, reactive to hand position, linear narrative, still image, dependent on input content, anywhere where a specific advertisement is, Transmediale 10, Linux
|
|
|
The Haunted Book
|
Camille Scherrer
(EPFL CVLab) |
2009 |
desktop, graphic image recognition, graphic images, animation, multi/single user, small field of view, reactive to object position, linear narrative, user can turn the page and start animation, in front of any computer with webcam, poetry, book, student work, markerless
|
|
|
The Robotics Lab
|
Georg Klein
(University of Oxford) |
2009 |
handheld screen, envoirenment mapping, video, still image, semi multi-user due to large screen, 360 choice of perspective, small field of view, reactive to hand position, still, after mapping, space-specific, robots, science fiction, science
|
|
|
The Whisper Deck
|
Craig Kapp
|
2009 |
headmounted display, marker recognition, marker, generative animation, single-user, 360 large field of view, reacts to head position, non-linear informational narrative defined by user, any suface, Flicker, Google, search, informational, voice
|
|
|
TINMITH
|
Wayne Piekarski
(University of South Australia) |
2006 |
head-mounted display, gloves, Markers, pinch gloves, videofeed, generative stills, single-user, 360 large field of view, generative non-liear narrative, could be programmed anywhere, Metro, geometry, outdoor
|
|
|
Triceratops
|
Georg Klein
(University of Oxford) |
2009 |
handheld screen, envoirenment mapping, video, still image, semi multi-user due to large screen, 360 choice of perspective, small field of view, reactive to hand position, still, informational about the physical object, after mapping, space-specific, natural museum oxford, museum, education, informational
|
|
|
U-Raging Standstill
|
CREW
|
2007 |
head-mounted display and headphones, camera, performers, pre recorded and live videofeed and sound, videofeed and sound, single-user, 360 large field of view, linear narrative chosen by the performers, could be set up anywhere, long setup, theatre, choreography, video, performance
|
|
|
Virtual Cable
|
Chris Grabowski, Tom Zamojdo
(Making Virtual Solid) |
2001 |
human-machine interface, GPRS data, navigation information, graphic animation, multi-user, large field of view, reacts to the car position, non-linear informational narrative, can be built in every vehicle, car navigation, informational
|
|
|
Watershed Augmented Reality Mural
|
Dan Cohen, Gabe Shaughnessy, Travis McCann
|
2009 |
Projection, videomapping, painting, animation and sound, multi-user, 180 large field of view, interactive live generated narrative, specific for that painting, mural, painting, installation
|
|
|
Why Cinema Now
|
Thorsten Bauer
(Urbanscreen) |
2009 |
spacial projection, videomapping, picturehouse Olympion, animation, sound, multi-user, large field of view, linear narrative, space-specific, projection mapping, International Film Festival, facade
|
|
|
[syn]aesthetics_09
|
Halvor Høgset
|
2009 |
handheld display, shape recognition, markers, videofeed, animation and sound, multi-user, 360 small field of view, reacts to hands position, linear narrative, anywhere indoors, long setup, XGA, Galleri ROM
|
|
|
?
|
|
|
|
|
|
?
|
|
|
|
|
|
?
|
|
|
|
|
|
?
|
Students: Fred Henny, Luuk Langenhoff, Tom Schakelaar, Thomas Van Oekelen, Bram van Zeijl
|
|
|
|
|
?
|
|
|
|
|
|
?
|
|
|
|
|