Results 1 - 23 of 23
Project Persons Year Tags
Ar Magic System Martín Nadal, Damien Stewart, Javier Lloret, Blanca Rego, Julio Lucio y Jordi Puig (Lalalab) 2007 big screen, face recognition, video, video, multi-user, 180 large field of view, no narrative, anywhere, Medialab Prado, Openframework, face
Interactive system inspired in the magic tricks of Deli magician that were later reproduced by the famous David Copperfield. This tricks consisted in cutting the head of a duch and a chicken, interchange them and later place them again in their correspondant bodies.
Art of Defense Augmented Environments Lab (Georgia Institute of Technology) 2009 Smartphone, shape recognition, tilt sensor, graphic playing board, generative animation, multi-user, 360 small field of view, reactive to hand position, interactive linear narrative, on any suface, game, novel, phone
Art of Defense (AoD) is a novel AR game for a commodity phone (the Nokia N95). The goal of Art Of Defense is to explore game design and interaction techniques that are well suited to mobile AR on a small screen device. One principle guiding AoD is to uses the phones limitations as part of the game itself; in this case, designing assuming the player has a limited view of a larger game space.
Augmented Reality Sorin Volcu (Spienza Universita di Roma) 2008 output free video, video edit, library, mixed-media video, multi-user, to watch on a screen, linear narrative, watchable anywhere, concept video, research, science-fiction
A sience fiction video about a augmented future of education
Augmented Shadow Joon Moon 2010 Table screen, shape recognition, markers, generative animation, multi-user, 180 large field of view, interactive non-linear narrative, anywhere, shadows, openframeworks, ISMAR, table
Augmented Shadow is a design experiment producing an artificial shadow effect through the use of tangible objects, blocks, on a displayable tabletop interface. Its goal is to offer a new type of user-experience. The project plays on the fact that shadows present distorted silhouettes depending on the light.
Coraline Interactive Store Front (Total Immersion, Inwindow Outdoor) 2008 screen, shape recognition, video, still, multi-user, small field of view, reactive to head position, non-linear, any shopping window, ARvertising, movie, hologram, shopping window
These “Storescapes” ran for a month in fourteen locations across seven major US markets featured holographic images of ghost children. Other displays incorporated augmented reality which superimposed images onto pedestrians. Onlookers could see their reflections in a screen with animations including button eyes covering their real eyes. In other locations, there were elements that responded to human gestures such as clearing away frost to reveal parents pleading for help.
Displacements Michael Naimark 2005 spacial projection, filmed video-mapping, white room, people, video, multi/single user, small field of view, linear narrative, specific for that white room, projection mapping, installation
Displacements is an immersive film installation. An archetypal Americana living room was installed in an exhibition space. Then two performers were filmed in the space using a 16mm motion picture camera on a slowly rotating turntable in the room’s center. After filming, the camera was replaced with a film loop projector and the entire contents of the room were spray-painted white. The reason was to make a projection screen the right shape for projecting everything back onto itself. The result was that everything appears strikingly 3D, except for the people, who of course weren’t spray-paint white, and consequently appeared very ghostlike and unreal.
Domestic Robocop Keiichi Matsuda 2010 output free video, video edit, kitchen, mixed-media video, multi-user, to watch on a screen, linear narrative, watchable anywhere, concept video, research, science-fiction
The latter half of the 20th century saw the built environment merged with media space, and architecture taking on new roles related to branding, image and consumerism. Augmented reality may recontextualise the functions of consumerism and architecture, and change in the way in which we operate within it. A film produced for my final year Masters in Architecture, part of a larger project about the social and architectural consequences of new media and augmented reality.
Eye pet Nicolas Doucet (playstation) 2009 tv screen, motion detection, user, generative animation, multi-user, flat small field of view, non-linear interactive narrative, any tv with playstation, playstation3, game, kids
The game uses the PlayStation Eye camera to allow a virtual pet to interact with people and objects in the real world. Using augmented reality, the simian, gremlin-like creature appears to be aware of its environment and surroundings and reacts to them accordingly. The player can place objects in front of the animal and the game will interpret what the object is and respond to it.[
Golden Calf Jeffrey Shaw 1994 handheld display, Tilt sensors, pedestal, still, single-user, 360 small field of view reacts to hand position, no narrative, space-specific, reflections of the venue, calf, window, reflections, shiny
This work is constituted by a white pedestal on which there stands an LCD colour monitor connected to computing machinery by a cable running through the pedestal. The viewer of this work picks up and holds this monitor in his hands. The screen shows a representation of the pedestal with a computer-generated image of a golden calf on top. By moving the monitor around the actual pedestal the viewer can examine this golden calf from above and below and all sides. Thus the monitor functions like a window that reveals a virtual body apparently located physically in the real space.
Grazing Jellies Neil Mendonza, Hudson-Powell (Abandon Normal Devices festival) 2010 desktop screen, 3D mapping, forrest, generative animation, multi-user, 180 small field of view, reacts to body movement and sound, generative non-liear narrative, space specific, nature, forrest
Grazing Jellies creates a view into a forest where cosmic slugs munch on space men's helmets and melon slices. These hungry hallucinations are inquisitive as well as starving, if there's movement in the trees or some chatter on the ground they'll pay it a visit.
Hand From Above Chris O’Shea (Abandon Normal Devices, Liverpool City Council, BBC) 2009 moving billboard, video tracking, people on the square, video and animation, multi-user, large field of view, reacts on human presence, non-linear narrative, any square, Leicester Comedy Festival
Hand From Above encourages us to question our normal routine when we often find ourselves rushing from one destination to another. Inspired by Land of the Giants and Goliath, we are reminded of mythical stories by mischievously unleashing a giant hand from the BBC Big Screen. Passers by will be playfully transformed. What if humans weren’t on top of the food chain?
LevelHead Julian Oliver 2008 desktop, graphic image recognition, markers, generative video, single-user, small field of view, reactive to object position, memory game, conscious choice about narrative, in front of any computer with webcam, Laval Virtual 09, Prix Ars Electronica '08, Technical Innovation award, Japan Media Arts Festival '08, Linux
levelHead uses a hand-held solid-plastic cube as its only interface. On-screen it appears each face of the cube contains a little room, each of which are logically connected by doors. In one of these rooms is a character. By tilting the cube the player directs this character from room to room in an effort to find the exit.
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
The 52 Card Cinema project is an exemplar of the unique architecture of cinematic pieces mapped on to the real world, made possible by AR technology. The medium of the animated image, in its wedding with the real world, loses the privileged linearity of the screen, and gives the opportunity to re-perceive cinema as the juxtaposition of its parts.
Put a spell Ogmento (arballoon_ we ar) 2010 Smartphone, Shape recognition, graphic image, video, generative animation, single-user, small field of view, reactive to hand position, screen touch and images, interactive, no narrative, on any surface, children, education, informational, game, Iphone
Ogmento is hard at work reinventing reality. We are currently focused on developing mobile augmented reality games and applications for the iPhone. Put A Spell Features Dubi Panda a 3D hologram on your iPhone, Will challenge your child to spell, Grab real cards and drop in blank spaces, Recognizes and pronounces letters, Designed with literacy experts
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
"Tag und Nacht" is an architectural projection on the Schürstabhaus in the historic center of Nuremberg. It was performed in May 2009 at the "Blaue Nacht" festival. Tag und Nacht basically was inspired by the astronomer Nicolaus Copernicus, who published his main work in Nuremberg in the 15th century. We used videomapping technique to establish the facade as an active player, marking the boundarys between heliocentric system and copernican system.
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 project “The Amazing Cinemagician” is based on a card-trick, using physical playing cards as an interface to interact with the FogScreen. RFID tags are hidden within each physical playing card. (Part of the magic and illusion of this project was to disguise the RFID tag as a normal object, out of the viewer’s sight.) Each of these tags corresponds to a short film clip by Méliès, which is projected on to the FogScreen once a selected card is placed atop the RFID tag reader.
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
Diploma project by an ECAL Media & Interaction Design student with the EPFL CVLab. An artwork that relies on recent Computer Vision and Augmented Reality techniques to animate the illustrations of a poetry book. Because we don't need markers, we can achieve seamless integration of real and virtual elements to create the desired atmosphere. The visualization is done on a computer screen to avoid cumbersome Head-Mounted Displays. The camera is hidden into a desk lamp for easing even more the spectator immersion.
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
A user enters the robotics lab. In this room five maps have been made with their own AR. As the user explores the room the maps are automatically detected and the appropriate AR is shown. The user can explore the room freely and view the maps in any order.
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
University of Oxford Natural History Museum Augmented Reality Tour. A map is made around a triceratops skull in the museum and an AR model is added. This work extends Georg Klein's Parallel Tracking and Mapping system to allow it to use multiple independent cameras and multiple maps. This allows maps of multiple workspaces to be made and individual augmented reality applications associated with each. As the user explores the world the system is able to automatically relocalize into previously mapped areas.
Unmakeablelove Sarah Kenderdine, Jeffrey Shaw (Museum Victoria, UNSW iCinema Centre, EPIDEMIC.) 2008 round screen, infrared light, the viewers, filmed and virtual imagery, multi-user, 180 large field of view, no narrative, anywhere, long set up, torch, flash-light
To explicitly articulate the conjunction between the real and virtual spaces in this work, the viewer’s virtual torch beams penetrate through the container and illuminate other viewers who are standing opposite them on other sides of the installation. This augmented reality is achieved using infra-red cameras that are positioned on each screen pointing at its respective torch operators, and the video images are rendered in real time onto each viewer’s screen so as to create the semblance of illuminating the persons opposite them. The resulting ambiguity experienced between the actual and rendered reality of the viewers’ presences in this installation, reinforce the perceptual and psychological tensions between ‘self’ and ‘other’.
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
This facade projection was produced for the 50th Thessaloniki International Film Festival (www.filmfestival.gr). It was projected on the traditional picturehouse Olympion from the 11th until 22nd November of 2009. In addition the projection was part of the opening ceremony in the Olympion via life broadcast. The story based on the festivals theme "WHY CINEMA NOW" which referred to prospective forms, functions and responsibilities of contemporary cinema.
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Our offering is composed of unique applications based on our multi-support 3DVIA Virtools platform. This allows us to create interactive, cross platform 3D experiences, that could be in 3-D, collective, online, in virtual and augmented reality devices, as well as on game consoles, stereoscopic screens or even in traditional cinema theaters.
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augmented reality solutions. Together with a camera and display screen, the software lets LEGO packaging reveal its contents fully-assembled within live 3D animated scenes.