V2_ Knowledgebase

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.

Augmented Sculpture is a physical installation made by LICHTFRONT and GROSSE8 for Passagen 2010.The installation consists of geometrical forms located in an interior space with projection mapping cycling through various textures highlighting sharp physical elements, sometime one at the time.The argument still remains, why distort a solid when you can manipulate and ever change somethings perceived form through augmentation? Is augmentation going to be the downfall of our constructive creativity, supplemented purely for productivity?

Children's entertainment show in which teams of kids design creatures called zooks which are put to the test against each other. The BBC’s Virtual Studiotechnology was used to enable realtime composition of the 3D rendered graphics with live camera feeds. Each studio camera has a dedicated render PC to render the virtual scene from that camera’s perspective. To know what a studio camera’s perspective is, each camera is fitted with a second ‘Free-D’ camera which points towards the ceiling. On the ceiling are reflective, circular bar codes. The 3-D camera data is fed to a computer system that identifies the targets on the ceiling and calculates that camera’s position and orientation, 50 times a second.

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.

The music video for this song, directed by Michel Gondry, depicts Jack White coming back to his trashed house and surveying reckless destruction. While he goes from room to room, sepia video of the party events that led to the decimation (and of his and Meg's relationship before he left) is superimposed over the scene, until in the final scene she leaves him.

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.

The headset is equipped with a sensor system that can couple the exact position of the user in reality with previously designed imagery. On the display built into the headset, a combination between the real world and the virtual-constructed world becomes visible.The virtual world corresponds with the existing environment through a number of clearly marked reference points, such as walls, pillars and doors. Without movement, the player remains in reality and there is no possibility to take part in the game. Movement and game progression results in the manipulation of the existing space that in the long run will transform into a virtual environment. In the most extreme case, the representation of the existing space will be completely replaced with a new and unknown world.

The result is a game of light and dark. On and off. Present and absent. Virtual and real. A binary system made to measure for the digital age. The age where light does not mean anything without the reference to dark, and ‘on’ does not mean anything without ‘off’. Where the present always refers to the absent. Where you cannot see what is virtual without reality. Together they form one reality: the space, the map, the plan in which we are.

AntiVJ has performed in the Cathedral of Breda. For this new creation the organ acts as a central part to both the projections and the music. Key events of the history of the cathedral will be explored in a metaphoric way.

A live building? Enhanced architecture? For one week, GrrrrrridWave gave the METAVILLA installation, in the French Pavilion of the 10th International Architecture Biennale in Venice, a new virtual skin. The Metavilla structure was entirely remapped in 3d.

The real world and 3D world collide in the interactive clip that features a Mayer hologram performing the song — guitar in hand — in a virtual living room. Viewers using the AR technology can choose the way they want to see the video. Zoom in close so John’s lamp comes on, spin the room around, or take a look from afar so you can see where the floorboards end. It’s a new wave of technology Mayer is excited to introduce to music fans.

IT'S MY TIME is a worldwide search for fresh faces and new styles for Benetton's 2010 campaign. Augmented Reality or AR enhances the printed page by layering a virtual image over real paper and ink.

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.

This videoinstallation consist in a long chair video projected in a true scene, no manipulation recorded.

In this installation YesYesNo teamed up with The Church, Inside Out Productions and Electric Canvas to turn the Auckland Ferry Building into an interactive playground. Our job was to create an installation that would go beyond merely projection on buildings and allow viewers to become performers, by taking their body movements and amplifying them 5 stories tall