Thomas Dick (The Planet Spins, AU), Kate Genevieve, Chrome Space, UK)
tommyd@theplanetspins.com : http://www.theplanetspins.com
A scaled analog for a kinaesthetic, anachronistic, multilocal ritual that grounds people in place by connecting them to the stars.
The ethereal fresco of The Genesis has been created through enhanced painting technique, i.e. a projected fresco whose elements are enriched through moistmedia – i.e. the informative media that include both validated (monumental) and virtual (enhanced) reality. The process uses layers of existing frescoes from Karoussos Archives, blended with new entries such as motion and sound, thus defining a new framework that can ensure and validate its ultimate expression of the art of immersion and transcendence.
These hybrid frescoes create the same organic reaction as this of the wet plaster in frescoes back in the 12th century. Through moistmedia though, the fresh layer of lime is diffused through the emerging artwork and together with the light, embraces the spectators, achieving their absolute immersion while they are becoming a part of the fresco’s virtuality. Moistmedia frescoes are projected according to a lateral staggering way of viewing, a Byzantine technique, by which can translate the space in a lateral manner, as the gaze revolves around the hemisphere and rebounds, without losing the viewing angle throughout the entire periphery.
By using the parabolic mirror technique, and through moistmedia, the frescoes can yield a unique view, since they contain both the concave and the convex elements of the curvature. More at: www.karoussoschapel.com
is an artist and a Doctor of Philosophy in ‘Theōria’. She studied Fine Art at the Athens School of Fine Arts and Byzantine Art under her father, Iannis Karoussos. She holds a Masters from Middlesex University and a PhD from Plymouth University under Roy Ascott. Karoussos has participated in many international conferences and has published in many academic journals . Apart from her artwork as a mural painter in Orthodox churches, she has participated in many international exhibitions (Athens, Japan, New York, Frankfurt, Montenegro, Cuba, etc.). Through ‘Theōria’, her academic and artistic work, she succeeded in shifting the Byzantine expressionist visuality to a Byzantine augmented virtuality.
Isabella Beyer (IB-Creations, Germany).
http://www.isabellabuczek.com/
The concept idea is to bring special features of three very particular deep sea animals, who have been chosen very carefully, into the light by presenting them as super heroes.
These features are quite bizarre and surprising allowing an unusual surviving in the deep sea.
Isabella Beyer
Head of Production, Art Direction, Concept
Joachim Perschbacher
Technical Direction
Michel Magens
Art Direction
Bob Weber
3D Animation
Benno Jonitz
Video-Documentation
Project Management:
Eduard Thomas
Direktor des Zentrums für Kultur- und Wissenschaftskommunikation (FH Kiel)
Dr. Gerd Hoffmann-Wieck
Kommunikation und Medien (GEOMAR)
The film producer, 3D science visualizer and qualified designer, Isabella Buczek, was born in Szczecin, Poland and grew up in the Hansa city Lübeck, Germany. As a member of the International Planetarium Society (IPS) and a member of the European Collaborative of Science Centers and Museums (ECSITE) most significant for Isabella Buczek and her work is to awake(!) our soul and spirit showing our place in the world from a different perspective – giving a new orientation with a wider horizont and the belonging responsibilities.
Tea and Coffee in the Roland Levinsky Building CrossPoint.
Registration takes place in the Roland Levinsky Cross Point out side Lecture Theatre 1 and 2.
Michaela French (Royal College of Art, UK)
michaela.french@network.rca.ac.uk : http://michaelafrench.com/
RCA Fulldome Research Group – Film Information
| Title | Author | Duration | Audio | Date | Synopsis |
| Anthozoa | Kim Yip Tong and Sylvana Lautier | 02:09 | 5.1 Stems | 2017 | ánthos, flower – zóa, animals
Coral reefs are the rainforest of the ocean. Providing food and shelter to millions of species, they bloom under the surface. Put under stress by rising temperatures, overfishing and pollution, corals expel the algae living in their tissue and reveal their ghost-like skeleton. Bleaching isn’t always fatal and resilient reefs can recover. Accompanied by hydrophone recordings of submarine city sounds, Anthozoa is an ode to the ocean and its awe- inspiring biodiversity. |
| Apeiron | Kelly Spanou | 02:49 | Stereo | 2015 | The projection is a sequence of repetitive symmetrical patterns in motion and rotation where the spectator experiences the travelling in an infinite, echoing landscape. The rhythmic repetition of those expanding and shrinking patterns challenges the viewer’s perception and lead him to an eternal universe with no beginning and end. The patterns projected in the dome have in common that they all orbit a hole at their centre. These holes are those that give form to the shapes and create the illusion of motion. They create indefinite boundaries and arise the question of what is finally a boundary and more specifically if an indefinite boundary can be considered as a boundary. This spatial and temporal environment produces questions of when, where, how long and how far. |
| Artificial Day Rhythm | Daria Jelonek | 02:54 | Stereo | 2016 | Artificial Day Rhythm is a short film which interprets the light of one day. Natural and artificial lights like the sun, smartphones, lamps and traffic lights etc. influence humans’ natural rhythms. Created in a 3D space, this short film reflects those different light situations on a reflective particle in order to visualise the influence of different light situations on humans’ rhythm. |
| Cycles | Juliette Poggi | 02:47 | 5.1 Stems | 2017 | The woman’s body is in constant mutation. Through this short movie this mutability is represented. Travelling in an unknown space the female form is revealed: imposing yet mysteriously intangible. |
| Disorder | Perry Sugden | 02:00 | Stereo | 2016 | Disorder is a clip that explores a ‘4×4’ grid of objects controlled by patterns and routes they take through space and time.The clip involves a visual journey. Through gaining an inside/up close view of objects, individual parts, exploring vast space and noise. |
| FDRG Showreel 2015 | RCA Fulldome Research Group | 04:49 | 5.1 Stems | 2016 | A compile of recent fulldome films from the FDRG members. The soundtrack features the track ‘Beneteau’ by Deepchord, courtesy of Soma Records, with additional sound design and final mix by Mike Wyeld. |
| FDRG Showreel 2016 | RCA Fulldome Research Group | 03:29 | 5.1 Stems | 2017 | A compile of recent fulldome films from the FDRG members.The soundtrack features music by Martin Rose and surround sound mix by Mike Wyeld. |
| Hyperspace 2 | Robert Walker | 02:37 | Stereo | 2016 | A point cloud visualisation of IPv4 space. |
| Lucent Matter | Rose Leahy,
Kim Yip Tong, Sylvana Lautier |
04:36 | 5.1 Stems | 2016 | Capturing the feeling of wonder and awe that science theory and the night sky can inspire, Lucent Matter follows the life cycle of a star. The film is composed of animated footage of ink, water and material experimentations in order to visualise the intangible and unreachable nature of the Universe through light, matter and colour. Creating an emotional response in the viewer, this sensitive and aesthetic approach seeks to challenge classic digital planetarium visualisations of space imagery. |
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| RhyThm Walk | Anna Dakin | 04:27 | Stereo | 2016 | All those question are a human matter but some of them are so “solid” and “primitive”, that we do not meet the answers but ourselves; we are the answers.That means that some of the questions towards the universe and its creation have as target our own deep thought, our existence, our experience and its structure. |
| Sonar | Kelly Spanou | 03:13 | 5.1 Stems | 2016 | Pulses of sounds, dots and lines transform the spherical space of the dome into an amorphous landscape with undefined boundaries and endless depth. The end is a beginning… |
| The Light of Home | Michaela French | 03:44 | 5.1 Stems | 2016 | The Light of Home is a short film designed for fulldome immersive projection space. Light is both the subject and the medium of this film which explores the emotional connections between light, place and memory. The story is driven by a soundtrack constructed from interviews in which people recall their experiences of light in the place where they grew up.
This innovative fulldome film uses a data-set derived from observations of daylight as it’s visual foundation. The film was created using a range of digital imaging and editing techniques and features music by Richard Godbold and a 5.1 surround sound mix by Mike Wyeld. These elements combine to deliver evocative storytelling through an immersive audio visual experience. |
| Visions of Paradise | Alice Kilkenny | 03:09 | Stereo | 2016 | Inspired by Dante’s Paradiso, this vision of a
‘technological sublime’ shows the type of transcendental, transformative experience that could be possible at the frontiers of science. It looks at how technologically mediated experiences have changed from being mechanical to more virtual and intangible. This shift of power from divine nature places the human at the threshold of a new technological reality and is explored through the interplay of iconography between body, technology and immortality. |
| Running Time: | 40:34 |
Keywords: fulldome, artistic research, immersive cinema, experience design
The RCA Fulldome Research Group investigates the creative, artistic and communicative possibilities of immersive fulldome projection spaces through practice-based research. FDRG is part of Information Experience Design in the School of Communication at the Royal College of Art, London and works in collaboration with the Peter Harrison Planetarium at the Royal Observatory, Greenwich, London.
This showcase of the Fulldome Research Group films is the result of three years creative research and collaboration between artists, designers, filmmakers, architects, astronomers, cosmologists and technicians with a passion for fulldome space.
The screening features works by Emily Briselden-Waters, Anna Dakin, Michaela French, Daria Jelonek, Alice Kilkenny, Sylvana Lautier, Rose Leahy, Juliette Poggi, Kelly Spanou, Perry-James Sugden, Robert Walker and Kim Yip Tong.
Israel López / Fátima Ramírez (Universidad de Guanajuato / NullPixel, Mexico)
http://www.nullpixel.portfoliobox.io/
israelalg@gmail.com
fedithrd@gmail.com
In dealing with the art / science / technology relationship and analyzing the thin line of the technoscientific spectrum with the artistic qualification, we observe that the representation and processing methods lead to an analysis of the circumstances and models established in the dynamics of technology and the segmentation of information in the Digital image, where through algorithms it is possible to segment reality to condition an abstraction of the world, to virtualize it and expose it to the analysis where its technical possibilities as a procedural object are valued, and therefore to allude to the fragmented image, shaping the subjective vision of the Body and the perceived space resulting in a symbolic artistic image, it is in this way that through the microcellular morphology and the sound interconnection we appeal to abstract discursive forms alluding to rhizomatic landscapes.
In dealing with the art / science / technology relationship and analyzing the thin line of the technoscientific spectrum with the artistic qualification, we observe that the representation and processing methods lead to an analysis of the circumstances and models established in the dynamics of technology and the segmentation of information in the Digital image, where through algorithms it is possible to segment reality to condition an abstraction of the world, to virtualize it and expose it to the analysis where its technical possibilities as a procedural object are valued, and therefore to allude to the fragmented image, shaping the subjective vision of the Body and the perceived space resulting in a symbolic artistic image, it is in this way that through the microcellular morphology and the sound interconnection we appeal to abstract discursive forms alluding to rhizomatic landscapes.
It transports us from the general to the singular, from the images of the universe to the cellular behavior. The microorganisms refer us to the biological processes that frame the organic condition of the human being, establishing the elements that are conceived through the experience with our surroundings Generating symbolic cartographies that are abstractions of the universe itself.
When generating this reflection with the visual elements we access a sound contrast, rising to chaotic moments generated from the analysis of data, the discursive load is detonated in layers that are interlaced and modified in a dynamic of omnidirectional readings.
Israel López
Master Candidate for Arts, BA in Digital Arts from the University of Guanajuato, its work is based on the manipulation of digital media and its relationship with the human body, creating interfaces for interaction with the digital world using technology as a fundamental part of the creative process, in 2010 was the recipient of Stimuli program Creation and artistic development of the state of Guanajuato in the area of audiovisual media, since 2010 collaborates with the music program and new technologies state Institute of culture of Guanajuato where he developed interfaces for the stage production, currently doing research on the implementation of new media in art and Videomapping.
Fátima Ramírez
BA in Digital Arts by the Division of Engineering of the University of Guanajuato, his work is constituted by the ontological reflection and capabilities of the human body within the technological paradigms of the XXI century exploring new means of artistic production and experimentation video art, animation, projection mapping. He has been involved in multimedia production of various shows at the International Cervantino Festival consecutively since 2009, is currently developing interactive systems applied to art focusing its production on the multiprojection and design immersive spaces for the performing arts by building interactive scenography and virtual reality systems, computer vision and Videomapping.
Simon Le Boggit (Lincoln, UK).
simon.le.boggit@hotmail.com : http://quantumsouporchestra.weebly.com.html
What generates a sense of place? Is it geography? Is it history? Or activity? Or imagination? Inherited culture? Learned behaviours? A chaotic collision of these things and more? In a world of limited space, finite resources and competitive incompatibility between world views, a holistic approach to the planet’s ecology would appear to be both essential and sobering. If the human race is to avoid catastrophic decimation of the environment, we must embrace, understand, and somehow reconcile disparate approaches to economics, politics and nature. Surface Tension offers a few minutes in which to embrace the sheer awesomeness of the task ahead…
Surface Tension is a CGI video depicting human-made artifacts endlessly orbiting and tumbling around planet Earth, in a mesmerisingly impossible dance where centuries of disparate ideas chaotically and relentlessly intersect.
Simon Le Boggit is a multimedia artist living and working in Lincolnshire, UK. His CGI videos have been screened at film festivals worldwide – including a large scale mapped architectural projection during Brighton’s White Night festival – and they have also formed the backbone / backdrop for the Tales From The Figment Club stage show performed by his post-punk band Mental Health.
Simon has recently been focussing on the creation of emotional algorithmic music which spontaneously generates moments of “apparent intentionality”, statistically distilled from pure non-sentient chaos. Any emergent melody, harmony and syncopation in his compositions are a product of chance, and the human brain’s compulsion to identify patterns.
Simon’s algorithmic compositions have been performed live, and as acousmatic surround-sound recordings, at music and sonic art festivals in various parts of the world including London, Manchester, Edinburgh, Athens, Barcelona, Vancouver and New York. His ongoing ambition is to explore the possibilities of his compositions being played by soloists, ensembles and orchestras from the world’s vast array of musical cultures. http://quantumsouporchestra.weebly.com
François Quévillon (Montréal, Québec, Canada)
francoisquevillon@sympatico.ca
http://www.francois-quevillon.com/html/en/node/36
Defrost is a video installation that explores the different states of matter by orchestrating its transformation. At the center of three screens is a slowly growing mass of ice around which several phenomena caused by thermal contrasts evolve in crescendo. Building momentum through environmental turbulence and reaching a point when the block of ice melts rapidly, the work evokes nature’s cycles as well as the disturbances associated with climate change.
François Quévillon is an artist from Montréal (Québec, Canada). He has an interdisciplinary practice that combines installation, video, photography, sound and digital technologies. His work explores phenomena of the world and perception by the implementation of processes sensitive to their fluctuations and to the interference of contextual elements. He investigates how technology affects or redefines human cognition, culture and the environment, as well as our relationships to space, time, and one another.
He holds a Master’s Degree in Visual and Media Arts from UQAM and has been involved with several artist-run centres and research groups. His work, which is frequently developed during artist residencies, has been presented in exhibitions and at events dedicated to contemporary art, cinema, and digital creation. Among them: Sundance’s New Frontier exhibition (Park City), Spaces Under Scrutiny (New York), International Symposium on Electronic Art (Dubaï and Albuquerque), Festival Internacional de Linguagem
Eletrônica (São Paulo), IndieBo (Bogotá), LOOP Barcelona, Plug-In at Contemporary Istanbul, Show Off Paris, Festival de la Imagen (Manizales), Mois Multi (Québec), Espace [IM] Média (Sherbrooke), RIDM, Elektra, and International Digital Art Biennal (Montréal).
R. Yagiz Mungan (San Francisco, USA)
Inspired by the observer effect from physics, Human Gaze is a short virtual reality experience about how we affect the Earth. In VR, the audience is presented with observing the Earth in space as the center of attention. However, through the gaze of the audience, the Earth deteriorates over time, transitioning from the green-blue marble to a gray-black piece of space rock.
This friction of basic user experience: the desire to explore the interesting and that action breaking the target creates an actual non-space. You can walk around the Earth, capture quick glances but unfortunately anything more damages it.
Through this interaction, the aim of Human Gaze is to gather attention to our current inability to coexist with the planet that makes our existence possible. Using the accessibility of web as well as the intimacy and immersion of VR Human Gaze is a personal reminder of a possible unfortunate future. All interactions change the nature of the interactors, it is a law of physics, however a relation between humanity and Earth, where Earth does not survive should not be our path.
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Human Gaze is a work-in-progress virtual reality experience about the large-scale negative changes in Earth. Created for the Balance-Unbalance 2017, Human Gaze creates a simple VR experience similar to many where, there is an object-of-interest at the center and the user is allowed to explore, investigate and interact with it. However unlike many others, this interaction ends up with damaging the object-of-interest, similar to our relation with Earth.
Physics state that observation changes the outcome and similarly and interaction changes the both sides. However, evident with global warming, images from the Rio Olympics, amount of animals and plants that are approaching the brink of extinction, humanity’s interactions with the Earth took a turn for the worse.
The main interaction in Human Gaze, puts the audience in an uncomfortable non-space. They can walk in the space and look around the earth; however, as they focus on the beautiful white, blue and green marble it will start to damage it but turning it into a dead gray rock. This damage can be undone, albeit more slower by focusing the gaze around.
The experience is being created using the currently work-in-progress WebVR web standard for the desktop high-end VR headsets (Oculus Rift and HTC Vive at the moment), however Human Gaze can also be experienced in a reduced state using regular browsers and mobile devices. Mobile VR is not possible due to limited performance and possibilities of interaction at the moment. By using the web, Human Gaze can easily be shared across channels, reach more people and also be improved over time.
The current state of Human Gaze can be found in at http://yagizmungan.com/HumanGaze/ and the experience will be polished and improved however the main idea will stay the same. After conference, Human Gaze will be hosted on a dedicated address.
The installation form requires a walking-VR space (Vive room-scale or Rift multi tracker setup) and can be adjusted to fit into the event. For example, the regular-browser version or physical prints can be available for the people in line. The experience also has sound and music.
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Yagiz Mungan is an interdisciplinary developer/artist/scholar working with the concepts of interaction, VR/AR, games, web, mobile, algorithmic generation of audiovisual systems, sound, and interactive music.
His recent works were shown in multiple events in the Silicon Valley including venues like California Academy of Sciences, Gray Area, CODAME, Soundwave Biennale and 3D Web Fest. Living at one of the centers of the technological creation, with his recent works like Urban Intermezzo and Illy: A Primitive Intelligence, he questions the effect of technology in our daily lives through usage of ‘emerging technologies’. Yagiz’s individual and solo works have been shown in Turkey, US, Czech Republic, Germany and Canada.
Yagiz is currently working at AKQA creating interactive experiences. He holds MFA in Electronic and TimeBased Art at Purdue University and MS in computer engineering from Chalmers University of Technology, Sweden.