First, a polarizing filter refracts invisible light into visible colors and then forms them into an image. Viewed through 3-D glasses, the image becomes a space. Lisa Buttinger painstakingly constructed this “enchanted world” piece by piece. nonvisual-art was created as a design project at HBLA–High School for Artistic Design Linz. Lisa Buttinger gained the necessary theoretical insights in conjunction with her diploma thesis.

If intelligence emerges from the interaction between an organism and its environment, the shift towards digital environments may reshape human consciousness and lead to embodied structures beyond physical restrictions. The selected works show virtual bodies, reshaped by motion, music or fashion trends. The body as a medium is constructed by its content. The invisible becomes visualized. Time, music or motion becomes gestalt.

Credits

www.tobiasgremmler.de

Uwe Rieger (DE), Carol Brown (NZ)

Singularity s a two part performance blending data, dance, music and architecture in a 360-degree haptic-digital environment. Marked with tracking devices, three performers become an experiential interface, transforming virtual and physical movement into mutable architectural spaces.

Large 3D holographic constructions are interactively drawn and moved by the dancers in a space defined by a live-render program, motion-tracking cameras, projection, and haze particles. A digitally augmented world materializes as wormholes, kites, watery walls and magnetic particles. Audience and performer experience an intermixing of techno sound, movement and data through immersive transforming arcs of light.

Credits

Creative Directors: Uwe Rieger (architecture), Carol Brown (choreography)
Design and programming: Yinan Liu
Design and graphics: Ying Miao
Music: Jérome Soudan (Mimetic)
Performers: Zahra Killeen-Chance, Adam Naughton, Solomon Holly-Massey
Lighting Consultant: Margie Medlin

The project is supported by Creative New Zealand, and the University of Auckland.

The three-dimensional impression is produced by means of barrel-shaped optical lenses. This illusion can be viewed without 3D glasses, but is visible only on the original in the exhibition space, and cannot be captured photographically or reproduced on a computer screen.

The image that appears changes depending on the viewer’s point of view; each shift in perspective leads to new impressions. The pictures exist in a realm of tension and interplay between the real world and the level of thoughts, conceptions and ideas that, due to their complexity, necessitate the use of machines to become visible and apparently attainable. These works are steps in a process of exploring the reciprocal effects of the analog and digital poles. In this case, the computer is a tool employed only peripherally in the creative process—for instance, in slicing the 3D levels for the lenticular image as an end product. Essentially, the machine delivers the matrix for orientation among models, pattern arrangements and islands of consciousness.

Credits

www.riebe.at

In contrast to stereoscopy, where the two image streams vary only slightly in visual perspective, in Stereonarrativity the two image streams are utterly independent. Passive 3D goggles are manipulated so that half of the goggles only transmit the right or the left image to both of the respective audience member’s eyes. While the audience shares the acoustic layer of the movie, one can visually tell two tales; stereo-narrativity. The installation presents a movie giving an insight into the life of a dementia patient and a young woman. The audience can unlock a story greater than the sum of its parts by communicating after the experience. Stereonarrativity creates a fundamental need for collective consumption and exchange among the audience.

Credits

Stereonarrativity is the latest project by the Linz-based Krmpf Krmpf Studios whose work has been recognized and supported by u19 – Ars Electronica since 2006 and u19 – CREATE YOUR WORLD since 2011.

Ehrentraud Hager
Magdalena Wurm
Liesa-Marie Wondraschek
Alexander Niederklapfer
David Wurm

Forensic Architecture is an independent research department at Goldsmith’s College of the University of London, which is dedicated to architectural and media research. The interdisciplinary team develops navigable 3D models, which can be used to analyze events, legal violations, and human rights violations in conflict regions.

The hospital Omar Bin Abdul Aziz in Aleppo, also known as M2, was the target of fourteen bombings between June and December 2016. To be able to analyze the attacks, video and photo material taken in and around the M2 was collected and evaluated. Using the prepared 3D model, it is possible to navigate between the image and video data of the incidents and to depict the extent of the damage.

Credits

forensic-architecture.org/case/m2-hospital
Video: www.vimeo.com/203802436

Eyal Weizman (Principal Investigator), Christina Varvia (Project Coordination), Adam Noah (Research, 3D Modelling, Video Editing), Nicholas Masterton (Image Projection, Animation, Video Editing), Samaneh Moafi (Analysis, Video Editing)

collaborating organisations: Atlantic Council

The seven doctors present at the original sitting have been re-created as 3D avatar placeholders with gestures, motion and speech. The setting of the lesson, which reputedly took place at the Amsterdam’s Barber’s Guild meeting space at Waag Society, has been rendered at the 1691 anatomical theatre (also at Waag), through the study of eighteenth-century paintings and by using photogrammetry.

The work celebrates and deconstructs this important moment when the history of art and science converged in spectacle. The experience of the representation-based pictorial space of the canvas can be compared with the dynamic relational space created through the technologically embodied and enhanced perception characteristic of virtual reality environments.

Rembrandt’s mastery rendered a moment in space and time pregnant with narratives. As an interactive diorama, The Anatomy Lesson is an artifact of expression that gathers myriad possible discourses and stories within itself. As an expressive artifact the diorama can also conjure up multiple realities for the spectator. But what lurks behind it? In deconstructing and reinterpreting the work once again in the 21st century, art assumes the role of an interface allowing for speculative and agonistic experimentation and thinking. The established order is subverted and the visitor enters the virtual space by assuming the role of the deceased inmate.

Created in 2010 as a merger of three institutions, the Helsinki School of Economics (HSE), Helsinki Institute of Technology (HUT) and University of Art and Design Helsinki (UIAH), Aalto University is a multidisciplinary community where art, science and business come together to identify grand societal challenges and build innovative futures.

Project director, concept design and production: Lily Díaz-Kommonen
Software development and interface design: Ling Chen
3D modeling characters and space, motion capture: Shareef Askar
3D modeling, characters: Juha Koppström
3D modeling, space: Alex Nikulin
3D animation, book: Andrei Rodríguez
Visual design and production: Cvijeta Miljak
Sound design: Can Uzer, Gabriela Juganaru
Veselius book re-design and production: Angela Hernández

VR consultant: Markku Reunanen
Software consultant: Hung-Han Chen
Costume design consultant: Sofia Pantouvaki
Motion capture: Max Mäkinen, Tony Tolien, Matias Kommonen
Photogrammetry: Judith van der Elst

Many thanks to:
Philip Dean, Aalto University
Lucas Evers, Waag Society
Helena Hyvönen, Aalto University
Anna Valtonen, Aalto University
Tuula Teeri, Aalto University

The story starts as a myth. The young demi-god Prometheus rebels. Encouraged by his lover Minerva, he decides to bring humanity to life: “They may be bound here by their lifelessness, but they are free and I feel their freedom!” And so Prometheus becomes the inspiration for VR. He releases humanity from its age-old chains, just like VR, which liberates viewers from the four-sided screen.

The film ends in a documentary format. The animated Pitoti celebrate their daily life: dancing, plowing and hunting—the people, the birds and the animals—until the Romans conquer.

Credits

Pitoti Prometheus is a McDonald Institute for Archaeological Research, Cambridge University production for the European Union’s Seventh Framework Programme for the 3D-Pitoti Consortium: ArcTron 3D, Archeocamuni, Bauhaus University Weimar, Centro Camuno di Studi Preistorici, Graz University of Technology, St. Pölten University of Applied Sciences, University of Cambridge, University of Nottingham.

In collaboration with and by permission of the Ministerio dei beni e delle attivita cultural e del Bell arte.