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AR with art installation: Exploring Boundaries: AU-DELÀ DES LIMITES

AU-DELÀ DES LIMITES is an awe-inspiring mixed-reality art installation that revolutionizes the interaction between virtual and physical boundaries. This exhibit seamlessly integrates augmented reality (AR) and virtual reality (VR), crafting a unique and unforgettable journey. As visitors navigate through the installation, they are immersed in dynamic digital landscapes that interact with their movements. These landscapes are designed to react and transform in real time, creating an otherworldly, dreamlike environment. The vivid colours and intricate designs of the exhibit offer a visual feast, engaging the senses and sparking the imagination. After watching the YouTube video, the brilliant hues and complex patterns led me to envision what it would be like to step into a living painting. This transformative experience blurs the line between art and reality, inviting the audience to become active participants in an ever-evolving digital masterpiece.

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MR work review_Museum of Other Realities

The first time I learned about this project was during a class presentation by a fellow student. After Chelsea finished her presentation, I couldn't wait to put on the equipment and start exploring the project. I have to say, I was struck by the variety of visual effects in the project, such as the vibrant colours and the unusual and floating shapes. Each exhibition hall had a different theme, and during my exploration, I never felt bored; instead, I was actively curious about what the next exhibition hall would be like. Driven by this feeling, I decided to investigate the story behind this project.

the Museum of Other Realities is a community of creators, explorers, and artists, the MOR offers a space to connect, share, and experience new media together with people from all over the world in VR. The virtual museum is a continuously evolving and regularly updated experience.

Among MOR's numerous works, "Immateria" by digital artist Isaac Cohen stands out to me. Inspired by creators like Vectorpark and Chaim Gingold, Cohen aimed to develop a "handcrafted digital" aesthetic using compute shaders and Unity, striving to retain the "human touch" often lost in digital art. He sought to simulate storytelling through various organic creatures. Cohen finds magic in computation, code, and architecture, which he continuously pursues. He views VR as the future medium, including its hardware, seeing computers as tools that expand human capability, like bicycles for the brain or telescopes for the mind. They enable achieving the impossible and exploring scales beyond human reach.

Experiencing "Immateria" felt like being inside the nucleus of a giant alien organism. The bold colors, floating organisms, and constantly swaying tentacles made a lasting impression.

Visiting Cohen's personal website, despite requiring no special equipment, captivated me with its unique visual design and seemingly glitchy sound design, inviting further exploration.

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Immersive storytelling through 2D animation

Today, I watched two virtual reality animated short films that left a deep impression on me. The first one was about a story of a little rabbit and an alien. After watching it, here’s how I felt: On one hand, while standing there, a cute little rabbit hopped over to sniff the camera, making me feel as if I were a character in the animated world, not just a bystander to the unfolding plot. On the other hand, I also played an active observer role. From the appearance of the rabbit to the alien's abduction, the excitement of the video rapidly increased, keeping me fully immersed throughout. In summary, I was captivated by this subtle, wordless narrative style from the very beginning. Additionally, the sound design further deepened my experience. For example, when the eagle's call came from the distant sky, I became curious about the direction of the sound and used the mouse to lead the scene, searching around. This sense of immersion was remarkable, as it effectively stimulated my curiosity and guided my line of sight.

There is a noticeable improvement in the transition quality between scenes in the second animated short compared to the first. In the second short animated movie, the transition from the vastness of the universe to the intimacy of a forest scene on the ground likely used advanced animation techniques and careful planning. The smoothness of scene transitions creates a sense of continuity, rather than a jump between distinct frames, making it more engaging and enjoyable.

I believe that 360 animated shorts utilize a combination of traditional and modern techniques to create immersive journeys that make viewers feel surrounded by the animated world. Along with the visual aesthetics and narrative techniques of conventional 2D animated shorts, the elaborate sound design complements the emotional tone of the story and guides the audience's emotions. Additionally, viewers can experience and influence the storyline through their own choices, allowing them to explore the virtual world depicted in the story at their own pace.

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Disney's new project: Holotile for walking in VR/AR

What is Holotile?

Created by renowned Disney Imagineer Lanny Smoot, the HoloTile floor features a system of modular, tilting discs. These versatile tiles can be arranged in any pattern and customized to fit any floor space you require.

How does Holotile enable free movement in VR?

When you experience it, imagine a treadmill that works with you rather than against you. It twists, turns, and moves in sync with your body, free from traditional constraints. This innovative machine communicates with you, enabling movement in any direction without the risk of tripping. One clear application is in virtual reality, where it allows you to navigate freely without worrying about bumping into railings or furniture while wearing a headset.

If you are interested in this amazing VR tool, please watch this video from 3'20s.

As demonstrated in the video, no matter how people run on the Holotile floor, they never leave the designated area. This invention significantly enhances safety, especially when used for virtual reality experiences.

The HoloTile Floor leverages cutting-edge AR/VR technology to captivate users and enhance their experience. Each tile is equipped with projectors and sensors that can display holographic images in real-time while detecting human movements. With stunning visuals and immersive storytelling, the HoloTile Floor brings Disney fantasies to life, whether you're strolling through the Hundred Acre Wood with Winnie the Pooh or embarking on an underwater adventure with Moana. The applications of HoloTile reach well beyond personal entertainment. Smoot envisions various uses, from collaborative virtual sightseeing to theatrical stages where dancers can execute extraordinary moves. This technology suggests a future where physical and virtual realities merge seamlessly, providing experiences once limited to the imagination.

Among the above, I think the Disney Holotile VR experience is an enchanting leap into immersive storytelling. The Holotile's high-resolution displays and responsive controls ensure a seamless and engaging adventure for users of all ages. Its attention to detail and ability to evoke emotions like the original movies set it apart from other VR experiences. While currently limited in content, the potential for expansion makes Disney Holotile a must-try for VR enthusiasts and Disney fans alike.

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What does the VR speak to anti-domestic violence?

On March 8, 2019, China's first VR short film on anti-domestic violence, Survivor, was released on multiple video platforms. Survivor is a 360° VR film that uniquely combines 180° interviews and 180° documentary footage. It merges interview content with the victims' recollections, creating a complete film. Using VR technology, it offers the most comprehensive perspective and detailed insight into the long-lasting shadows that children subjected to domestic violence cannot escape, aiming to raise greater awareness of the fight against family violence and providing viewers with an immersive experience.

The protagonist of the film is a victim of domestic violence whose life has been significantly affected by witnessing domestic violence from a young age. As a child, he felt powerless and helpless; as a teenager, he experienced self-abandonment, leading to more setbacks in his life. It wasn't until middle age that he gradually began to reflect on his childhood, face himself, and seek solutions, making continuous efforts towards a better life, finally beginning to see a glimmer of hope.

In this project, viewers are both interviewers and observers of the protagonist's experiences. While watching the film, viewers can sit facing the protagonist, listening closely to him recount his story, observing the subtle movements and expressions during the interview that reveal his inner feelings. Alternatively, they can turn to the other side to view the real-life segments, immersing themselves in the victim's environment, feeling the impact and realism of the documentary footage, and directly experiencing the emotional journey of the victim.

Under the influence of the first short film, the production team released a second anti-domestic violence 360° VR film in September 2020. Nowhere to Hide immerses the audience in the scene of domestic violence, where the suffocating environment and the incessant verbal abuse allow viewers to witness and experience the true feelings of those encountering domestic violence. Regardless of whether the abuser is present, their violent actions constantly harm other family members, leaving the victims with nowhere to hide.

The short film is composed of three scenes, each depicting a common form of domestic violence: physical violence, verbal abuse, and economic control. This film urges that when people witness domestic violence as bystanders, they should recognize that verbal insults and economic control are forms of domestic violence. It encourages people to bravely intervene in such violent behaviors whenever it is safe to do so.

This project aims to deepen public understanding of the harm caused by domestic violence by placing them "in" the environment of abuse, thereby laying a foundation for more comprehensive protection of the legal rights of family members.

During the investigation, unfortunately, I was unable to find any relevant audiovisual materials for Nowhere to Hide, making it difficult to immerse myself in the experience that sound design brings to the project. But I think it is a very educational way to teach the public to realize, face and solve the issue.

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A Moment in Time

what is your concept or idea?

My partner, Shurong, and I delved into our shared memories of the past. Both of us experienced a sense of detachment when parting ways with someone or something dear to us. Farewells didn't always evoke immediate mood swings, but later on, seemingly insignificant moments or objects would unexpectedly trigger a flood of emotions, reminding us of the profound connections we once had.

For our current project, we aim to craft a 360-degree video journey. This immersive experience will depict us navigating through unfamiliar spaces, reflecting our tenuous sense of belonging. Along the way, we'll explore how daily occurrences or chance encounters prompt recollections of our past.

Among the experiences we've shared:

During the funerals of beloved family members or the loss of cherished pets, we maintained a facade of calmness, withholding our tears as our hearts grappled with the weight of grief. It wasn't until much later that we felt the full force of our sorrow, triggered by seemingly insignificant mementos—a photograph, a personal belonging, or a resemblance to those we've lost.

Our childhoods sculpted our initial sense of belonging, laying the groundwork for how we perceive the world. Now, as cultural outsiders or nomads to some degree, moments of déjà vu in our lives transport us back to the innocence and familiarity of our early years.

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blog_Capturing the essence of a space

The choice of memory and place is inspired by Elaine’s personal story. Her cat, Face, passed away a few months ago, which was a significant shock to her and greatly influenced her. This serves as a medium to evoke empathy among pet lovers, helping them recall memories of their beloved pets. Pets are not just animals; they are family. Besides the loss of a pet, everything else also departs gradually, including time, family, friends, and money. We must confront the truth that some things leave us, rather than evading them.

The recorded atmosphere sound and voice-over constitute the sound design. The voice-over narrates a genuine experience of Elaine. When audiences engage with this project, the sound design can serve as a guide, providing descriptions of the environment and leading them to explore the space.

The primary target audience, I believe, is people who have experienced the loss of a pet. When they interact with the project, it can evoke memories not only of the journey to the veterinary hospital but also of their entire relationship with their pets, including how they obtained them and the bond they shared.

Special Thanks to The University of Sydney Veterinary Teaching Hospital.

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MR work review and short pre

Review: We Live Here (2020)

Debuting at the 77th Venice International Film Festival, we live here introduces the urgent problem of homelessness, exploring the compelling narrative of Rockey, a woman residing in a tent within a park in Southern California. The filming group is granted access to her tent. Inside, Rockey offers them a glimpse into her life through the items she possesses, inviting them to delve into her personal belongings. Rose Troche teamed up with Mark Horvath, the brain of Invisible People, a platform focused on amplifying the voices of homelessness. This collaboration was facilitated by Oculus as part of their VR For Good initiative, which backs meaningful virtual reality endeavors. This innovative 360-degree documentary, "We Live Here," strives to immerse viewers in the experiences of individuals like Rockey, providing a unique perspective and fostering empathy.

I believe the project is successful as it provides a unique perspective on Rocky's journey. Visually, the combination of real content captured by the 360-degree camera and well-produced post-production animation offers the experiencer a glimpse into Rockey's past life, current situation, and future aspirations. In terms of audio, as the experiencer delves into her personal belongings, the combination of voice over storytelling and foley in deepening our understanding of her experiences and evokes empathy. Therefore, the project effectively delivers an immersive virtual reality experience. However, while experiencing this project, sometimes it is not very easy to operate, and when picking up the items, they can easily fall off if you are not careful. Sometimes it even takes two or three attempts to open the item successfully. Such as the illustration book and the wooden box.

I feel it is quite cool to experience we live here. Because it utilizes multi-dimensional elements to present a narrative that is difficult to capture with traditional media techniques, such as 360 cameras, game engine production, and first-person perspective interactive experiences. In addition, the sound design is so vivid that when I was experiencing it, it was like sitting next to Rocky, talking to her face-to-face and listening to her tell stories.

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Screenshots from the project:

Filming techniques gear

pov of experiencing the project

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a virtual conversation about virtual reality

see how Marc Mohan and Laurel Reed Pavic share their feelings of We Live Here

In the conversation between two artists, the innovative use of virtual reality (VR) technology is highlighted for creating immersive experiences that go beyond what traditional cinema can offer. Inspired by the expansive worlds found in video games, the VR experience evokes both spatial and emotional claustrophobia, deeply engaging participants. By seamlessly combining live-action footage with animation, the documentary effectively communicates powerful stories about homelessness and resilience. Each object featured in the VR environment reveals different aspects of Rockey's life, contributing to a comprehensive narrative that emphasizes the complexity of homelessness. "We Live Here" provides a nuanced portrayal of homelessness, showing how it arises from various interconnected circumstances rather than a single catastrophic event. This immersive approach goes beyond the constraints of traditional cinematic formats like Cinerama or IMAX, allowing for a profound exploration of human experiences.

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We Live Here - Rose Troche

Director's Statement:

In We Live Here you will meet Rockey, hear her stories. I hope you will feel her home, make yourself comfortable in it - then feel the loss when it is stripped away. I hope this piece leaves a message in your brain - posits a question - could this be me? Am I so different than the ones I pass on the street - leaving nothing in a hand and not saying a word when asked to help?

About the vr documentary

Rockey, a homeless resident of a park, faces eviction by police and sanitation workers alongside other homeless individuals. Forced to flee, she leaves behind her possessions, unable to salvage them. Through interactive exploration, delve into Rockey's life and memories depicted through her personal belongings. Discover her journal, containing an animated poem recounting her first encounter with homelessness at age ten. Uncover a small wooden box filled with her cherished photos and wind up a music box to hear her yearning for a home. A miniature motorcycle unlocks a psychedelic animation depicting her impromptu marriage journey to Sturges. Lastly, a childhood novel unveils her ultimate aspiration: to become a cowboy. These objects serve as windows into Rockey's past, dreams, and desires, offering insight into her journey and struggles.