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Shape Morph Effect from Perron Charles on Vimeo.

Made with Unity VFX Graph

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Kinect V2 | Oculus | Around the World from Drew Skillman on Vimeo.

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Oculus | Kinect V2 | Audio Visualizer Test from Drew Skillman on Vimeo.

Very much a work in progress. The visualizer augments Oculus DK1 head tracking with Kinect V2 positional tracking - and adds in skeleton tracking effects like pulsing particles and ribbons streaming off your hands as well. Tip of the iceberg, as they say.

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Kinect2 | Oculus | Depth Mirror | Particles from Drew Skillman on Vimeo.

AWESOME.

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GEND.AR 2min website from Reality Design Lab on Vimeo.

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Introduction to MOFA - A Multiplayer AR Game - website from Reality Design Lab on Vimeo.

With bg sound

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Drifting Whispers: Let the wind bring me to you. from Reality Design Lab on Vimeo.

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Taking a line on a walk from Charles Holbrow on Vimeo.

Inspired by Bauhaus artist, Paul Klee.

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Can Virtual Reality and Video Games Humanize Technology? from INTERFACE Health on Vimeo.

In this insightful, fast-paced and accessible talk Dr. Adam Gazzaley - a doctor, neuroscientist, inventor, author and investor - invites you to explore the next frontier in neuroscience and digital therapeutics. Learn how a video game and VR can reverse cognitive decline - by prescribing custom video games - so your 60 year old brain can match the brain of a 20 year old.

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Control Rig Tutorial : 5.1 : Spaw Controls from Jeremie Passerin on Vimeo.

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TELESTRON from GMUNK on Vimeo.

Telestron is a recreation of one of the ancient world’s most sought-after immersive experiences, invoking a ritual that harnessed the spiritual forces of nature to create a transformative experience. This ritual was housed in a darkened chamber called the Telestron (an adaptation of the original Telesterion), deployed cutting-edge robotic and light projection technology to bring the audience into an experience of the diurnal cycle (sunrise, noon, sunset, and midnight). In other words – a complete Day for Night.

The goal was to create a theatrical piece that felt immersive and all-encompassing – a total takeover of the senses. The team knew the massive scale of the robots paired with the sophistication of the Day for Night crowd and an epic Sound System could render a sensory explosion for the audience.

The core concept of Telestron, developed and written by Stephen Marshall, was that it was recreating one of the ancient world’s most sought-after immersive experiences – essentially all the attendees were taking part in a sacred ritual. This ritual was housed in a darkened chamber that was, in the ancient Greek festival at Eleusis, was called the Telesterion, which they adapted to Telestron. This ritual intended to “harness the spiritual forces of nature to create a transformative experience.”

The team then got specific about what forces of nature they wanted to portray – and chose the Diurnal Cycle as the informing palette. They loved the poetic symmetry of the cycle being a Day for Night progression, and also how it influences the seasons and the positioning of the sun, which was assigned as the primary light source. They then designed each season of the cycle, which focuses on the time of year, the position of the sun, and how that affects the symbolism and character of the light. All of which were controlled by the ‘lantern bearers’ which were the robotic conductors, and were imbued specific personalities and behaviors to accurately represent the character of the light.

Once they went through the four seasons as their own acts, they then made a chaotic and emotionally charged fifth act to render an artistic interpretation of the current state of the natural cycle – one with the warming planet has become much more turbulent and chaotic; and as a result felt an obligation to communicate that visually and sonically.

It was all quite abstract, but gave the team so much structure to work with – sometimes with these massive and complex projects there’s a major need for a conceptual framework to work within. Establishing the concept early and sticking with it really helped guide the process and kept the team focused on the high-level vision of the installation throughout the production cycle.

Telestron Credits

Production Design: VT Pro Design Creative Direction: Michael Fullman, Bradley G Munkowitz Concept Writer: Stephen Marshall Touch Designer Programming: Matt Wachter Lighting Design: Gabe Fraboni Technical Design: Harry Souders, Jack Gilmore Production Management: Hayk Khanjian, Nico Yernazian Robot Animation & Previs: Jordan Ariel, Akiko Yamashita Design Assistant: David Gao Cinematographers: Andrew Curtis, Aaron Marcellino Editor: Jordan Ariel Colorist: Billy Hobson Composer: SoundsRED

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MSHR - Wave Guide Edifice from MSHR on Vimeo.

Music video for Wave Guide Edifice from the Album Phased Trance Constructions by MSHR. Released on Unifactor in 2018.

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A Visualization of Two-stage Autoignition of n-dodecane from PacificVis Storytelling Contest on Vimeo.

By Yucong (Chris) Ye, Min Shih, Franz Sauer, Kwan-Liu Ma, Giulio Borghesi, Alexander Krisman, and Jacqueline Chen (A collaboration between University of California, Davis and Sandia National Labs). On the shortlist of the IEEE PacificVis 2018 Visual Data Storytelling Contest.

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[VIS17 Preview] What Would a Graph Look Like in This Layout? A Machine Learning Approach to Large Graph Visualization... from VGTCommunity on Vimeo.

Authors: Oh-Hyun Kwon, Tarik Crnovrsanin, Kwan-Liu Ma

Abstract: Using different methods for laying out a graph can lead to very different visual appearances, with which the viewer perceives different information. Selecting a "good" layout method is thus important for visualizing a graph. The selection can be highly subjective and dependent on the given task. A common approach to selecting a good layout is to use aesthetic criteria and visual inspection. However, fully calculating various layouts and their associated aesthetic metrics is computationally expensive. In this paper, we present a machine learning approach to large graph visualization based on computing the topological similarity of graphs using graph kernels. For a given graph, our approach can show what the graph would look like in different layouts and estimate their corresponding aesthetic metrics. An important contribution of our work is the development of a new framework to design graph kernels. Our experimental study shows that our estimation calculation is considerably faster than computing the actual layouts and their aesthetic metrics. Also, our graph kernels outperform the state-of-the-art ones in both time and accuracy. In addition, we conducted a user study to demonstrate that the topological similarity computed with our graph kernel matches perceptual similarity assessed by human users.

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InfoVis 2019: A Deep Generative Model for Graph Layout from VGTCommunity on Vimeo.

Authors: Oh-Hyun Kwon and Kwan-Liu Ma

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VAST 2019: Supporting Analysis of Dimensionality Reduction Results with Contrastive Learning from VGTCommunity on Vimeo.

(Best Paper Honorable Mention) Authors: Takanori Fujiwara, Oh-Hyun Kwon, Kwan-Liu Ma

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Varjo x Jani Leinonen. ‘Goodbye Reality’; Art created in the Metaverse from Varjo on Vimeo.

In a pioneering installation, Finnish artist Jani Leinonen invites attendees and collectors into a mesmerizing mixed reality experience. Harnessing the power of the Varjo XR-3 and the Unity engine, he establishes new methods for creativity, brings tangibility to NFTs, and unites digital and physical art in a never-before-seen way. To learn more, head to: varjo.com/blog/goodbye-reality-art-in-the-metaverse/