Video projectors are one of the most important tools for creators of interactive installations. The information for projectors is available on various websites, but this 2 part guide will focus on their use in production and interactive environments. Part 1 will focus on the projector as hardware(lenses, lumens, surfaces etc), and part 2 will go into more details on the software and calibration considerations. This will gather some of that disparate knowledge into the important bits you need to make informed decisions about creating a high quality experience.
Mr. Skola, a founder of the Dawn of Man art collective, used a laptop, a portable generator and a projector strapped to the roof of his car to cast on the building an enormous video of a dancing monkey (really a five-minute loop of a friend in a costume). While the creature flapped its arms and kicked its feet, people stopped on the crowded street to gawk and snap photos. “When we project this in the Lower East Side,” Mr. Skola said, “drunk people try to dance like the monkey.
Multimedia Content Creation and Presentation For Events.
Joanie Lemercier is a French artist primarily focused on projections of light in space and its influence on our perception. As Lemercier’s work evolved, he began to play with these concrete structures through the physics and philosophy of how light can be used to manipulate perceived reality. Since 2006 Lemercier has worked with projected light, and he co founded visual label AntiVJ in 2008, with artists Yannick Jacquet, Romain Tardy and Olivier Ratsi.
Cinimod Studio is a cross-discipline practice based in London specializing in the fusion of architecture and lighting design. It was started by the architect and artist Dominic Harris, whose passion for interactive art and lighting design has produced built projects now found across the international art and architecture scene.
Krzysztof Wodiczko was born in 1943 in Warsaw, Poland, and lives and works in New York and Cambridge, Massachusetts. Since 1980, he has created more than seventy large-scale slide and video projections of politically charged images on architectural façades and monuments worldwide. By appropriating public buildings and monuments as backdrops for projections, Wodiczko focuses attention on ways in which architecture and monuments reflect collective memory and history. In 1996, he added sound and motion to the projections, and began to collaborate with communities around chosen projection sites—giving voice to the concerns of heretofore marginalized and silent citizens who live in the monuments’ shadows. Projecting images of community members’ hands, faces, or entire bodies onto architectural façades, and combining those images with voiced testimonies, Wodiczko disrupts our traditional understanding of the functions of public space and architecture. He challenges the silent, stark monumentality of buildings, activating them in an examination of notions of human rights, democracy, and truths about the violence, alienation, and inhumanity that underlie countless aspects of social interaction in present-day society....