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Haley Lussier (10) and Isabella Privitera (10) discuss how they and their small group in Interact club will change the global environment for the better. Every Tuesday during lunch in Mrs. Dhoot's room, they meet together to examine current world issues, and in this smaller group they eventually agree that they want to aid the coastlines and gather litter. "I heard there was a lot of pollution in the ocean and a lot of garbage along the coast, and I want to help he wildlife out there" - Isabella, Interact president.
At Tokyo Metropolitan Art Space, Ikebukuro.
Please enjoy the interactive view! (thanks to fieldOfView and Aldo)
And small but quick interactive viewer is here (Wrapr Beta)
- SLR camera and lens: Nikon D80 /w Sigma 8mm fisheye
- Handheld (with Simon's "HaPaLa3")
- 4 pan (Philopod pitch variation [datails]) 3EX(2EV) each.
- software: ptgui, Photoshop and enfuse on MS-Windows XP
[edited] I put this pano on 360 cities.
See where this picture was taken. [?]
「マリとシェリー」朝倉響子 作
Planétarium Rio Tinto Alcan, Montréal
Chorégraphies pour des humains et des étoiles est une performance participative qui combine audacieusement l'art et la technologie numérique. Ici, Mouna Andraos et Melissa Mongiat, les créatrices des 21 Balançoires présentées au Quartier des spectacles de Montréal depuis 2011 et reconnues pour leurs propositions artistiques hors du commun, invitent les visiteurs à redécouvrir l'astronomie par le jeu et à réinventer le mouvement des astres et des planètes. En se déplaçant sur un espace circulaire au sol, les participants peuvent, en solo ou à plusieurs, interagir avec l'œuvre et incarner différentes scènes cosmiques, traduites en images géantes sur la façade du planétarium. Ainsi conjuguées, les images animées et les mouvements des participants-danseurs deviennent un théâtre vivant de gestes poétiques des astres et de l'Univers.
Interactive Parametrics Workshop w/ Studio Mode and MakerBot, Feb 19-21, 2011. Processing, MakerBots and people who know about making objects...
Action scene of Young attractive Asian businesswoman in red shirt using VR Glasses. Virtual Reality experience for busniess activity in future concept
In Interactive Design 3, students are asked to select from one of three client briefs to develop a social change project. Cherie, Michael and Jay chose to develop a mobile application to assist with earthquake preparedness. The application offers device features, such as RSS, GPS tracking and "bounce location" to sustain user correspondence during disaster relief efforts.
The team divided the roles and responsibilities to tackle strategic review, competitive analysis, moodboards, user experience, information architecture and interactive design.
Learn more about VFS's one-year Digital Design program at www.vfs.com/digitaldesign.
At INTERACTIVE Pavilion we showcased a variety of the newest IT/technology related products from hardware and software to digital arts and sciences. People enjoyed experiencing and seeing the cutting-edge technology coming straight from Japan.
Photo by Kiyoshi Morihara
Released in the third year of the original Transformers toyline, Fireflight is a red F-4 Phantom II with white wings. He was originally a Japanese toy meant to be part of an interactive city, though that plan more or less fell through.
Mary Bogdan participating in the current exhibition at the Pace/MacGill Gallery in NYC.
Pace/MacGill Gallery Exhibition
PACE/MACGILL GALLERY
32 EAST 57TH ST NEW YORK NY 10022 / PHONE 212.759.7999 / FAX 212.759.8964 / EMAIL info@pacemacgill.com
SELF-PORTRAITR: AN INTERACTIVE EXHIBITION CURATING THE FLICKR.COM
COMMUNITY
June 30 through August 25, 2006
Pace/MacGill Gallery and the School of Visual Arts’ graduate photography department are pleased to present an interactive exhibition of self-portraits drawn from Flickr.com, the online digital photo-sharing network. Flickr’s user base consists of over one million members who share images and image-related information. Two leading forces in the New York art world—-a major photography gallery and a top art school—-have joined together to observe this online conversation of image making.
The mining and showcasing of this material strives to engage and expand a rapidly growing virtual arts community. The exhibition will be accessible to both viewers and contributors alike via the Pace/MacGill website www.pacemacgill.com. Pace/MacGill’s gallery space will house ten computers on which visitors can peruse the pictures gathered from numerous global photographers as they would online. A few monitors will display slideshows of images specifically collected via the gallery website.
The exhibition will not only rely on the Flickr community for content, but will also depend upon the activity of the site’s users for the organization and editing of what is anticipated to be thousands of images from the age-old genre of self-portraiture. Whether the image is taken by a professional photographer overseas or by an amateur experimenting with a camera phone in New York City, each image posted on Flickr and “tagged” as a self-portrait will automatically be filtered and directed into the exhibition.
The Pace/MacGill Flickr interface, created by SVA’s Jeremy Chien and Stephen Jablonsky and programmed by Kelvin Luck, allows users to vote for favorites, track the most viewed image, and create categories. Sorting options or subcategories (self portrait “with mirror” or at “beach,” for example) within the virtual exhibition will enable further definition and refinement.
The work in the exhibition will perpetually expand with the proliferation of users until the popularity of each category aids in its editing. As more images are collected and more users are interacting with the site to make selections, the work will become more discerning and interesting. One can choose the role they wish to assume: curator, artist, etcetera. With every click of the mouse, viewers become participants; the interactive community defines the exhibition. The hope is that the final result will be a 50 print exhibition of images chosen by the community.
The School of Visual Arts is widely recognized as one of the finest art schools in the country for its innovative and experimental program philosophies, its participation in the cultural life of New York City, and its unparalleled faculty comprised of professional artists. The MFA Photography, Video and Related Media department has been a leader in the implementation of photography in the digital world. The exhibition has been assembled by Pace/MacGill Gallery, Jeremy Chien, and Stephen Jablonsky. Chien and Jablonsky are both alumni and faculty members at the School of Visual Arts’ MFA program in Photography, Video and Related Media. UK web developer Kelvin Luck programmed the exhibition software to search, filter and explore Flickr.com.
Gallery summer hours are: Monday-Thursday, 9:30-5:30, and Friday, 9:30-4:00. The gallery will be closed on Saturdays and Sundays. Summer hours begin on June 20 and continue through Labor Day.
Thanks, BILLY Q...
Model by Claes Appelquist, architect at SOM.
Interactive Parametrics Workshop w/ Studio Mode and MakerBot, Feb 19-21, 2011. Processing, MakerBots and people who know about making objects...
Rear Projection touch display providing inviting and innovative interactive exhibition stand.
Visit our website at www.visualplanet.biz to learn more about the Rear Projection touchfoil™ and the useful ways it can be used.
Call: 44 (0) 1223 202949
email: sales@visualplanet.biz
web: www.visualplanet.biz
For the St. Regis, an establishment world-renowned for personal service, Potion created a custom interactive bar and tasting table to expand the reach of the Master Sommelier in their newest restaurant.
Working closely with the Rockwell Group and The Map Office to design the overall experience at Adour, Potion’s interactives, constructed from gold and bronze with a goat skin surface, are as far from a traditional touch screen as one can get. Potion’s large-scale interactive projections seamlessly blend with the environment, allowing patrons to browse Adour's complete wine list by wine type, country, and varietal.
Upon selecting a wine, a rosette appears that contains detailed information about the wine’s origin. Sommeliers and patrons alike may share or send their rosettes to other guests at the bar. At the touch-sensitive Private Tasting Table, Potion’s software allows the maitre d’ to create a unique group experience for guests, “setting the table” with personalized wine selection projections. To keep each patron’s experience personal and fresh, Potion created a custom content management system for Adour, allowing the wine director to update the interactive bar on a daily basis or for a special occasion.
Crown Fountain is an interactive work of public art and video sculpture featured in Chicago's Millennium Park, which is located in the Loop community area. Designed by Catalan artist Jaume Plensa and executed by Krueck and Sexton Architects, it opened in July 2004. The fountain is composed of a black granite reflecting pool placed between a pair of glass brick towers. The towers are 50 feet (15.2 m) tall, and they use light-emitting diodes (LEDs) to display digital videos on their inward faces. Construction and design of the Crown Fountain cost $17 million. Weather permitting, the water operates from May to October, intermittently cascading down the two towers and spouting through a nozzle on each tower's front face.
Residents and critics have praised the fountain for its artistic and entertainment features. It highlights Plensa's themes of dualism, light, and water, extending the use of video technology from his prior works. Its use of water is unique among Chicago's many fountains, in that it promotes physical interaction between the public and the water. Both the fountain and Millennium Park are highly accessible because of their universal design.
Crown Fountain has been one of the most controversial of all the Millennium Park features. Before it was even built, some were concerned that the sculpture's height violated the aesthetic tradition of the park. After construction, surveillance cameras were installed atop the fountain, which led to a public outcry (and their quick removal).
However, the fountain has survived its somewhat contentious beginnings to find its way into Chicago pop culture. It is a popular subject for photographers and a common gathering place. While some of the videos displayed are of scenery, most attention has focused on its video clips of local residents; hundreds of Chicagoans visit the fountain hoping to see themselves appearing on one of the fountain's two screens. The fountain is a public play area and offers people an escape from summer heat, allowing children to frolic in the fountain's water.
en.wikipedia.org/wiki/Crown_Fountain
en.wikipedia.org/wiki/Wikipedia:Text_of_Creative_Commons_...
Just a simple card to try my new Owl stamp ^o^, but have a little interactive which you could see in another picture.
All HA Stamps.
Video Mapping Philipp Geist_Germany+Brazil 2013-2014_- Santa Marta 2014_©Fred Pacífico/Porã
„VideoInstallation by Philipp Geist“, "Philipp Geist", „Copyright 2014 Philipp Geist / VG Bildkunst 2014", www.videogeist.de, mail@videogeist.de, „Rio de Janeiro“, "Santa Marta“, „Cristo Redentor“, „Dona Marta“, „Deutschland + Brasilien 2013-2014“, “Alemanha + Brasil 2013-2014”
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
Video Mapping Philipp Geist_Ano da Alemanha no Brasil - Cristo Redentor 2014
Photo by Fred Pacífico
©2014 Philipp Geist / VG BIldkunst Bonn
Rio de Janeiro / Brazil 2014
Christ statue (Cristo Redentor) – May 12
Dona Marta favela – May 15 and 16,2014
Light Art-Video-Mapping-Installations Philipp Geist in Rio de Janeiro / Brazil 2014
on the Christ statue (Cristo Redentor) - May 12 and in the Dona Marta favela - May 15 and 16,
2014
Installation Philipp Geist Year of Germany in Brazil 2013/2014
Concept Time Drifts May 2014
At the end of the Year of Germany in Brazil 2013/2014, the artist Philipp Geist (Berlin, 1976)
develops two light installations in Rio this year; the first one on the world-famous Christ statue
(Cristo Redentor) and the other installation in the Santa Marta favela. For the installation the
artist presents artistic-liberal and poetic German and Brazilian themes and develops a building
and floor light installation of colored words and phrases in Portuguese, German, and in other
international languages. The installation deals with cultural characteristics and achievements of
both countries and visualizes the issues of time and space, volatility and presence in a free
artistic style. The two projects are in fact a double project which is combined. The installation
on the symbol of Rio and Brazil, the Christ statue, is recorded and projected onto the small
buildings and huts of the favela. The Christ statue, which has been built to protect the city and
the sailors, is symbolically projected on the shantytown, the favela, in a protective way. The
installation in the favela will be seen not only on a facade as a large cinema projection or as a
static image, but on several winding buildings, the roofs, the floor and on the steps. Thus, the
visitor becomes a part of the installation and can immerse into the projection and the light and
introduce himself. Chalk crayons are put out on the streets in the favela and the young and old
residents and visitors can write and paint words on the street, the ground, the stairs or even on
the house walls. The residents and several institutions should be addressed to submit words and
associations dealing with Rio, Brazil and Germany.
For the installation, which was shown at the Luminale in 2012, the artist Philipp Geist won the
German Lighting Design Award 2013 (Deutscher Lichtdesign-Preis 2013) in the category Light Art.
The series 'Time Drifts' is characterized by the complex and subtle way of visualizing various
currents and voices in cultural contexts and to provide institutions and visitors with the
opportunity of substantive participation: different personalities, visitors and institutions may be
addressed in advance and then contribute words and associations. Current and historico-cultural
topics are researched in advance by the artist and then integrated in a sensitive and subtle way.
The projection dismisses the use of screens, because concepts and associations are projected on
a large area onto the floor surface on several facades and in theater fog. Over the course of two
days, the installation can be seen on-site in the favela on May 15 and 16 and on the Cristo
Redentor on May 12 for a day.
Short, tall, young and old visitors can interactively participate in the installation by tracing and
adding words with colored chalk crayons available on the streets. Thus, over the period of the
installation, a carpet of words is evolved with terms that are contributed locally by the visitors
by means of the temporary and volatile 'medium' of chalk crayons. Philipp Geist develops in this
way a dialogue between the place, the visitors and his artistic work.
The concrete, tangible projection of the architecture and the static terms on the floor area
represents the facts and visible relics that are responsible for our understanding of history. The
transparent and volatile projection in the fog reminds us that part of the history can not be
preserved and that it is created in our individual imagination in a single moment. Words are
briefly visible as a metaphor for transience and then disappear again. This interplay of the
various text and image layers in the space refers to the location and the history/-ies of Brazil
and Germany and the cultural exchange between the two countries. The visitors themselves are
part of the installation: they dive into the large floor projection. In this way, different
perspectives and experiences of space are unified. Abstract passages which are created, then
overlapped and displaced by each other symbolize the constant changes in history, the passage
of time and the transience of existence. Even the understanding of the past is in the flux. The
modern writings and formations created on the computer establish a connection to the present
and the possibilities of today's technology and show that the perception of history and culture
depends always on the possibilities and constraints of the present.
'Time Drifts - Words of Berlin' is part of a series of installations, which has been shown in recent
years by Philipp Geist, and which are always re-developed site-specifically and adapted to the
local conditions: In October 2012, Philipp Geist showed the installation on the entire Potsdamer
Platz (public square) and the Kolhoff Tower and Renzo Piano Tower skyscrapers. In April 2012
the installation was shown at the Luminale in Frankfurt where it was seen by more than 40,000
visitors and thus the main project of the Luminale 2012. In 2011, Philipp Geist presented the
'Time Drifts' installation in Vancouver at the Jack Poole Plaza, as well as in Montreal on the
Place des Arts in 2010. The 'Timing' installation was shown at the 2009 Glow Festival in
Eindhoven. In the end of 2009, on the occasion of the birthday of the King of Thailand, 2-3
million visitors saw his facade installation at the royal throne in Bangkok. Other projects
include: 'Timelines' at the prestigious Pallazzio delle Esposizioni (Rome, 2007), 'Time Fades'
at the Cultural Forum of Berlin and 'Broken Time Lines' at the old spa Kurhaus Ahrenshoop
(Germany, 2008).
Geist's projects are primarily characterized by their complexity concerning the integration of
space, sound and motion images. His video mapping installations waive screens and transform a
wide range of architectures in moving, picturesque light sculptures which challenge the viewer's
perception of two- and three-dimensionality.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Arte de luz - Instalações de Mapeamento de Vídeo por Philipp Geist no Rio de Janeiro / Brasil
2014 no Cristo Redentor no dia 12 de maio e na favela Santa Marta nos dias 15 e 16 de maio de
2014
Instalação Philipp Geist Ano Alemanha + Brasil 2013/2014
Conceito Time Drifts Maio 2014
No final do ano Alemnaha + Brasil 2013/2014, o artista Philipp Geist (1976, Berlim) desenvolverá
duas instalações de luz no Rio; uma delas será exibida na mundialmente famosa estátua do
Cristo Redentor, e a outra na favela Santa Marta. Para a instalação, o artista traz temas teutobrasileiros
de maneira liberal-artística e poética desenvolvendo instalações de luz em edifícios e
no solo a partir de palavras e conceitos coloridos em Português, Alemão e em outros idiomas
internacionais. A instalação lida com as peculiaridades e realizações culturais de ambos os países
e visualiza as questões de tempo e espaço e de volatilidade e presença no estilo liberal-artístico.
Os dois projetos em questão representam um projeto duplo que é combinado. A instalação na
estátua do Cristo Redentor, como um símbolo do Rio e do Brasil, será gravada e projetada nos
pequenos prédios e barracos da favela. A estátua do Cristo Redentor, que foi erguida para
proteger a cidade e os marinheiros, será então projetada como um símbolo de proteção em uma
favela. A instalação na favela é visto não apenas em uma fachada como uma projeção grande de
cinema ou como uma imagem estática, mas em vários prédios sinuosos, em telhados, no solo e
nas escadas. Desta maneira, o visitante conseguirá ser parte da instalação e imergir e mergulhar
na projeção e na luz. Na favela, será distribuído giz para pintura de rua, e os moradores e
visitantes, tanto jovens quanto velhos, podem escrever e pintar conceitos na rua, no solo, nas
escadas ou até mesmo nas paredes das casas. Os moradores e diversas instituições serão
convidados a contribuir com conceitos e associações que representam o Rio, o Brasil e a
Alemanha.
Para as instalações apresentadas na Luminal em 2012, o artista Philipp Geist ganhou o
'Deutscher Lichtdesign-Preis 2013” (Prêmio Alemão de Desenho de Luz de 2013) na categoria
Arte de Luz. A série Time Drifts caracteriza-se pela forma complexa e sutil de visualizar várias
correntes e vozes em contextos culturais e de oferecer a instituições e aos visitantes a
oportunidade de participar: diferentes personalidades, visitantes e instituições podem ser
contatados antecipadamente para contribuir com termos e associações. Temas atuais, históricos
e culturais serão previamente pesquisados pelo artista e, depois, integrados de uma forma
sensível e sutil. A projeção é realizada sem o uso de telas porque conceitos e associações são
projetados, em grande estilo, sobre a superfície do solo, em diversas frentes e envolvidos em
fumaça. Ao longo de dois dias, a instalação estará em exibição em 15 e 16 de maio na favela, e
em 12 de maio, por um dia, no Cristo Redentor.
Visitantes jovens e velhos podem envolver-se na instalação e traçar ou adicionar palavras com
giz colorido, que será distribuído, e assim participar interativamente na instalação. Desta
maneira, durante a duração da instalação, será desenvolvido um tapete de palavras. As palavras
serão fornecidas, no próprio local, pelos visitantes usando o giz, um meio temporário e volátil.
Philipp Geist desenvolve assim um diálogo entre o local, os visitantes e seu trabalho artístico.
A área de projeção concreta e tangível da arquitetura e os termos estáticos sobre a superfície do
solo representam os fatos e as relíquias visíveis que compõem a nossa compreensão da história. A
área de projeção transparente e sumindo por dentro da fumaça lembra que parte da história não
pode ser preservada e que ela é criada na nossa imaginação individual momentaneamente.
Conceitos são brevemente visíveis, como uma metáfora para a transitoriedade e, logo mais,
desaparecem. Esta interação entre as várias camadas de texto e de imagens no espaço refere-se
à localização e a(s) história(s) do Brasil e da Alemanha e o intercâmbio cultural entre os dois
países. Os próprios visitantes tornam-se parte da instalação: eles imergem na grande projeção
do solo. Desta forma, diferentes perspectivas e experiências de espaço são unidas. Passagens
abstratas que são formadas, sobrepostas e suprimidas pela próxima simbolizam as mudanças
contínuas na história, a passagem do tempo e a transitoriedade da existência. A compreensão do
passado também está no fluxo. As fontes e formações modernas criadas no computador
estabelecem uma conexão com o presente e com as possibilidades da tecnologia de hoje: a
percepção da história e da cultura sempre dependende das capacidades e limitações do
presente.
'Time Drifts - Words of Berlin' faz parte de uma série de instalações, que foram apresentadas
durante os últimos anos por Philipp Geist e que são sempre redesenvolvidas para as condições
locais específicas: em outubro de 2012, Philipp Geist exibiu a instalação em toda a praça
Potsdamer Platz (Berlim) e nos dois arranha-céus Kolhoff Tower (Berlim) e Renzo Piano Tower
(Londres). Em abril de 2012, a instalação foi apresentada no evento da Luminal em Frankfurt
onde foi vista por mais de 40.000 visitantes sendo o principal projeto da Luminal de 2012. Em
2011, Philipp Geist mostrou a instalação Time Drifts na praça Jack Poole Plaza em Vancouver
bem como em Montreal, Canadá, no centro de arte Place des Arts, em 2010. A instalação Timing
foi exibida no Glow Festival de 2009 in Eindhoven, Holanda. No final de 2009 e por ocasião do
aniversário do rei tailandês, aprox. 2 a 3 milhões de visitantes viram a instalação de fachada do
artista no trono real em Banguecoque. Seus outros projetos incluem: Time Lines, no prestigiado
museu Palazzio delle Esposizioni (Roma, 2007); Time Fades, no Fórum Cultural de Berlim;
Broken Time Lines, no antigo spa Kurhaus Ahrenshoop (Alemanha, 2008).
Os projetos de Geist são principalmente caracterizados por sua complexidade na integração de
espaço, som e imagens de movimento. Suas instalações de mapeamento de vídeo renunciam
telas e transformam uma ampla gama de arquiteturas em esculturas móveis e pitorescas que
desafiam a percepção do espectador de duas e três dimensões.
www.alemanha-brasil.org/br/node/8542
www.alemanha-brasil.org/Programme/Dia/2014-05-12
www.alemanha-brasil.org/Programme/Dia/2014-05-15
www.alemanha-brasil.org/Programme/Dia/2014-05-16
---------------
Lichtkunst-VideoMappingInstallationen Philipp Geist in Rio de Janeiro / Brasilien 2014
an der Christstatue (Cristo Redender) 12.5 und in der Favela Santa Marta 15./16.5.2014
Installation Philipp Geist Deutsch-Brasilianisches Jahr 2013/2014
Konzept Time Drifts Mai 2014
Zum Abschluss des Deutsch-Brasilianischen-Jahres 2013/2014 entwickelt der Berliner Künstler
Philipp Geist (1976) zwei Lichtinstallation in Rio d.J.; eine an der weltbekannten Christstatue
(Cristo Redender) und in die andere Installation in der Favela Santa Marta. Bei der Installation
greift der Künstler künstlerisch frei und poetisch deutsch brasilianische Themen auf und
entwickelt eine Gebäude- und Boden-Lichtinstallation aus farbigen Wörtern und Begriffen in
portugiesischer, deutscher, und in weiteren internationalen Sprachen. Die Installation thematisiert
kulturelle Besonderheiten und Errungenschaften beider Länder und visualisiert die Themen Zeit
und Raum, Flüchtigkeit und Präsenz in freien künstlerischen Art. Bei den beiden Projekten handelt
es sich um ein Doppelprojekt welches kombiniert wird. Die Installation auf das Wahrzeichen von
Rio und Brasilien die Christstatue, wird aufgenommen und auf die kleinen Gebäude und Hütten
der Favela projiziert. Die Christstatue die errichtet worden ist um die Stadt und Seeleute zu
schützen, wird so symbolisch schützend über ein Armenviertel die Favela projiziert. Dabei ist die
Installation in der Favela nicht nur auf einer Fassade als große Kinoprojektion oder als statisches
Bild zu sehen, sondern auf mehreren verwinkelten Gebäuden, den Dächern, den Boden und auf
den Stufen. Der Besucher wird vielmehr auf diese Weise selbst Teil der Installation und kann in die
Projektion und das Licht eintauchen und sich einbringen. In der Favela werden Strassenmalkreide
ausgelegt und die Bewohner und Besucher ob jung oder alt können Begriffe auf die Strasse, den
Boden, die Treppenstufen oder sogar auf die Hauswände schreiben und malen. Die Bewohner und
verschiedene Institutionen sollen angesprochen werden Assoziationen und Begriffe die für Rio,
Brasilien und Deutschland stehen einzureichen.
Für die 2012 bei der Luminale gezeigten Installation hat der Künstler Philipp Geist den Deutschen
Lichtdesign-Preis 2013 in der der Kategorie Lichtkunst gewonnen. Die Serie 'Time Drifts' zeichnet
sich aus durch die komplexe und die subtile Möglichkeit, verschiedenste Strömungen und
Stimmen in kulturellen Kontexten sichtbar zu machen und Institutionen und Besuchern die
Möglichkeit zur inhaltlichen Partizipation zu geben: Es können verschiedene Persönlichkeiten,
Besucher und Institute im Vorfeld angesprochen werden, die Begriffe und Assoziationen
beisteuern. Aktuelle und kulturhistorische Themen werden im Vorfeld vom Künstler recherchiert
und auf sensible und subtile Weise integriert. Die Projektion verzichtet auf den Einsatz von
Leinwänden, denn Begriffe und Assoziationen werden grossflächig auf die Bodenfläche, auf
mehrere Fassaden und in Theaternebel projiziert. Über den Zeitraum von 2 Tagen wird die
Installation vor Ort in der Favela am 15/16.Mai und die Installation am Cristo Redentor am 12.Mai
für einen Tag zu sehen sein.!
Kleine, große, junge und alte Besucher können sich einbringen in die Installation und mit farbiger
Straßenmalkreide, die ausgelegt wird, Wörter nachzeichnen und hinzufügen und so interaktiv an
der Installation teilnehmen. Über die Installationsdauer entsteht somit ein Wörterteppich aus
Begriffen, die vor Ort von den Besuchern selbst mittels dem temporären und flüchtigen 'Medium'
der Strassenmalkreide beigesteuert werden. Geist entwickelt auf diese Weise einen Dialog
zwischen dem Ort, den Besuchern und seiner künstlerischen Arbeit. ! !
Die konkrete, greifbare Projektionsfläche der Architektur und die statischen Begriffe auf der
Bodenfläche stehen für die Fakten und sichtbaren Relikte, welche unser Geschichtsverständnis
ausmachen. Die transparente, sich verflüchtigende Projektionsfläche im Nebel erinnert daran,
dass ein Teil der Geschichte nicht konserviert werden kann und im Moment in unserer individuellen
Vorstellung entsteht. Begriffe werden als Metapher für die Vergänglichkeit kurzzeitig sichtbar und
verschwinden sofort wieder. Dieses Zusammenspiel der verschiedenen Text- und Bildschichten im
Raum verweist auf den Ort und die Geschichte(n) Brasiliens und Deutschlands und den kulturellen
Austausch beider Länder. Die Besucher selbst werden Teil der Installation: sie tauchen in die
großflächige Bodenprojektion ein. Auf diese Weise vereinen sich unterschiedliche Perspektiven
und Raumerfahrungen. Abstrakte Passagen, die sich aufbauen, überlagern und gegenseitig
verdrängen, symbolisieren die ständigen Veränderungen in der Geschichte, den Lauf der Zeit und
die Flüchtigkeit des Seins. Auch das Verständnis von der Vergangenheit ist im Fluss. Die
modernen Schriften und Formationen, die am Computer entstanden sind, stellen eine Verbindung
zur Gegenwart und den Möglichkeiten der heutigen Technik her und zeigen, dass die Erfahrbarkeit
von Geschichte und Kultur immer von den Möglichkeiten und Rahmenbedingungen der Gegenwart
abhängig ist.
'Time Drifts - Words of Berlin' ist Teil einer Serie von Installationen, die Philipp Geist in den letzten
Jahren gezeigt hat, und die dabei immer wieder neu an die örtlichen Gegebenheiten ortsspezifisch
weiterentwickelt wird: Im Oktober 2012 zeigte Geist die Installation auf dem gesamten Potsdamer
Platz und den beiden Hochhäusern Kolhoff Tower und Renzo Piano Tower. Im April 2012 wurde die
Installation in Frankfurt auf der Luminale gezeigt, wurde von mehr als 40.000 Besuchern gesehen
und war das Hauptprojekt der Luminale 2012. Im Jahr 2011 zeigte Geist die Installation Time Drifts
in Vancouver am Jack-Poole Plaza, ebenso wie in Montreal am Place des Arts in 2010. Die
Installation 'Timing' war 2009 auf dem Glow Festival in Eindhoven zu sehen. Ende 2009 sahen
anlässlich des Geburtstages des thailändischen Königs ca. 2-3 Millionen Besucher seine
Fassadeninstallation am königlichen Thron in Bangkok. Andere Projekte waren u.a.: 'Time Lines'
am renommierten Museum delle Esposizioni (2007), 'Time Fades' am Berliner Kulturforum,
'Broken Time Lines' am alten Kurhaus Ahrenshoop (2008).
Geists Projekte sind in erster Linie gekennzeichnet durch ihre Komplexität in der Integration von
Raum, Ton und Bewegbild. Seine Video-Mapping-Installationen verzichten auf Leinwände und
verwandeln verschiedenste Architekturen in bewegte, malerische Lichtskulpturen, die die
Wahrnehmung der Betrachter von Zwei- und Dreidimensionalität herausfordern.
imm.sheridanc.on.ca/openhouse/2011/
S U P E R S T I T I O N
Friday the 13 at Function 13 at 13:00 hours!
imm.sheridanc.on.ca/go/superstition
Our IMM Post-grads will show their work with respect to:
* Flash Mobile for Android and iPhone
* JQuery for Mobile Web Apps
* Gesture Technology for Gesture Tek Cube
* FLAR Augmented Reality & Arduino
* Games, Apps, Sites, Social Media API's and More!
Be there or be HEXED! #cc0000 #eeeeee #13aa00
Dan Zen
Professor, Coordinator of Curriculum and Industry Liaison
Sheridan Interactive Multimedia
Canadian New Media Educator of the Year 2008
Mad inventor meets Internet finds peace
Canadian New Media Awards Programmer of the Year 2002
General Secretary of the International Trade Union Confederation, Sharan Burrow at the interactive panel "No to child Labour-Yes to quality education". 104th International Labour Conference, 12th June 2015 Geneva.
FR: Secrétaire général de la Confédération syndicale internationale, Sharan Burrow, à l'événement "Non à l'enfant du travail-Oui à l'éducation de qualité". 104e Conférence internationale du Travail, le 12 Juin 2015 à Genève.
(Credits: Pierre Albouy)
This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivs 3.0 IGO License. To view a copy of this license, visit creative
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"3D-Grund Aufkleber" "Aufkleber der Wand 3D" "3D-Plakat" "3D Pflaster Aufkleber" "3D Straßenmalerei" "3D-Aufkleber" "3D-Grundgrafik " "3D-Grund Branding" "3D Bodenwerbung" "3D-Grundkonzepte" "3D Boden Wraps " " 3D-Grund Poster " " 3D Wand Wraps " " 3D Glas Wraps " " 3D-Gebäude Wraps " " 3D-Grund Wrapping " " 3D Bodendisplays " " 3D Bodenmalerei " " 3D " " Illusion " " überqueren Sie die Augen " " sinyim " " 3D Street Art " " 3D Malerei " " anamorphen Malerei " " Street-Art "
"3D стикер этаж" "3D стикер стены" "3D постер" "3D стикер тротуар" "3D уличная живопись" "3D стикер" "3D графика этаж" "3D брендинг этаж" "3D реклама этаж" "3D концепции этаж" "3D этаж обертывания " " 3-й этаж плакаты " " 3D обертывания стен " " 3D стеклянные обертывания " " 3D строительных обертывания " " 3D этаж упаковка " " 3D отображает пол " " 3D живопись этаж " " 3D " " иллюзия " " скрестите глаза " " sinyim " " 3D стрит-арт " " 3D картина " " анаморфное картина " " стрит-арт "
"3D 바닥 스티커" "3D 벽 스티커" "3D 포스터" "3D 포장 스티커" "3D 거리 페인팅" "3D 스티커" "3D 바닥 그래픽" "3D 바닥 브랜드" "3D 바닥 광고" "3D 바닥 개념" "3D 바닥 랩 " "3D 바닥 포스터 " "3D 벽 랩 " "3D 유리 랩 " "3D 건물 랩 " "3D 바닥 배치 " "3D 바닥에 " "3D 바닥 그림 " "3D " "환상 " "당신의 눈을 건너 " " sinyim " "3D 거리 예술 " "3D 그림 " "아나모픽 그림 " "거리 예술"
“3Dフロアステッカー” “3Dウォールステッカー” “3Dポスター” “3D舗装ステッカー” “3Dストリートペインティング” “3Dステッカー” “3Dフロアグラフィック” “3Dフロアブランディング” “3Dフロア広告” “3Dフロアコンセプト” “3D床ラップ” “3Dフロアのポスター” “3Dウォールラップ” “3Dグラスラップ” “3D建物ラップ” “3Dフロアラッピング” “3Dフロアディスプレイ” “3Dフロア絵画" "3D " "錯覚" "あなたの目を渡る" "sinyim” “3Dストリートアート” “3Dペインティング” “アナモフィック絵” “ストリートアート”
"3D vloer sticker" "3D-muur sticker" "3D poster" "3D stoep sticker" "3D straat schilderen" "3D sticker" "3D vloer graphics" "3D vloer branding" "3D vloerreclame" "3D vloer begrippen" "3D vloer wraps " " 3D vloer posters " " 3D muur wraps " " 3D glazen wraps " " 3D geveldoeken " " 3D vloer wrapping " " 3D vloer displays " " 3D vloer schilderen " " 3D " " illusie " " kruis je ogen " " sinyim " " 3D street art " " 3D schilderen " " anamorfe schilderen " " street art "
"3D kat sticker" "3D duvar sticker" "3D posteri" "3D kaldırım sticker" "3D sokak boyama" "3D etiket" "3D kat grafik" "3D kat markalaşma" "3D kat reklam" "3D kat kavramlar" "3D kat sarar " " 3D kat posterleri " " 3D duvar sarar " " 3D cam tamamladı " " 3D bina kaplamaları " " 3D kat sarma " " 3D kat görüntüler " " 3D kat boyama " " 3D " " yanılsama " " gözleri çapraz " " sinyim " " 3D sokak sanatı " " 3D boyama " " anamorfik boyama " " sokak sanatı "
"Sticker 3D piano" "autoadesivo della parete 3D" "poster 3D" "sticker marciapiede 3D" "street painting 3D" "sticker 3D" "grafica in 3D del pavimento" "marchio pavimento 3D" "pubblicità pavimento 3D" "concetti da terra 3D" "3D avvolge piano " " poster " " pavimento 3D impacchi parete 3D " " involucri di vetro 3D " " involucri edilizi 3D " " pavimento " " wrapping 3D espositori da terra 3D " " pittura in 3D piano" "3D " " illusione " " attraversare i tuoi occhi " " sinyim " " 3D street art " " pittura in 3D " " pittura anamorfico " " street art "
"สติกเกอร์ 3D ชั้น" "สติกเกอร์ผนัง 3D" "โปสเตอร์ 3D" "สติกเกอร์ทางเท้า 3D" "ภาพวาดถนน 3D" "3D สติกเกอร์" "กราฟิกชั้น3D" "แบรนด์ชั้น 3D" "การโฆษณาชั้น3D" "แนวคิดที่ชั้น3D" "3D wraps ชั้น " " โปสเตอร์ชั้น3D " " ตัดผนัง 3D " " ตัดกระจก 3D " " ตัดอาคาร 3D " " การตัดพื้น 3D " " การแสดงชั้น 3D " " การวาดภาพชั้น3D " " 3D " " ภาพลวงตา " " ข้ามตาของคุณ " " sinyim " " ถนนศิลปะ3D " " 3D ภาพวาด " " การวาดภาพ anamorphic " " ถนนศิลปะ "
"ملصقا 3D الأرض" "جدار ملصقا 3D" "3D ملصق" "الرصيف ملصقا 3D" "3D الشارع اللوحة" "3D ملصقا" "رسومات الطابق 3D" "العلامات التجارية الطابق 3D" "الدعاية الطابق 3D" "مفاهيم الطابق 3D" "3D يلف الأرض " " الملصقات الطابق 3D " " يلتف الجدار 3D " " يلتف الزجاج 3D " " يلتف بناء 3D " " التفاف الطابق 3D " " يعرض الطابق 3D " " اللوحة الطابق 3D " " 3D " " وهم " " عبور عينيك " " sinyim " " 3D فن الشارع " " اللوحة 3D " " اللوحة صورة بصرية مشوهة " " فن الشارع "
Did you vote on Part One, Part Two or Part Three?
So should these go the new house or go to the dumpster?
Participant interacts with President Kagame at the Meet the Leader Session at World Economic Forum on Africa.
Visualplanets touchfoil has been actvating shop windows for touch since 2003.
This example using the touchfoil was installed for a promotion in 2011, using a 143 inch touchfoil and a impressive rear projection system installed by our partner Paradigm.
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