“Turning away from today’s reality will blind our future”
Great cinematography, integrated effects and a powerful message within the narrative,.
Powerful post-apocalytic tale, which doesn’t take place in some tale or post-apocalyptic world. Sadly, most people don’t get the urgency of this story, please People of this Planet let us face reality!
The main interest in this project is to create ‘something’ to allow people to escape from the reality. Sometime it is good enough to don’t have other purpose that giving happiness, or well being. To bring back to David Steindl-Rast theory: Stop Look Go. Be great full.
“Emmanuelle Moureaux first conceived a floating volume of ’100 colors’ in 2013 for the shinjuku creators festa, delivering a massive suspended cloud of brilliant hues created from 840 sheets of paper from japanese paper manufacturer takeo. for the 2014 edition of the event, the french-born, toyko-based creative took her ’100 colors’ outdoors, transforming the water plaza in shinjuku central park; bringing a vibrancy to the urban site where high rise buildings soar in the background. this second installation was crafted instead from textiles — each of the 1875 strands have been individually hand-dyed — a medium which encouraged the entirety of the work to capture light breezes and sway in the wind. The brilliant tones layered with the surrounding skyscrapers, created quite the scene, bringing forth a breathtaking scene which encourages people to stop for a moment, and escape from their reality.” From Designboom
OccultUs by Simon de Diesbach – Designing for alternate reality
Very interesting way to mix reality and virtuality
– reality and physical intervention are so powerful.
– how is it to be stuck between 2 worlds ?
– challenging perception
” Created by Simon de Diesbach at ECAL with the support from Alain Bellet, Gael Hugo, and Christophe Guignard, OccultUs is an installation that exploits the potential of the Oculus Rift technology by immersing the user into a sensory experience that mixes two distinct realities, physical and simulated.
The installation includes a collection of “abstract machines” designed to enhance the experience. What at first may seem like an uncomfortable scenario, user being seated in the centre of the unknown, the minimal virtual world takes over bringing the strange machinery to life, activated by the user’s gaze and creating a dynamic interplay between the virtual and the surrounding physical animations.
Users find themselves at the core of a hybrid space, where images and sound, though originating in heterogeneous realities, coincide. Stuck between two worlds, their perception is challenged. The OccultUs experience requests users’ participation in a double way: as the leading actor of the piece, but also as an integral part of it by becoming the object of other spectators’ attention.
Another interest element in the project is the physical abstraction of sound. Whilst there may have been more obvious choices behind how the sound is generated, their visual appearance if primarily driven by their function in virtual space. This raises many questions about how we may begin designing physical objects that complement and connect to our virtual experiences rather than the other way around. Traditionally we have sampled real life sounds to produce the digitally enhanced or manipulated. In this reverse scenario, we are using the real-world generated sounds to enhance the alternate reality.
OccultUs is a young project. The number of machines is limited for now. However, Simon’s objective is to increase their number and hence the diversity of sounds, in order to give a larger dimension to the experience. ”