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... parts, each controlled by one of the joysticks. Like a three dimensional puzzle, these parts are moved about in the virtual image space creating an almost infinite variety of configurations. The three parts are uniformly grey - when they are...

... Embodying techniques developed for flight simulation, this work gave the operator the ability to interactively move his virtual point of view 360 degrees around the stage, 90 degrees up and down from ground level to aerial view, and forwards and...

... mediated by the physical environment. We explore ways to give a sense of the ghostly presence of people in real and/or virtual spaces using non-intrusive ambient media and background communication channels. Ghostly Presence associates the activity...

... are based on similar modern notions of networks, information packaging, and standardization. Additionally, we can reflect on virtual networks, as the software with which this projection was realized (TouchDesigner) manipulates and visualizes data by creating...

... computers and projected onto onstage screens. The majority of the scenery was generated in real-time through the use of virtual reality technologies. Projecting the scenery in stereoscopic 3D and outfitting the audience with 3Dglasses created the...

... the cylinders begin to revolve, the camera appears to pan to the right or left. This is the second line of movements. The virtual camera is also mobile: it can move forwards or backwards along a circular path within the forest, thereby forming the third...

... act. Sermon's declared aim was to expand the user's sense of touch; obviously, it was not possible to touch the other virtual bedmate, but one experienced the suggestion of touching through rapid and vigorous or tender and reflective movements. Many...

... subject to the gravity that applies in the real world. This creates a link between the movements of the physical and the virtual objects. The choreography alternates between projected and non-projected sequences. In the non-projected sequences, the...

... the two-dimensional picture of the real exhibitional space and point once again to the complexity of vision: The image is a virtual sculpture, which is only created through the movement of its viewer and varies its shape reflecting the individual’s action...

... extension of the viewer/participant's hand. Touching the screen encourages the sprouting of phantom limbs that become virtual connections between the viewer and the image.A surveillance camera was programmed to be switched "on" when a cameraman's...