UID:
kobvindex_INTEBC6123280
Format:
1 online resource (271 pages)
Edition:
1st ed.
ISBN:
9781119706823
Note:
Cover -- Half-Title Page -- Title Page -- Copyright Page -- Contents -- Foreword -- References -- Introduction -- PART 1: History and Identity -- 1. The Origins of Projection Mapping -- 1.1. Introduction -- 1.2. Let's moonwalk! A short crossing through time -- 1.2.1. The emergence of the expressions "video mapping", "projection mapping", "spatial augmented reality" and "spatial correspondence" between the beginning of the 21st Century and the end of the 20th Century -- 1.2.2. From 17th Century magic lanterns to ancient camera obscura -- 1.2.3. The screen as a material considered as a void: projection mapping in negative from the 15th Century onwards -- 1.2.4. How far back in history can we go? -- 1.3. Immersion in hallucinated worlds -- 1.3.1. Some films on the theme of nested or fallacious realities in line with the first digital projection mapping installations -- 1.3.2. Some philosophies of illusion -- 1.4. Examples of visual devices -- 1.4.1. Two visual instruments: anamorphoses and X-rays -- 1.4.2. Immersive panoramas -- 1.4.3. Augmented reality and low-tech virtual reality -- 1.4.4. Some visual sequences spatialized since Antiquity -- 1.5. The agencies -- 1.5.1. The arts of memory -- 1.5.2. Feedback, or the chicken and the egg problem -- 1.5.3. Some practical uses of the magic lantern -- 1.6. A figure of transgression and juxtaposition with a beyond -- 1.6.1. Unconditionality -- 1.6.2. Magic image imagery -- 1.6.3. Anima -- 1.6.4. See from a distance -- 1.7. The invention of an "empty box" as an image container -- 1.7.1. Any precursors? -- 1.7.2. Alberti and the invention of the screen -- 1.7.3. The humanistic context of the disruptive object-subject disconnect reified in and through the image -- 1.7.4. A hypothetical starting point -- 1.8. Modern inflexions: obsolescence of old visual devices and tacit challenges to the Albertian model
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1.8.1. Obsolescence -- 1.8.2. Challenges -- 1.9. Parastatic scenography -- 1.9.1. For the eyes: the uncomplicated image -- 1.9.2. Living presences and images -- 1.9.3. From the screen to film -- 1.10. From expedition to investigation -- 1.10.1. Resilience -- 1.10.2. Ongoing investigation -- 1.11. Conclusion -- 1.12. References -- 2. The "Spatialization" of the Gaze with the Projection Mapping Dispositive -- 2.1. Introduction -- 2.2. The release of the "cinematographic cocoon" -- 2.3. Changing the projection mapping dispositive -- 2.4. The spatialization of the gaze or the perception of the projection mapping spectator -- 2.5. "Attractions set-up" or real content? -- 2.6. References -- 3. Projection Mapping: A New Symbolic Form? -- 3.1. Introduction -- 3.1.1. Symbolic form and apparatus -- 3.1.2. Apparatus and projection mapping -- 3.2. A shifting tool -- 3.3. The surface -- 3.3.1. The environment/projection ratio -- 3.3.2. The volume -- 3.3.3. The projection plane: the substrate -- 3.4. The projection -- 3.4.1. The haptic image -- 3.4.2. The point of view or the projector -- 3.5. Conclusion -- 3.6. References -- 4. Points of View: Origins, History and Limits of Projection Mapping -- 4.1. The origins of a movement towards alternative forms according to Romain Tardy -- 4.1.1. Origins and VJing -- 4.1.2. Transformation and continuity -- 4.1.3. Projection mapping and the screen -- 4.1.4. Projection mapping of yesterday, today and tomorrow -- 4.2. A short history of projection mapping according to Dominique Moulon -- 4.2.1. Projection mapping in the history of light -- 4.2.2. The invention of the video projector -- 4.2.3. The feeling of immersion with different applications of projection mapping -- 4.2.4. The role of ICTs today and tomorrow -- 4.3. Projection mapping and its limits according to Christiane Paul -- 4.3.1. The New Aesthetic
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11.4. Conclusion: monumentalize the monumental -- 11.5. References -- 12. Projection Mapping: A Mediation Tool for Heritage Resilience? -- 12.1. Introduction -- 12.2. Architecture, a heritage trace and an art to be preserved -- 12.3. The architectural heritage between preservation and mediation issues -- 12.4. Meeting between architectural heritage and projection mapping -- 12.5. Classification of architectural projection mapping -- 12.5.1. Communication issue -- 12.5.2. Information issue -- 12.6. Meeting between architecture and projection mapping -- 12.7. Conclusion -- 12.8. References -- 13. Architectural Projection Mapping Contests: An Opportunity for Experimentation and Discovery -- 13.1. Introduction -- 13.2. Different projection mapping projection contexts -- 13.2.1. Limitation of projection mapping orders -- 13.2.2. Contests, platforms of creative freedom -- 13.3. Interests and functioning of the contests -- 13.3.1. The organizers' point of view -- 13.3.2. Functioning of the contests -- 13.4. Analysis of the 2018 season -- 13.4.1. Perspective of the artists -- 13.4.2. Results of the 2018 contests -- 13.5. Conclusion -- 14. Points of View: Supporting and Highlighting Projection Mapping -- 14.1. Video Mapping European Center according to Antoine Manier -- 14.2. Lighting design and sustainable projection mapping installations according to Alain Grisval -- 14.2.1. Lighting designer -- 14.2.2. Durable devices -- 14.2.3. Economy -- 14.2.4. Legal aspect -- 14.2.5. Identity and taste -- 14.2.6. Interaction for all audiences -- List of Authors -- Index -- Other titles from iSTE in Science, Society and New Technologies -- EULA
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4.3.2. Projection mapping as a technology -- 4.3.3. Projection mapping as an experience connecting the physical and the virtual -- 4.3.4. Projection mapping and museums or art institutions -- PART 2: Texts and Techniques -- 5. Listening to Creators in Residence -- 5.1. Creators, a residence and a festival -- 5.2. Capturing the genesis of a work -- 5.3. REMIND: a method to capture the dynamics of the situated creative experience -- 5.4. Space, tool and solitude -- 5.4.1. The instrumental space -- 5.4.2. The dynamics of the emotional states of the creators in situ -- 5.4.3. Work, emotions and troubles -- 5.5. New residence arrangements -- 5.5.1. Limitations and contributions of this type of survey -- 5.5.2. Towards a design of space and experience -- 5.5.3. The creator profession -- 5.6. Prospects for the future -- 5.7. Increased attention to the place of creators in digital arts -- 5.8. Acknowledgements -- 5.9. References -- 6. Projection Mapping and Automatic Calibration: Beyond a Technique -- 6.1. Introduction -- 6.2. Towards a new projection dynamic -- 6.3. Automatic calibration -- 6.4. Automatic geometric calibration -- 6.4.1. Procams methods -- 6.4.2. Zhang method (Zhang 1998, 1999) -- 6.5. Projector calibration using one or more pre-calibrated cameras -- 6.5.1. Fringe Pattern/Structured Light DMD (Digital Micromirror Device) -- 6.6. Automatic calibration applied -- 6.7. Automatic calibration in France -- 6.8. Conclusion -- 6.9. References -- 7. Projection Mapping Gaming -- 7.1. Introduction -- 7.2. Specifying the scope of the projection mapping game -- 7.3. The indoor projection mapping game -- 7.4. The outdoor projection mapping game -- 7.5. Conclusion -- 7.6. References -- 8. Projection Mapping and Photogrammetry: Interest, Contribution, Current Limitations and Future Perspectives -- 8.1. Introduction -- 8.2. State of the art
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8.3. Photogrammetry for projection mapping -- 8.4. Contribution: an automated imaging device for object photogrammetry -- 8.5. Current limitations and future prospects -- 8.6. References -- 9. Points of View: Sound, Projection and Interaction -- 9.1. Sound creation projection mapping, a real composition of sound -- 9.1.1. Introduction -- 9.1.2. The place of sound -- 9.1.3. Analysis of works of art -- 9.1.4. Conclusion -- 9.2. Projectionist: a profession according to Pascal Leroy -- 9.2.1. History -- 9.2.2. Identity and tastes -- 9.2.3. Art and technology -- 9.2.4. Limitations -- 9.2.5. Projection mapping and cinema -- 9.3. Interactive projection mapping by Anne-Laure George-Molland -- 9.3.1. Enter interactivity to make it exist -- 9.3.2. Small interactivity and projection mapping -- 9.3.3. The future of interactivity in projection mapping -- 9.4. References -- PART 3: Production and Dissemination -- 10. The Factory of the Future, Augmented Reality and Projection Mapping -- 10.1. Introduction -- 10.2. The factory of the future -- 10.2.1. The process -- 10.2.2. The technological challenges of the plant of the future -- 10.2.3. A digital and connected factory -- 10.3. Augmented reality -- 10.3.1. Simple definition -- 10.3.2. Some chronological references for augmented reality -- 10.4. Factory of the future and augmented reality -- 10.5. Augmented reality and projection mapping -- 10.6. Future plant and projection mapping -- 10.6.1. Some preliminary considerations -- 10.6.2. Some examples of projection mapping in manufacturing -- 10.7. Conclusion -- 11. Heritage Mediation through Projection Mapping -- 11.1. Introduction -- 11.2. The symbolic value of heritage -- 11.3. Projection mapping as a means of cultural heritage mediation -- 11.3.1. Transcending mediation -- 11.3.2. Combined mediation -- 11.3.3. Self-reflective mediation
Additional Edition:
Print version Schmitt, Daniel Image Beyond the Screen Newark : John Wiley & Sons, Incorporated,c2020 ISBN 9781786305046
Language:
English
Keywords:
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