Liminal Materials: The Cloud Project

阈限材料：云项目

• 批准号: 133768
• 金额: $ 5.55万
• 依托单位: SQUIDSOUP.ORG LIMITED
• 依托单位国家: 英国
• 项目类别: Feasibility Studies
• 财政年份: 2018
• 资助国家: 英国
• 起止时间: 2018 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=133768
• 关键词: Liminal; Materials; Cloud; Project

"Immersion, the experience of being physically submerged in another world or environment, is above all a sensory experience, relying on our senses of space and physicality.VR technologies are one approach to achieve this, but another is to augment our shared physical space with digitally mediated content; a form of _augmented space_. Borrowing from areas as diverse as theatre and secret cinema, to installation art and Museum exhibits, this is a well-trodden path to immersion that also allows for a highly intuitive, social and in many cases engaging form of immersion. No headsets, but a collective physical experience of immersion.Squidsoup's has for many years sought to create such immersive social spaces using a variety of media and techniques. Our _Ocean of Light_ project uses 3D arrays of thousands of individually controlled lights to create highly immersive, social, walkthrough and responsive experiences to great effect. _The Cloud Project_ seeks to do the same, but using smoke/mist/fog/clouds rather than LEDs.We want to create a controllable cloud form, or plume of smoke. We plan to use digitally managed feedback systems to create the cloud, but we want it to be a physical cloud form, in real space.Fog, haze, smoke and dry ice have been used in the entertainment industry for decades. The techniques are beginning to evolve, with experiences such as Universal Studio's Twister experience, through to companies like Magic Mist exploring novel uses for high pressure misting systems. Artists such as Fujiko Nakaya, Anthony McCall, Ann Veronica Janssens and even Antony Gormley have been using fog and mist for many years, but recently digital artists such as Kimchi and Chips have been incorporating mist as a key feature in visualising dynamic volumetric form._But no-one is really trying to harness the form of the cloud itself._A controllable cloud form can be used in a range of ways.It can be a presence itself within immersive experiences, but also as part of a range of multimedia approaches; combined with lights (LEDs, lasers), used as a moving projection surface to simulate 2D or 3D visuals, or shot through with lasers; used to mask or frame physical architecture."

“沉浸，即身体沉浸在另一个世界或环境中的体验，首先是一种感官体验，依赖于我们对空间和身体的感觉。VR技术是实现这一点的一种方法，但另一种方法是用数字媒介的内容来扩大我们共享的物理空间；这是一种形式的增强空间。从剧院和秘密电影院，到装置艺术和博物馆展品，这是一条常见的沉浸之路，也允许一种高度直观的、社交的、在许多情况下令人着迷的沉浸形式。没有耳机，而是一种集体的身临其境的物理体验。多年来，鱿鱼汤一直试图使用各种媒体和技术来创建这样的身临其境的社交空间。我们的光之海项目使用数千个单独控制的灯光的3D阵列来创建高度身临其境、社交、漫游和响应的体验，达到极好的效果。云项目也想做同样的事情，但使用烟雾/薄雾/雾/云而不是LED。我们想要创造一种可控的云形状，或烟羽。我们计划使用数字管理的反馈系统来创建云，但我们希望它是真实空间中的一种物理云形式。雾、霾、烟雾和干冰在娱乐业已经使用了几十年。随着环球工作室的Twister Experience等经验的发展，以及像Magic Mist这样的公司探索高压喷雾系统的新用途，这些技术正在开始发展。像Fujiko Nakaya、Anthony McCall、Ann Veronica Janssens甚至Antony Gormley这样的艺术家多年来一直在使用雾，但最近泡菜和薯片等数字艺术家一直在将雾作为可视化动态体积形式的关键功能。_但没有人真正试图利用云本身的形式。_可控的云形式可以用于一系列方式。它可以是身临其境的体验，也可以作为一系列多媒体方法的一部分；与灯光(LED、激光)相结合，用作模拟2D或3D视觉的移动投影面，或通过激光拍摄；用来屏蔽或框住物理架构。“