IMMERSIO A virtual reality performance - Presentation sheet (June 2017)
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YANN DEVAL, AURÉLIEN MERCERON,
CHRISTOPHE MONCHALIN, BORIS WILMOT,
THOMAS FAGE, STÉPHANE LAPLATTE
IMMERSIO A virtual reality performance
Presentation sheet (June 2017)
Collectif IMMERSIO
SOMMAIRE THE PROJECT
Project identity card
Project type: Virtual reality performance
Production/project team: Immersio Group (Yann Deval, Aurélien Merceron,
Christophe Monchalin, Boris Wilmot, Thomas Fage, Stéphane Laplatte)
THE PROJECT 2 Co-production: iMAL, Fédération Wallonie-Bruxelles
Project identity card With the support of Wallonie-Bruxelles International
Booking: Juliette Bibasse
PITCH3 Copyright: Collectif Immersio
Intention Note 3 English translation by Paula Cook
SYNOPSIS5 Website: www.immersio.tv
Description Email: immersio.contact@gmail.com
Progress
Artistic approach 8 Original music:
Themes Yann Deval
Philosophy Clarinets:
Aurélien Merceron
Position on virtual reality
Yann Deval
Visual and sound 11 Choirs:
Aesthetics Thomas Fage
Sound & music
Inspirations & references Contributions:
Biography of the developers 14 VVVV by VVVV Group
dx11 by Vux
COMPLETION TIMETABLE 17 OSVR by Tonfilm - Oculus by Tomeic
Project history ParticleGPU by Dottore
DATES / PUBLIC / RATES 18 Instance Noodles by everyoneishappy
Dates Kinect Calibration by intolight
Would you like to programme Immersio for an event? FlockingBehavior by Raul
Workshops dx11 Pointcloud by tmp
Street Cloud Flow by Callum Prentice, inspired by Patricio Gonzalez Vivo
TECHNOLOGIES USED 20
Technical mechanism
Thanks to:
Functional diagram: physical implantation Pierre Van Thienen
Technical sheet Balir Ben Amor
IMMERSIO AS SEEN BY PARTICIPANTS 23 Marie-Ghislaine Losseau
CONTACT24 Coline Raynaud
Anne D’hond
KAOS Films
Edificio
Antokhio
2
PITCH
IMMERSIO is an interactive and immersive experience plunging
the participant in a living dream, in a world deriving from reality to
abstraction, in a universe that questions the place of the body and its
perception in a numeric space.
INTENTION NOTE
Urban collage randomly generated by the movements of the user
With Immersio, the group raises the question of the body in the
numeric space through a mechanism of virtual reality.
Immersio suggests paths for exploring this media, leaving behind
narration, text, characters to concentrate on the dramaturgy,
This mechanism proves the opportunity to question the language and
movement, interactivity, generative and random processes...
grammar of virtual reality.
For a little more than one century, we have assimilated
By creating a universe devoid of corporeality and where the human is
cinematographic codes. Although today we confront these codes to
only present as traces, it provokes questions on the relations between
the impact of an immersive work, we suddenly see countless issues
the spectator’s body and space, on the users relationship with the
arise, filled with as many promises as deceptions. What does the
other and their control over the world around them.
disappearance of the screen imply in terms of dramaturgy? Must we
think virtual reality as the continuation of cinematographic language
or perceive it as a radical break? What place is left to the spectator/
user? What new space emerges? What becomes the perspective of the
artist when framing and editing no longer exist and are replaced by
the choices made by users or algorithms?
3
SYNOPSIS
Around her/him, the urban space progressively changes.
Neighbourhoods from various cities blend together in real and unreal
collages: reality of each image, unreality of the juxtapositions and
Description successions. Progressively, the user becomes aware that her/his eye
has the power to modify the surrounding reality, that takes her/him
from place to place, and that s/he increasingly becomes the master of
The participant1 enters alone in a her/his journey.
black 3X3 cube.
The participant then falls into a bottomless pit where some previously
S/he is equipped with virtual real- experienced scenes are revisited. The aesthetics change along this fall,
ity goggles and an audio headset. going from a realistic representation to a schematic representation.
For fifteen minutes, the spectator experiences a “dive” in a drifting vir- Only existing through the gaze, the participant can now move and
tual universe. cross the urban spaces. The intervention of the body becomes
effective. The body starts moving and existing. Progressively, the
In a familiar universe (made up of the streets around the installation spectator learns to control the process, re-appropriating her/his free
screening venue), the spectator is only an “eye”; her/his body is not will and unreservedly moving in an infinite universe.
materialized and seems devoid of incidence on the surrounding world.
Progressively, the world around the user disappears, and her/his body
starts visually developing before her/his eyes. The user is left with the
numeric materialisation of her/his body.
360° capture of a location around the installation
1 In this presentation, we will use the terms of spectator, user, participant, passenger, visitor in view of the
multiple roles and implications of the person taking part to the experience.
5
Progress In parallel, a relation to time builds up through the repeated return
to previously visited locations. Scenes are lived once again, albeit
in a different context each time. Whether it be through a fall in a
bottomless pit evoking the irretrievable past or revisited later through
an offset form of reality as a confuse memory (particles aesthetic).
The dramaturgic progress of the experiment is linear: 5 successive
layers.
In a first working copy, the events followed each other according
to the choices and actions of the user. This meant that we lost the
dramaturgic force of an imposed path that takes the user in a state
before progressively offering her/him another.
The passage between each layer is thus determined in the progress
but remains dependent of several factors: the action of the user (who
will remain conscious or unconscious of this trigger), an algorithm or
the operator1.
Therefore, this linear structure does not impose an identical
experience for each user of Immersio.
1 An operator of the Immersio group guides each “dive”. The operator guides and
equips the user and ensures that the journey goes smoothly.
Visualisation of the body
6
ARTISTIC APPROACH
control, abandoning her/himself and becoming conscious of the
manner in which s/he is affected by the urban environment.
The idea of using computer code to create a potentially infinite
environment seduces us. Does the computer and its combinatorial
possibilities allow creating an unlimited universe, in the manner of
Borges and his Babel2 library?
Through this infinite generative space, the questions relative to the
process of the journey concern us.
Immersio takes the spectator from a situation (an eye without a body)
towards another (birth of the numeric body).
From a realistic world to an allegorical universe.
From a frozen world to a moving universe.
From photography (capturing light) to Point Cloud (capturing
movement).
From a fixed, marked, documented world to a perpetually reinventing
universe.
What we are trying to offer the user/spectator/actor falls within the
scope of the initiatory journey. In the process that we are trying to
Themes develop, not only does the spectator acquire various possibilities of
choice, but s/he discovers that s/he has the possibility to choose.
In this way, the form of an interactive installation boasts a cascade of
If in a first while, Immersio raises the question of the body in a advantages over theatre or cinema, since it totally involves the user to
numeric space, the installation approaches other themes. make her/him into an actor of that journey.
We purposely focus on the theme of vagrancy in a hyper-mapped
world. Since Guy Debord’s theories of urban vagrancy1 in 1956, our
relation to the world and to space has evolved. We are trying to
recover this sort of aimless poetic wandering via a “wild cartography”
algorithm of creation, which generatively creates inexistent links
between locations. The user gets lost until s/he accepts this loss of
1 One or more persons indulge in vagrancy and give up, for a relatively long duration, to the 2 The Babel library contains all the books already written and those that are going to be pub-
reasons of moving around and acting that they generally experience to the relations, tasks and lished amongst a huge number of books devoid of legible content (since each book can only be
leisure characterising them, to let themselves be subject to the solicitations of the field and cor- constituted of a succession of characters that do not form anything precise in any language). The
responding encounters. (...) http://www.larevuedesressources.org/theorie-de-la-derive,038.html library is inhabited by a race of men that only knows this world and that seeks the ultimate book,
a revelation or the Truth. http://fr.wikipedia.org/wiki/La_Biblioth%C3%A8que_de_Babel
8
Philosophy experience.
An attempt at redefining the relation between user and artist via an
Immersio is a multidisciplinary project hovering between digital arts,
experience that calls upon live performance destined to one sole user.
plastic arts and living theatre.
To the digital arts, we borrow the thematic principles and technical Position on virtual reality
system; to plastic arts: the practice of shaping reality; and to living
theatre: the performative aspect. In spite of the expectations that it has triggered for the past 30 year,
virtual reality is a new experience for today’s spectator: it emerges
We offer spectators a rich and generous experience. from a very specific framework (simulations, medical applications)
One of the artists of the group accompanies each passenger upon and enters into the broader audience sphere with an availability of
their journey, helping them to settle down and preparing them to the immersive peripherals accessible to the greater audience.
experience.
During the dive, interactivity will be established between the user and Virtual reality requires rethinking totally the audio-visual and video
the software and between the user and the artist-performer, who will game languages: roles of sound, framing, editing, dramaturgy and
handle a series of parameters that will be triggered depending on the aesthetic possibilities given by the relief, visual and sound field... It
reactions of the user or emotions of the moment. We want to bring fulfils one of the fantasies of cinema, which consists in allowing the
some characteristics of theatre, performance or still, improvised music spectator to not only look at an image, but to enter inside this image1.
into the field of numeric arts.
These past few years, the video game universe of the video game has
It is thereby impossible to “industrialise” the installation (by multiplying made some substantial progresses in terms of tale, immersion, and
the mechanisms to offer the experience to more spectators) without propositions of interactivity, game play... However, market constraints
losing its very essence. imposed by the industrial aspect of the video game (very high cost,
profitability, harsh competition) do not encourage experimentation,
This way, we introduce a counterbalance with one of the specificities research, copyright policy that would allow it to reach its full artistic
of Digital Arts, which allows the sharing of a dematerialized work by maturity. It thus falls into the responsibility of other media to widen
a theoretically unlimited audience. Here, the broadcast is limited by and deepen these fields of research, via the digital arts, net art, art
the mechanism, by the necessity for a direct interaction between house cinema... We feel that an installation like Immersio is a good
spectators/artist and by the compulsory presence of the artist for the starting point to undertake this reflection.
live performance.
Immersio creates a temporality during which the spectator cannot
be distracted. No possibility to “zap”, the user is “confined” in the
installation. Paradox: it is in a virtual reality installation that the
spectator will experience an experience disconnected from the web,
unreachable, cut off from the world. 1 Steven Spielberg : “We’re never going to be totally immersive as long as
we’re looking at a square, whether it’s a movie screen or a computer screen.
We’ve got to get rid of that and put the player inside the experience, where
With Immersio, we demonstrate our intent to free ourselves from no matter where you look you’re surrounded by a three-dimensional expe-
some clichés linked to new technologies: participative, collective, rience. That’s the future.”
http://www.nytimes.com/2013/06/23/opinion/sunday/movies-of-the-future.html?_r=0
social, shareable experiences. Here, we offer an individual, intimate
9
VISUAL AND SOUND Aesthetics
The starting environment is essentially based on a photographic
aesthetic that plunges the user in a realistic environment.
In the succession of various layers, this initial environment will be
explored via other types of visual treatments: the aesthetics plays an
offsetting role.
Collage, the alterations of images, spatial materialisation in Point
Cloud are so many processes that will be used to achieve this offset.
Sound & music
Rather than trying to simulate reality by stimulating the 5 senses, we
feel that it is more interesting to call upon a limited range of senses
and related contradictions.
The sound thus does not underline the image (we don’t hear the
sounds of the city in which we are), but offers an opposing view.
Just like an illustration casts a new eye on a text. Or like a voice-over
allows offsetting a filmed image...
Sound and music play an extra-diegetic role here. They are not part of
the universe in which the spectator is plunged, which allows the latter
to keep a distance with the experience encountered.
Through its semi-generative structure, the music adapts to the pace
and path of the user. Music is pre-composed in an Ableton Live /
MaxMsp4Live patch that dialogues with VVVV.As the user progressively plunges deeper into a synthetic digital
universe, the music becomes increasingly organic, warm, and human.
Although the music reaches users through the audio headset,
spectators progressively realise that it does not only come from the
earpiece: live music is played in the room. A sort of superimposition
and redefinition of the off-camera makes the frontier between virtual
space and real space even more permeable.
The asperities, imperfections and improvisations of the live music
contrast with the visual “perfection” enabled by the numeric
process.
Inspirations & references
There are countless references to virtual reality in films or science
fiction novels. Amongst the works that inspired Immersio, we could
mention Ubik by Philip K. Dick, Rant by Chuck Palahniuk, La bohème
et l’ivraie by Ayerdhal, Ghost in the Shell by Mamoru Oshii, Existenz
by David Cronenberg, Paprika by Satoshi Kon. But we could very well
mention many other references drawn from literature, film or painting
insofar as this thematic is both endless and essential.
These works fictitiously anticipated the uses and usages of virtual
reality and allowed the latter to enter the groupunconscious
well before its effective existence, thus creating expectations and
behaviours. It therefore feels important that an artist launching into
the design of this sort of interface should re-read or watch these
works once more in order to find questions and reflections common
to their own researches.
12BIOGRAPHY OF THE
DEVELOPERS
IMMERSIO Group
The multidisciplinary group gathers motion-designers1, musicians,
computer engineers and graphic designers. Although each member
of the group has his own area of specialisation, they all effortlessly
change role inside the Immersio team...
Yann Deval
Motion designer, music composer, interactive designer
After a licence in History of cinema at the Sorbonne and audio-visual
editing studies in Cannes, he settles in Brussels in 2006, where he
develops his activities as a motion-designer, music composer and
interactive designer.
He works for the film industry (Le Tout Nouveau Testament by Jaco
Van Dormael, L’Ecume des Jours by Michel Gondry), video clips
(Puggy, Sacha Toorop), and documentaries...
Here are a few examples of his work in the area of interactive design:
2013 : Lutherie Motionographique #1 (Digital Lutherie) : https://vimeo.com/73685032
2013 : Persifleur (Interactive Music Video) : http://mercursound.net/persifleur/
2013 : Pianocktail (Installation)
2013 : Media 50 years (Generative Design)
2013 : RocknRollio (Realtime Mashup Installation)
2012 : Kinetoscopio (Installation)
2007 : Livemap (Performance)
2007 : Videoboxing (Performance)
2005-2007 : Various VJ-Set for Burning Heads, Divan du Monde, Rezo Films… (Performance)
2005 : Dominik Moll’s Lemming (VJ Set for the Cannes Film Festival 2005 Opening Night)
1 For a definition of motion-design:
https://vimeo.com/29734504
14Christophe Monchalin Boris Wilmot
Digital artist, motion designer Motion Designer
Christophe Monchalin is a digital artist and motion designer, based in Graduate of cinema techniques from Brussels’ InRaCi in 2005, Boris
Brussels. Wilmot is a self-taught motion designer who works as a freelance
Graduate engineer in computer sciences and robotics (IMERIR / since 2007.
France) in 2004, he develops his digital work through visual and He has worked on various fiction feature films (Moi, Michel G.,
interactive art. His artistic research explores mainly human feelings milliardaire, maître du monde), documentaries (Philippe Geluck,
and behaviours. l’échappé belge) and television series (Détectives). He has made
In parallel, he studied Chinese medicine in China and he is a graduate several adverts, video clips (Antilux: Ophélia) and short movies
acupuncturist from Beijing academy of Chinese Medicine in 2011. (Life is music). He also created visuals for contemporary dance
Today, all of these experiences feed his artistic approach. shows (Identificazione di una Donna and Pagina Bianca by Brazilian
choreographer Claudio Bernardo) or still, for concerts (with musician
2017 : Sans Bruits (Virtual reality interactive installation / In progress...) Ucture).
2014 : The weightlessness of words (Generative and narrative visual)
2013 : Media 50 years (Generative Design) In 2008, he integrates Boya Entertainment, a Brussels-based
2013 : Pianocktail (interactive installation) alternative music label, where he works as director, events organiser
2013 : RocknRollio (interactive installation)
2012 : Kinetoscopio (interactive installation)
and dj.
In 2011, he takes part to the creation of REANIMATION, a group
of graphic designers specialising in animated images and mixing
Aurélien Merceron techniques (2D/3D, stop-motion, illustration, music...)
Developer / Director
2001: Technology University degree in Mechanics and Robotics
2004: Engineer diploma in Computer Sciences and Robotics
He launches his professional career with two outstanding experiences Stéphane Laplatte
as development engineer. First at the Santiago (Chile) tax office for a 3D animator
year and a half. Animated by visual arts, he launches into an audio-visual career to
Back in Europe, he pursues his career at the DGTPE (French ministry of specialise in computer-generated images.
the economy). He shares his knowledge by training graphic designers at the RTBF
In 2008, he approaches journalism in Chile, then Bolivia for French and at the ITECOM Art Design school.
internet site La Télé Libre.fr, thus discovering the universe of video, Working for the film industry, television, advertising and corporate
editing, shooting and direction when he returns to Brussels in 2010 projects, he splits his time between his clients in Paris and Brussels.
and creates Wikube with a shooting/editing team. He makes artists 3D generalist, his range of competence covers the first stages of 3D
interviews for the Demandez le programme.be website, a report for direction (3Dsmax, Vray, Zbrush, Mudbox, PFTrack) to final composing
the Brussels Philharmonic Orchestra, an animated film for the citizen (After Effects) and image edition (Photoshop).
campaign of the European EPSU union, which will reap two million A member of the REANIMATION group that regroups encompasses
signatures before the EU. graphic designers, directors and musicians, Stéphane Laplatte directs
In 2011, he founds the Labokube, a residence where artists and other Fight or Flight for the New York Times in 2014.
professionals work in studios and create a shared working space with
an exhibition/projection room.
15Thomas Fage
Motion designer and musician
After training in editing, he works for a Brussels based post-production
company and specialises in motion-design. He takes part to the
creation of musical universes for the theatre Si les matelas avaient
des oreilles by Marie-Ghislaine Losseau, and short films including
Charleville Mézières by Marguerite Didierjean.
Having moved to Paris in 2008, he works as a freelancer, mostly in
the area of documentaries (Art Spiegelman by Clara Kuperberg, Sex in
the Comix by Joëlle Oosterlinck for Arte), television (creation of the
signature tune of the series Maison Close for Canal+, Détectives for
France 2), and web and cinema (Moi, Michel G, Milliardaire, Maître du
Monde by Stéphane Kazandjian, Dancing by Marguerite Didierjean).
Since 2010, he has developed, in collaboration with painter Thomas
Ivernel, a project: illusionite, which blends music, video, and painting.
The first project was presented at Agnès b in February 2013.
In 2011 he takes part to the creation of REANIMATION, a group
of graphic designers specialising in animated images and mixing
techniques (2D/3D, stop motion, illustration, music...), and to the
Mercur group with Yann Deval and Rodolphe Blanchet.
Juliette Bibasse
Producer / Curator
With a background in artistic direction, Juliette has a taste for simple
and stripped down aesthetics. Since 2009, she has been applying her
skills to the digital art scene, creating connexions and opportunities
between artists, festivals and cultural actors.
She collaborates with several international artists, touring their existing
projects as well as looking for opportunity of new creations Since
2013, she is the head of production of Studio Joanie Lemercier.
She also works as an associated curator for several festivals and
cultural institutions.
Eager to learn and to share her experience, she is giving talks about
topics related to digital art.
Web: http://julietteb.com/
instagram: https://www.instagram.com/juliettebibasse/
Twitter: https://twitter.com/jbibasse
16COMPLETION TIME-
March/April 2014: Presentation of a stabilised prototype version at the
Iselp and the Halles de Schaerbeek.
TABLE Project timeframe
Project history PRODUCTION
BEFORE IMMERSIO
2014: Broadcasting of the Beta version in various locations
June 2012: the members of the group meet. All share the resolve of
exchanging practices and putting their competences together.. September 2014:
Shooting
September 2012: creation of a first interactive installation, 2D/3D graphic creation of the universes
Kinetoscopio, for the Latin Anima festival. Programming of missing modules
November 2012: first reflections on an immersive project, the infancy End 2014:
of Immersio.. Inclusion of comments
Debugging
February/June 2013: creation of various interactive installations (rapid Optimisation of code
prototypes): Rocknrollio, Media, Pianocktail... Graphic finishes
June 2015:
DESIGN Immersio version 2: creation residence @ iMAL
Adaptation Oculus DevKit2
June 2013: co-production of iMAL following a call for projects by Broadcasting in various locations of version 2.0
Summer Sessions
Summer 2016: Immersio version 3
September/October 2013: Design residence of the prototype of Adaptations HTV Vive.
Immersio in Labokube.
November/December 2013: public presentations (Labokube, Centre
des Arts de la Rue Ath, Maison de la Création, CC Jacques Franck)
March 2014: stabilisation of the system. Creation of simplified
modules.
17DATES / PUBLIC / Would you like to programme Immersio
for an event?
RATES Since it was created, Immersio has been played in a wide array of
venues: multidisciplinary festivals, museums, contemporary art centre,
cultural centres, numeric arts centres, art schools, meet ups, trade
Dates fairs...
The installation is devoid of texts or words, which makes it user-
NODE17 Off - Frankfurt / Germany, June 30, 2017 friendly everywhere.
SAT - Montreal / Canada , May 30, 2017 to June 3, 2017 It reaches a wide audience of all ages, which is merely curious or
Athens Digital Arts Festival - Greece, May 18, 2017 to May 21, 2017 passionate about VR, and is suitable for children aged from 8+.
Kilti / Brussels Art Factory - Brussels / Belgium, April 1, 2017
Bozar / SACD VR Day - Brussels / Belgium, February 15, 2017 The number of participants than we can welcome should be
Wisp Festival - Leipzig, Germany, 18/20 November 2016 discussed according to the type of event. In some conditions, we can
SignalOff - Prague, Czech republic, 13/14 October 2016 host up to a hundred travellers per day.
Labokube - Bruxelles, on 8 July 2016
Arts2 - Mons, 3 November 2015 We will gladly prepare an estimate upon request. Prices are equivalent
Impulse.be VR MeetUp - Brussels, on 4 September 2015 to those applicable for a theatre show.
Brussels Creative Forum - Brussels, on 28 to 29 August 2015
IMAL - Brussels, from 2 to 5 April 2015 We can set up the installation in every type of venue. However, a
Notre-Dame à la Rose - Lessines, on 24 and 25 Mars 2015 wide and calm environment (allowing to install our 3X3 cube) is better
L’Iselp - Brussels from 2 to 5 April 2014 suited for a smooth immersion.
Halles de Schaerbeek - Brussels from 28 to 30 March 2014
Centre culturel Jacques Franck - Brussels, on 18 December 2013 Every time that we play Immersion in a new venue, we shoot 360°
Maison de la Création - Brussels, on 13 December 2013 images to integrate the venue into Immersio’s virtual environment.
Centre des arts de la rue - Ath, on 13 November 2013
Labokube - Brussels, from 4 to 9 November 2013 We set up our equipment on the day before the event: assembly of the
cube, placement of the sensors, calibration and technical tests.
It takes roughly an hour to dismantle the equipment after the show.
Come and try Immersio as a programmer.
Contact us on immersio.contact@gmail.com
Demos take place in Brussels. It is possible to go to other locations.
18Workshops
In parallel to the Immersio installation, the artists of the group offer
workshop focusing on the VVVV nodal programming software.
A few themes of the workshop:
• Initiation to programming software vvvv (aimed at graphic designers)
• 3D modelling aimed at programmers.
• 360° shooting
• VR Workflow from shooting to programming
(…)
VVVV (Four V) is a programming software created in 1998 allowing artists
without coding experience to create interactive applications via a nodal
graphic interface (similar to that of such software as MaxMSP or PureData).
It is used by a very active community of artists, designers and developers.
Numerous libraries are available to extend the functionalities of the software A few exemples:
(mapping, virtual reality, 2D and 3D dynamics, advanced particles systems...)
• 2017-06 Talk “Performative VR Experiences” - ix Symposium - SAT Montreal
It can be used to treat every sort of media (2D/3D graphics, video, audio, • 2017-02 Panel “VR on stage”- Bozar - SACD - Brussels
MIDI, databases, cameras, sensors, Arduino, networks, Kinect...) and proves • 2016-12 Workshop Photogrammetry and VVVV / Merz-akademie Stuttgart
particularly suited to generate 3D real-time graphics. • 2016-07 Workshop Robotic and programming with teenagers / Spoken Brussels
• 2016-07 Symposium The map is the territory / Merz-akademie Stuttgart
VVVV is characterized by its particularly intuitive use. VVVV is free for a • 2015-11 Workshop VR with VVVV / école Arts2 Mons
non-commercial use. • 2014-11 Symposium Art & VR / Gaité Lyrique Paris
• 2014-09 Workshop VVVV Programming / OpenTechSchool Brussels
• 2013-09 Workshop Motion-Graphics with VVVV / Labokube Brussels
19TECHNOLOGIES USED
vvvv generativeMusic
liveMusic
particles dive virtualReality
VR
generativeProcesses livingDream
collage
digitalBodies
IMMERSIO immersion
Technical mechanism
pointCloud
motionCapture performance realityToAbstraction
The mechanism consists of:
interactiveInstallation • The software programmed by the group via the VVVV1 nodal
roomScale programming software.
infiniteUniverse
• The curtained cube to isolate the participant.
• A highly performing PC equipped with the last generation
graphics card to calculate images in real time.
• An HTC Vive Virtual Reality helmet and its sensors
• A Kinect for capturing movements, gesture recognition and
generation of the Point Cloud
• An audio helmet connected to a max4live patch
1 VVVV defines itself as a “multi-purpose tool kit” This very powerful modular creation tool based
on the DirectX display technology uses the capacities of the GPU for real-time graphic treatment.
http://vvvv.org/
20Functional diagram: physical Technical sheet
implantation
What we need?
Short answer: nothing but an electric plug for our computer...
We are totally autonomous.
For more comfort
We can bring with us our cube, which helps to isolate each participant,
and increase the immersion.
In this case the installation requires a room allowing for a cube of
3x3x2,5 meters. (10x10x8 feet)
So the room would be minimum 3,5x5x2,5 meters (11.5x16x8 feet)
The room must guarantee the tranquillity of the user (a minimum of
phonic insulation)
To be provided by the venue:
• desk of 1m50 / 60cm minimum (to place a computer)
• 2 chairs
• Accessible Internet connection (Ethernet or Wi-Fi)
What we bring with us?
We bring the cube (if necessary), the VR headset (HTC Vive), the
sensors, the computer and software, .
Management:
2 IMMERSIO operators, who are responsible for the installation/
calibration of IMMERSIO, the reception of each participant, and the
musical performance.
The cube is hidden by falling
curtains
2122
IMMERSIO AS SEEN BY
Jacques-Yves Le Docte -
Directeur du Centre culturel Bruxelles Nord / Maison de la création -
Belgium
When I emerged from the Immersio cube, I realised that I’d never experienced
PARTICIPANTS anything like this.
The impression of being the same as one of the privileged few who, more
than a hundred years ago, experienced recorded sound or cinema before they
ever became everyday tools.
The conviction of living a transitional experience, of crossing the door to the
near future with the most audacious technologies at the reach of the greater
number.
It’s a truly vivifying sensation.
And these images... these universes that, through our eyes, immerse the entire
body.
I adore the aesthetics, the technological poetry, the everyday life that rubs
shoulders with the infinity of dreamt worlds. Colours, speeds, architectures,
Alice Felloni - VJ - Italia and the sentiment of living an initiatory path, a symbolic experience.
Immersio is an incredible journey from a high level generative graphic point of Generally speaking, I’m not particularly fond of video games. But this is
view but also from an intimate individual point of view of the person who lives something completely different, a very concrete opening onto a completely
this trip. different use of “Virtual Reality”.
Everyone has had, for me, a different trip, because everyone has reacted I also loved the impression of taking part to an “experience” led by artists-
differently to Immersio’s input. This thing makes Immersio an unique, researchers, guys who live for and through their passion.
interactive performance of high standard. With undeniable care and attention for their “passengers”.
Generative images created are incredible and the possibility of interacting with More than an installation, a high-quality artistic work to be discovered
them, such as the possibility of flying is exciting. immediately.
Also the connection with the music at both auditory and visual is very well
developed. Leona Maříková - Czech republic
Immersio like every great masterpiece ends in a amazing way : the traveler Saturday on our way to Signal Festival and Mosaik at DOX, the greatest
ends his journey seeing himself from the outside as if it were floating in space. experience was IMMERSIO, unseen elsewhere, my daughter is still excited
I find the brilliant idea, developed very well graphically. about it !
Yaroslav Kostenko - Russia Gábor Szűcs - VJ - Slovakia
Thank you very much for this 9D installation !!! Super experience opens new First of all I want to say thank you for this beautiful experience. I ve never seen
borders of mind. VR installation on this high level before. During the trip I had a feeling like
it was a dream. I like so much the beginning with the changing landscapes
Natalia Matyasova - Czech republic and then the tunnel effect. Also would like to mention “flying” was absolutely
I loved the installation. It was a wonderful, marvellous experience. I enjoyed awesome, I wanted to stay in that space longer. Thank you very much for this
every minute of it. The sensations, feelings and emotions you get are nowhere memorable experience. I highly recommend to everyone !
close to anything I’ve tried before. It’s a multi-sensorial journey that takes you
to places you’ve never thought of. Not only for the places/visuals themselves,
but for the way of living them. I won’t get into details, because I wouldn’t
like to ruin someone else’s journey, but it’s a must-see (live?) if you have the
chance.
23Elli-Anna Peristeraki - Athens Digital Arts Festival Curator - Greece you, luring your attention toward a schematic figure of a clarinet musician
What I always wished for, was to be gifted with the ability to fly so I can see made out of light particles, “dancing” and playing next to you. Like a Pan
the world from above, the ability to teleport so I can visit any place I want at invoking nature to wake up from winter to embrace spring, he is invoking
once, and the ability to see the hidden beauties of this world. Immersio is a you, to sweetly awake from this hypnosis and embrace reality. The rest of your
magic experience that will take you through an amazing journey unlike any senses help you realize that what you see is not only a mere digital depiction
other. It will offer you a chance to taste of all those extravagant experiences in of the musician, but an actual physical presence in your aura, attributed in this
a most exquisite way . majestic aesthetic, skillfully inter-weaving the dream world with actual reality
by performing in real time just for you.
Initiation...
The atmosphere is captivating from the early stages of this experience, The hidden beauties of the world...
before even you put on the VR mask. Entering a very relaxing dim- By the hands of this outworldly musician standing in the threshold of two
lighted environment, positioned in a marked corner of the room and given realities, real magic occurs. Here sound becomes image and encapsulates
instructions in a book that looks like a fairytale, you are hinted that you are you, leading you effortlessly in a so called Catharsis of your perception. The
about to enter a reality that enables you to travel through the dimensions of diffusion of notes in the air, turns to a breathtaking spectacle, of small firework
space, meeting all the magic that lies in its layers. resembling shapes, like stardust, coming out of the end of the clarinet, circling
you, spreading, and little by little vanishing in thin air, as the song progresses
At first you need to know the world/the ability to Teleport... and concludes. This is the most beautiful perception of sound I have ever
The journey begins by transferring you in an urban, open environment . As experienced. The most elegant lure to transition from dream to reality, and to
you look around, exploring, the landscape slowly transforms into an amazing me, a truly unique gift of hidden beauty.
collage of horizons coming from diverse contemporary urban cityscapes from
around the world. Hereby the space continuum is progressively breached by I have always dreamt of experiencing the power of flight, the power of
a very linear unnoticed teleportation process. teleportation and the power of seeing the hidden beauties of this world.
Thank you Immersio for making this real.
Peeling of the layers of worldly perception /The immersion ritual...
As you shuffle through places of the world, at your own pace, you begin to
realize that the speed of your travel slowly intensifies, your movements are
slowly becoming irregular and eventually turning to leaps. Correspondingly,
the environment around you begins to transform, change direction, turn
around and progressively deconstruct before your very eyes.
Defeating the laws of physics/the gift of flight...
At the climax of this ‘Allegro Vivace’ the laws of physics are defeated.
While you take off as a bird, using your hands as wings in a flight above a
deconstructed cosmos which has become a carpet of shiny light particles, you
find yourself wandering in a night sky looking down to an image resembling a
city, as seen from above, being laid under your feet.
At the edge of this cosmos, earthly elements are echoing, yet still
enchanted...
Concluding this deep immersion, a merger of two dimensions occurs.
After you safely land on the edge of this cosmos, an edge that looks like
the enchanted depiction of the corner where you launched your trip, you
start noticing the first echoes of reality. Gazing upon the beauty of the place
you are about to leave, a sweet sound of clarinet is elegantly approaching
24CONTACT
Booking: Juliette Bibasse
immersio.contact@gmail.com
www.facebook.com/immersio
+33 (0)6 89 23 49 51 (Thomas - EN)
+32 (0)4 94 54 06 56 (Yann - FR)
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