Image Beyond the Screen

Videomapping with its use of digital images is an audiovisual format that has gained traction with the creative industries. It consists of projecting images onto diverse surfaces, according to their geometric characteristics. It is also synonymous with spatial augmented reality, projection mapping and spatial correspondence.

Image Beyond the Screen lays the foundations for a field of interdisciplinary study, encompassing the audiovisual, humanities, and digital creation and technologies. It brings together contributions from researchers, and testimonials from some of the creators, technicians and organizers who now make up the many-faceted community of videomapping.

Live entertainment, museum, urban or event planning, cultural heritage, marketing, industry and the medical field are just a few examples of the applications of this media.

Auteur

Daniel Schmitt is a teacher-researcher in information sciences and communication at the Polytechnic University of Hauts-de-France, France. His research focuses on lived experience and instrumented mediations.

Marine Thébault is a research engineer at the DeVisu laboratory of the Polytechnic University of Hauts-de-France. Her research focuses in particular on the analysis of the activity of artists and their audiences.

Ludovic Burczykowski is a doctor in aesthetic phenomena and sciences and technologies of the arts, a specialist in the relation of digital images with the physical environment, and a research engineer.

Contenu

Foreword xiii

Introduction xvii

Part 1. History and Identity 1

Chapter 1. The Origins of Projection Mapping 3
*Ludovic BURCZYKOWSKI*

1.1. Introduction 3

1.2. Let's moonwalk! A short crossing through time 4

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 4

1.2.2. From 17th Century magic lanterns to ancient camera obscura 5

1.2.3. The screen as a material considered as a void: projection mapping in negative from the 15th Century onwards 6

1.2.4. How far back in history can we go? 7

1.3. Immersion in hallucinated worlds 8

1.3.1. Some films on the theme of nested or fallacious realities in line with the first digital projection mapping installations 8

1.3.2. Some philosophies of illusion 9

1.4. Examples of visual devices 10

1.4.1. Two visual instruments: anamorphoses and X-rays 11

1.4.2. Immersive panoramas 11

1.4.3. Augmented reality and low-tech virtual reality 12

1.4.4. Some visual sequences spatialized since Antiquity 13

1.5. The agencies 14

1.5.1. The arts of memory 14

1.5.2. Feedback, or the chicken and the egg problem 15

1.5.3. Some practical uses of the magic lantern 16

1.6. A figure of transgression and juxtaposition with a beyond 17

1.6.1. Unconditionality 17

1.6.2. Magic image imagery 18

1.6.3. Anima 20

1.6.4. See from a distance 20

1.7. The invention of an empty box as an image container 21

1.7.1. Any precursors? 22

1.7.2. Alberti and the invention of the screen 22

1.7.3. The humanistic context of the disruptive object-subject disconnect reified in and through the image 23

1.7.4. A hypothetical starting point 24

1.8. Modern inflexions: obsolescence of old visual devices and tacit challenges to the Albertian model 25

1.8.1. Obsolescence 25

1.8.2. Challenges 26

1.9. Parastatic scenography 28

1.9.1. For the eyes: the uncomplicated image 28

1.9.2. Living presences and images 29

1.9.3. From the screen to film 30

1.10. From expedition to investigation 32

1.10.1. Resilience 32

1.10.2. Ongoing investigation 33

1.11. Conclusion 34

1.12. References 34

Chapter 2. The Spatialization of the Gaze with the Projection Mapping Dispositive 37
*Justyna Weronika ABD*

2.1. Introduction 37

2.2. The release of the cinematographic cocoon 38

2.3. Changing the projection mapping dispositive 41

2.4. The spatialization of the gaze or the perception of the projection mapping spectator 44

2.5. Attractions set-up or real content? 48

2.6. References 49

Chapter 3. Projection Mapping: A New Symbolic Form? 51
*Martina STELLA*

3.1. Introduction 51

3.1.1. Symbolic form and apparatus 51

3.1.2. Apparatus and projection mapping 53

3.2. A shifting tool 54

3.3. The surface 56

3.3.1. The environment/projection ratio 56

3.3.2. The volume 57

3.3.3. The projection plane: the substrate 59

3.4. The projection 60

3.4.1. The haptic image 60

3.4.2. The point of view or the projector 61

3.5. Conclusion 63

3.6. References 66

Chapter 4. Points of View: Origins, History and Limits of Projection Mapping 69
*Ludovic BURCZYKOWSKI and Marine THÉBAULT*

4.1. The origins of a movement towards alternative forms according to Romain Tardy 69

4.1.1. Origins and VJing 69

4.1.2. Transformation and continuity 70

4.1.3. Projection mapping and the screen 71 4.1.4. Projection mapping of y...