이 글은 보다 더 public context 에서 hyper surface를 이야기한다.

Lev Manovich once said that the deep change which is affecting culture in the era of computerized media revolution also concerns space and its representation and organization systems. Space becomes a media itself:

Manovich also said that if all actions take place in a near future within the virtual and simulation space, the screen – which is the last appendix of frame perceived as divided physical space that prevent the observer to move – will completely disappear in favour of a shaded compositional effect which looks for “fluency and continuity”.(이런 건 인용 가능 할 듯 )

Screens have not been eliminated but rather widened. The main feature of scenes in the last years was in fact the phenomenon of gigantism. People speak about “hyper surfaces”, “interactive media facades” when referring to those permanent or temporal architectural walls, aimed at hosting bright and coloured surfaces, mega projections and plasma screens. Giant projections with images and writings are part of the metropolitan landscape and form the basic of advertisement equipment. Digital signage reach enormous and terraqueous formats.

Urban architectures and large public spaces host special events, 3D video projections and led screens placed on building walls: urban screens, architectural mapping, facade projection, 3D projection mapping, video projection mapping, display surfaces, architectural Vj sets are only some of the words used in this field, which is called “Augmented Reality” (even if Lev Manovich prefers to speak about Augmented Spacebecause there is an overlapping of electronic elements in a physical space). This is a technique that makes reality and its digital reproduction interact and modifies its visual perception overlapping it until it is totally twisted also in its dimensions.

Starting from these experiments of “augmented reality”, video works of art have been created in a “site specific” way and with great dimensions. Even theatre shows have been created with a virtual scenery/actor with 2 and 3D mapping and an absolutely real effect.

Open to cooperation with artists who work in the field of motion graphics and video, they created a new kind of public art, strictly digital. The artistic operation they inaugurate with techniques and programmes suitably created is an operation which foresees an accurate surface mapping (the question is right an exact homographic study) and the projection of a video or animated digital covering, perfectly shaped on the architectonical background. This creates extraordinary events and tridimensional effects, as much improbable as phantasmagorian.

The perception illusion, in the most successful cases is the illusion of a “liquid architecture” which adheres as a film or can be detached from the real surface. Particles of surfaces as Lego bricks try to create an optical illusion with a strong impact, everything under the eyes of an unaware public or people who do not distinguish between the real and the virtual architectonic frame. This technique has been immediately bought by great International brands for advertisements and the launch of new products. The technique lets make out also a possible performative digital use which would definitively combine video art, installations, graphic art, light design and live theatre.

Urban screen explains its work by saying: “Through our experience with scenery architecture we developed a procedure for projections adapted to surfaces and we created the socalled LUMENTEKTUR. Through the exact measurement, the projection was perfectly adapted to space. This allows having a direct point of reference and interaction with the background. Therefore, beside being a technical registered procedure, LUMENTEKTUR has also become an important approach to creative process. The overlapping of material structures with a virtual covering that completely covers them opens in fact the way to a creative potential that we are sistematically aiming at.

ADAPTATION이라고 describe한다. 그리고 건물을 background라고 쓰고 있다. 나와는 다른 입장. 

The architectonic feature of the building and the 3D projections contribute to the perception of an “augmented reality”. The application of this technique to theatre is also very interesting, since it creates an idea of hologram.

Manovich in one of his essays on this topic titled “The poetics of urban media surfaces”, dreams of a union between material and immaterial architecture: “Architects together with other artists could go a little bit forward and consider the ‘invisible’ space of electronic flows as a matter instead of a vacuum, i.e. as something which needs a structure, a politics, a poetics”.

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