Figure 6 - uploaded by Gonçalo Marques
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"Paris de Noite", 1951. Maria Helena Vieira da Silva. Oil on canvas (54 x 73 cm). The relevance of video mapping technology when enhancing culture to a wider audience can be further analyzed by the case of Atelier des Lumières, the first center dedicated to digital art in Paris since April 2018. Produced by Culturespaces, the Atelier des Lumières focuses on "immersive and monumental exhibitions", by using 140 video-projectors and 50 speakers to project over 3000 images of artworks in a space of 2000 m2 with walls up to 10 meters high (Atelier des Lumières, n.d.).
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New media, such as projections using the video mapping technique, are increasingly used in public spectacles, attracting many viewers. However, most video mapping spectacles are highly focused on special effects and visual appeal, rarely focusing on the visual narrative with the aim of communicating and diffusing historical knowledge. Interested in...
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... The specification of the projector, which is the primary instrument for creating immersive artwork in which virtual elements can be projected, is one of the main factors influencing the outcome of the artwork (Faria et. al, 2020). As the work is responsive to the environment, it will mostly depend on the projector's capacity and the projection's impact on the viewers corresponds to the size of the projection. Therefore, the location of the projector plays important role as it relies on the space ability of the exhibition area. ...
This research examines the integration of animation and Spatial Augmented Reality (SAR) to create immersive artworks in gallery environments. As part of exploring the unexplored domain of SAR-animation convergence, the study looks at the spectators' responses towards this innovative approach in the limited gallery spaces, focusing on viewers' engagement and acceptance. By utilising a combination of research approaches—including audience surveys and creative experiments—the study uncovers the potentials of animation-SAR-based immersive experiences. The results highlight the potential of this growing area, notwithstanding obstacles such as high costs and implementation complexity. The research indicates that immersive art engages viewers to a deeper level and can have an emotional impact; it enriches the viewers' experiences and may contribute as a tool to other significant disciplines, such as art therapy.
... In real-world applications, such as projection mapping for visual enhancement, accurate and dynamic control of LED light sources is crucial for creating immersive and visually stunning experiences [35,36]. The findings of this study offer practical insights for optimizing chromaticity accuracy in projection mapping, enabling more lifelike and precise visuals. ...
Solid-state lighting (SSL) devices are ubiquitous in several markets, including architectural, automotive, healthcare, heritage conservation, and entertainment lighting. Fine control of the LED light output is crucial for applications where spectral precision is required, but dimming LEDs can cause a nonlinear response in its output, shifting the chromaticity. The nonlinear response of a multi-color LEDs can be corrected by curve-fitting the measured data to input dimming controls. In this study, the spectral output of an RGB LED projector was corrected using polynomial curve fitting. The accuracy of four different measurement methods was compared in order to find the optimal correction approach in terms of the time and effort needed to perform measurements. The results suggest that the curve fitting of very high-resolution dimming steps (n = 125) significantly decreased the chromaticity shifts between measured (actual) and corrected spectra. The effect size between approaches indicates that the curve-fitting of the high-resolution approach (n = 23) performs equally well as at very high resolution (n = 125). The curve-fitting correction can be used as an alternative approach or in addition to existing methods, such as the closed-loop correction. The curve fitting method can be applied to any tunable multi-color LED lighting system to correct the nonlinear dimming response.
This work provides an example of public history, the organization of an exhibition about the educational memory of Madrid for which I was the curator. Its theme was well known to me, having been the topic of my PhD thesis and of most of my subsequent publications in specialized journals. The first question I asked myself was how to transform the academic history of education into a public history of education? Or, to paraphrase Walter Benjamin, how does a history- teller become a storyteller? After describing the challenges of constructing an immersive exhibition, I conclude that turning academic knowledge into public history of education is a straightforward process and one that catches historians very well prepared because of the different historiographical turns to which we have adapted our thinking in the last twenty years. The most unknown part of the public history of education is the one that refers to the direct dialogue with audiences. In this exhibition, this dialogue was established through the Visitor Book, a notebook placed at the exit of the exhibition in which people could write their impressions of the visit. For this paper I have selected exclusively the comments written by educators, so the second question I asked myself was: Did the public understand the historian doing public history? And how did present-day teachers interpret and reconstruct the meaning of an exhibition about the past schooling in their city? The analysis of the entries written by visitors who identified themselves as teachers allows me to detect at least four groups of narratives: 1) the “gestures of closure” for fulfilling the last ritual of the visit; 2) the dialogues with the teachers of the past, with a rhetoric discourse reserved for the heroes; 3) the historical discourses endowed with a contemporary meaning full of pending demands; and 4) the critical voices, who expressed their disagreement with the exhibition’s narrative and constructed their own narratives.
