SWARM is a piece about the power of the collective to make change. Inspired by Women’s Protests happening in Poland since 2016, SWARM is a call for action, sharing the feeling of collectivism and anger. It says: “we are fed up with the current system of inequalities. We need to change it. Let’s do it together!”. SWARM creates a dream of utopia and wants to show the viewers that better realities are possible if only we work towards them all together.
The participant will experience several magic tricks also in virtual reality but also physically: in the prescripted experience he will undergo the rubber hand experiment, he will lose his sense of space and time. Due to a misleading magic trick, the experiences will find herself in a vanishing trick and actually she will get vanished into an egg. Here the experiencer will have an encounter with the long-forgotten twin-brother in the womb of their mother. After this encounter one can step out from the vanishing magic trick and the audience will applaud. When stepping out the helper is handing an egg, as a memory that there is only a very thin line between reality and VR.
In the Circus VR project, the user can experience as a tightrope walker what it feels like to balance at a height of 7 meters. We created this project for the National Circus Arts Center, in constant consultation with the circus management and the professionals working there. We have modeled the interior of the Capital Circus of Budapest, the VR experience thus reproduces the atmosphere of the circus and we can experience what it feels like to stand on the rope and move.
The cyclically changing, choreographed moving plastic system generates audio and visual elements. The kinetic and sound design was created through unique, site specific multi channeled programming and it is constantly transforming: on the basis of the coding system of the time factor and the momentary weights, the new composition is created by the changes of the movement and audio stimuli. This is completed by the presence of the participants, which is transformed into signs in real time by a sensorial system located in different points in the space)
WHICHCRAFT is an interactive experience where collecting 3D-scanned objects and entertaining oneself with them, one can start to question the real nature of technological obsolescence and the continuously changing media that shape our senses and awareness. An immersive journey into Botond Tobai and Adrienn Pintér memories represented by objects collected from their past.
Rita’s starting point is that literature is considered boring for teenagers as it’s hard to concentrate on a book, because is taking such a small part of your eyesight, with only white pages and black letters on them. Creating a VR- experience, where your whole world is about words and which is interactive, might give a new perspective about literature as well. Rita Eperjesi developed a prototype for a Virtual Reality Poetry Book. She explored how these two genres can interact with each other, if the content of literature can find new ways of expressions through virtual reality. Does seeing the other side of a letter make you get lost in the beauty of shapes? Does walking between words add other dimensions to the meaning? Here the experiencer’s brain is augmenting different meaning making strategies and creates personalized interpreting structures.
In this experience the experiencer is walking in the forest of words. By encountering each words, they will become part of his/her poem. That poem will be like a wind, an own entity flowing around and whispering the words. This project is inspired by the French movement called Oulipo, Ouvroir de littérature potentielle, roughly translated: "workshop of potential literature" which seeks to create works using constrained writing techniques.The group defines the term littérature potentielle as (rough translation): "the seeking of new structures and patterns which may be used by writers in any way they enjoy".
Suprematism, the term coined by Kazimir Malevich, denotes a mode of expression in which emotion dominated all other artistic considerations. This concept, however not popular today, is very fruitful for approaching various VR-environments and augmented fine art concepts. The gravity and the directions are out of consideration. The white space and the suprematist objects surround the visitor. The audience is becoming an “experiencer” of Malevich’s work, as his world is not only visible in 2D but is also getting close to the body of the viewer and can enhance the bodily reaction to suprematism itself. Andrej Avraamov’s experimental music accompanies our journey. The track called The Symphony of Industrial Horns was reconstructed by Sergey Khismatov in 2009. While developing the project, a research was also done about Malevich ouvre which is documented in a book with the appearance of the black square.
This piece is a subset of a group project by which Fanni illustrates the sensory modalities which are not perceptible in virtual reality (smell, taste) and substitutes them with visual and auditory stimuli. She explored the idea more by utilizing the playfulness of the pattern of the seeds, and adding some opportunities to interact with them. The game’s structure is based on a virtual dragon fruit atmosphere into which a politically incorrect micro-game, called “Kim Pong” is built in. The playing field consists of three basketball hoops placed on a sports ground with a dragon fruit texture. Each basketball hoop has an attached sound sample that activates when a seed is passes through a hoop. In the center of the fruit there is a translucent ball that swirls the seeds when we approach or move away from it. Three sound samples can be activated: “Kim” “Jong” and “Un”, and the aim of playing is to activate them in the right order. The sense of control in the game is minimal. If the sound samples are played in the right order the game offers further surprise.