EXHIBITIONS

2010.09: IDAF - digital arts festival, seoul, korea

2010.08: San jose biennal, sj01, san jose, usa

2010.06: DMY, BERLIN / DMY AWARD 2010

2010.04: MUSEE DE LA PHOTO, VEVEY

2009.11: Give me more, san francisco, usa

2009.10: ar exhibition at epfl+ecal lab, lausanne

2009.08: Siggraph, art paper talk, new orleans, usa

2009.05: Santral istambul, istambul

2009.04: ecal, milan

2008.12: GALLERIE PIERRE BERGE, BRUXELLES, 12-18 DECEMBER

2008.10: VIDEO SHORT LIST, FIAC, PASSAGE DE RETZ, PARIS, 21 OCTOBER - 9 NOVEMBER

2008.10: BEST EUROPEAN DIPLOMA | PRIX PIERRE BERGE | AT TALENT EXHIBITION, EINDHOVEN

2008.10: "talent" exhibition at the Designhuis in Eindhoven
REACTIONS
In these books the reader discovers an additional layer, made
of animation, which interferes with the printed images of the
book. A lot of AR work deals with what we can call the “wow
effect” - impressive 3D models coming out of the book, which
can be compared with the beginning of stereoscopic movies
for me. On the contrary, the most interesting point of this book
is the subtlety of the treatment (layout and animations) and the
coherence within the universe of these books. Animations blend
in smoothly with the pictures, which takes out the “pasted arti-
fact” effect. In this work the pictures are not just a background
or a terrain, you really feel that they contain something, even
that they are hiding things.
These books are composed of texts and pictures, and the ani-
mations reveal hidden elements in the pictures, bringing a layer
of immersion. This is a subtle experience, the animations offer
another vision of the pictures, also when they are gone, you
look at the pictures differently, thinking of what they plausibly
“contain”. You don’t close it the same way you would a normal
book.


Alain Bellet, Head of Media & Interaction Design Unit
ECAL / University of art and design Lausanne

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The technical part of the project is also of vital importance. The
apparent simplicity of the system relaxes us from the usual ”hi-
gh-tech” side of Magic Books that restricts them to ”sci-fish”
universes. No element is actually recognized by the reader as
a “machine readable markup”, which is a great evolution. Mar-
kers are by definition thought for the camera and not for the
reader’ eyes, and one of the main strengths of the ”Haunted
Book” is the fact that it can also be read without a camera and
AR. The printed images do not lose their interest when the ani-
mation appears, they are not just a hook for a virtual artifact - on
the contrary, they are properly ”augmented”.

Julien Pilet / computer vision lab / épfl

>>>>>>>>> download the report about my "haunted books" pusblished in the report of the "International Symposium on mixef and augmented reality"