"'With their evocative multidimensional camera, the designers have attempted to embody Hugh Everett's many-worlds theory in an object that adds to the cinematic tradition of The Matrix (1999), Lost (2004-10), Fringe (2008-ongoing), and Source Code (2011), to name just a few.
With researchers working to harness the the peculiar workings of our subatomic world, we, as designers, were given an opportunity to explore the implications of one of its more concrete and immediate applications: quantum computing.
Working with EPSRC, NESTA, the RCA, and a group of scientists from the Quantum Information Processing Interdisciplinary Research Collaboration (QIPIRC), the 5th Dimensional Camera was produced for the 2010 IMPACT! exhibition as a metaphorical representation of quantum computation - a fictional device capable of capturing glimpses of parallel universes."
"As you've most likely figured out, the WVIL camera is not a real product, but a Concept Camera envisioned by Artefact's award-winning design team. It answers the question: 'what's next for camera design?'
The patent-pending WVIL system takes the connectivity and application platform capabilities of today's smart phones and wirelessly connects them with interchangeable full SLR-quality optics. It is the inevitable solution for photographers who expect the power of modern mobile devices but who also demand uncompromised quality."
(Artefact Group, 2010)
"Traditionally employed in long distance broadcast interactions, cameras and screens may be considered as an extrovert media. The interstitial space helmet is conceived as a tool for exploring the consequences of applying this media in a more introverted or local experience, providing an alta-vista on our camera/screen-mediated existence.
It is becoming increasingly possible that the need for physical presence is diminishing as our interactions and relationships are being provided for by screen and camera based media. With anything up to 8 hours a day spent at our computer terminals and another three or four spent gazing at our televisions not being considered unusual.
Whilst the screen and camera provide an adequate conduit for many forms of interaction, their capacity for altering or even cheating reality has to be acknowledged hence their success in suspending our disbelief in film, advertising and propaganda broadcasts. Our screen-based interactions are not necessarily a seamless conduit and as such are open to a multitude of tweaks, filters and varying degrees of adjustment."