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Which clippings match 'Car' keyword pg.1 of 3
13 FEBRUARY 2017

Window to the World: a speculative augmented reality experience

"In a concept project, Toyota Motor Europe and the Copenhagen Institute of Interaction Design envision car windows as touchscreens that allow passengers to interact with the passing scenery.

Dubbed the 'Window to the World,' the glass would be used like an Etch-a-Sketch toy, where riders can trace objects they see outside to create a drawing. They would also be able to see a zoomed view of distant objects or gauge their distance from the vehicle."

(Los Angeles Times, 23 July 2011)

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2011augmented reality experience • augmented reality technology • award winnerscar • car window • children • condensation • Copenhagen Institute of Interaction DesignCore77doodle • draw pictures • drawing with your finger • Etch-a-Sketch • fingersglass • interactive canvas • Kansei Design Division • kids • long journeys • new theoretical technology • passengers • shapesspeculative designToyota • Toyota Motor Europe

CONTRIBUTOR

Simon Perkins
03 MARCH 2015

Audi ad by Chris Curtis of Not To Scale

"This commercial for Audi Celebrates their amazing dominance of Le Mans. Despite showing the new coupe R18 car, Director Chris Curtis wanted to focus on their driver (Allan McNish) and the incredible physical feat it takes to drive at the top level in this world famous race. The music is composed by the very talented Chris Reed. Original presented in 3D stereoscopic, this is the 2D version of the version delivered for cinema and TV."

Directed by Chris Curtis for Not To Scale which "is an established production company and animation studio representing an evolving international roster of multi–disciplined film makers who place craft and digital animation techniques at the heart of what they do".

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20142D • Allan McNish • Audiblack and whitecarcar ad • Chris Curtis • Chris Reed • day in the lifedesign agency • drawing back into the image • drawing into technique • drive • driver • drivinggraphic artgraphic illustration • Le Mans • monotonemotion graphics • Not To Scale (design agency) • physical feat • racecar • stereoscopic 3D • TV commercial • world famous race

CONTRIBUTOR

Simon Perkins
13 MARCH 2014

Real or Illusion? Honda CR-V Spot Keeps You Guessing

"'An Impossible Made Possible,' shows the CR–V 1.6 i–DTEC Diesel traversing a surreal landscape of complex and cool visual effects. At one point, we get an Ames room type illusion where a woman blows on her coffee, apparently setting a toy Honda CR–V 1.6 atop a table in motion. It turns out the SUV is really a full–size model parked a few yards behind her ... but the weird eye–candy in the scene doesn't end there. ...

The exceedingly stylized clip, directed by Chris Palmer of Gorgeous, succeeds as a pure content play, and the main advertising element, a somewhat clunky voiceover that talks about 'less fuel in for more miles out,' seem almost intrusive. Still, the point that things aren't always as they appear–a rule this campaign applies to various qualities of the Honda CR–V 1.6, such as gas mileage–is made in exceptionally eye–opening fashion."

(David Gianatasio, 22 October 2013, Adweek)

Fig.1 Honda Illusions, An Impossible Made Possible – New CR–V 1.6 Diesel Video

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2013ad campaignAdweek • Ames room illusion • An Impossible Made Possible (ad campaign) • anamorphic • anamorphic illusion • anamorphosiscarcar ad • Chris Palmer • eye candyforced perspectiveHonda • Honda CR-V • illusionistic spaceoptical illusionperceptual organisation • Sports Utility Vehicle (SUV) • surreal landscapevisual effectsvisual illusionvisual perception

CONTRIBUTOR

Simon Perkins
13 AUGUST 2013

Sonia Delaunay and the Art Simultané

"Together, the Delaunay [Sonia and Robert Delaunay] start a research on color that will be the essence, the content and the form but also the line of a new painting for a non–figurative art. Influenced by the Fauvism, she first presents works whose subjects and models are marked, slashed by the brutality of the shades. Creative perfection to aim at, the music offers to the artists, at this time, the philosophical assessment that will underlie their respective works. Powerful associations of rhythms and melodies, the compositions gather in the idea of 'simultaneous' what makes a new challenge for poets and painters. Sonia Delaunay then progressively develops a lyrical use and signification of the color, close from cubism, between rhythm and shade. Repetitions of forms, structures but also colors, her paintings take a direction all her artistic propositions will follow."

(Ozarts Etc, 3 December 2011)

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abstract artabstract artists • art and fashion • art simultanecar • Citroen • colour • colour and fashion • colour and light • colour blocking • contrasting colour • costume designcubist and abstract artcubist conceptionsdesign formalismdesignerfabricfashion design • Fauvism • female artistgeometric designsmodern artmodern womanmodernist aestheticsmodernist paintingmosaicmovement-imagemulti-disciplinary • multi-disciplinary artist • mural • non-figurative art • paintingpatchworkpatchwork quiltpatternrepetitionRobert DelaunaysimultaneismsimultaneitySonia Delaunaytextile design • textiles design • theatrical stage design • theatrical staging • Tissus Delaunay • vibrant colourvisual abstractionvisual artistvisual contrastvorticismwomen artistswomen in art and designzig-zag

CONTRIBUTOR

Simon Perkins
20 JULY 2013

The key image of the present day is the man in the motor car

"In all of these experiments, aborted works, happenings, events, the motif of the car crash is crucial. Ballard sought to understand the role that automobile styling, and mass consumerism, plays in our lives. His sights were set on what he saw as the built–in death drive that technology embodies, the effacing of identity, the shutting off of our neurological systems. Our willingness to submit to the amniotic bliss of the technological womb. Of course, today we know where all this would eventually beach: his 1973 masterpiece, Crash. But in 1971 Ballard was still pushing the farthest limits of his obsession, refining riffs and routines, expanding the parameters of the car crash as far as popular culture would allow. Crucially this was far beyond the stuffy confines of 'literature', which Ballard has never had much time for, and into visual art and film: the realm of the popular imaginary."

(Simon Sellars, 10 August 2007, Ballardian)

Fig.1 dir. Harley Cokeliss, "Towards Crash!", 1971. 16 mm Eastmancolor transferred to video, sound, 17:34 min. Courtesy the artist. © BBC TV 1971.

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16mm197120th centuryabsurd condition of humanityBBC TVBBC2bodily formbodybody experiencecarcar crash • car wash • collisionconsumerismcrashcrash test • crash test dummy • death • Eastmancolor • experimental filmGabrielle Drake • Harley Cokeliss • Harley Cokliss • human interpretation • J G Ballard • James Mossman • Kodak Eastmanmachine aestheticmeaninglessness of life • motorcar • motoristprotection • romancing technology • romanticismsex and machines • styling • suffering and inevitable deathtechnological shaping of sociality • technological system • technoromanticism • The Atrocity Exhibition (1970) • Towards Crash (1971) • traumavisual codes

CONTRIBUTOR

Simon Perkins
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