Daniel Schmitt is a teacher-researcher in information sciences and communication at the Polytechnic University of Hauts-de-France, France. His research focuses on lived experience and instrumented mediations.Marine Thébault is a research engineer at the DeVisu laboratory of the Polytechnic University of Hauts-de-France. Her research focuses in particular on the analysis of the activity of artists and their audiences.Ludovic Burczykowski is a doctor in aesthetic phenomena and sciences and technologies of the arts, a specialist in the relation of digital images with the physical environment, and a research engineer.

• Foreword xiiiIntroduction xviiPart 1. History and Identity 1Chapter 1. The Origins of Projection Mapping 3Ludovic BURCZYKOWSKI1.1. Introduction 31.2. Let’s moonwalk! A short crossing through time 41.2.1. The emergence of the expressions “video mapping”, “projection mapping”, “spatial augmented reality” and “spatial correspondence” between the beginning of the 21st Century and the end of the 20th Century 41.2.2. From 17th Century magic lanterns to ancient camera obscura 51.2.3. The screen as a material considered as a void: projection mapping in negative from the 15th Century onwards 61.2.4. How far back in history can we go? 71.3. Immersion in hallucinated worlds 81.3.1. Some films on the theme of nested or fallacious realities in line with the first digital projection mapping installations 81.3.2. Some philosophies of illusion 91.4. Examples of visual devices 101.4.1. Two visual instruments: anamorphoses and X-rays 111.4.2. Immersive panoramas 111.4.3. Augmented reality and low-tech virtual reality 121.4.4. Some visual sequences spatialized since Antiquity 131.5. The agencies 141.5.1. The arts of memory 141.5.2. Feedback, or the chicken and the egg problem 151.5.3. Some practical uses of the magic lantern 161.6. A figure of transgression and juxtaposition with a beyond 171.6.1. Unconditionality 171.6.2. Magic image imagery 181.6.3. Anima 201.6.4. See from a distance 201.7. The invention of an “empty box” as an image container 211.7.1. Any precursors? 221.7.2. Alberti and the invention of the screen 221.7.3. The humanistic context of the disruptive object-subject disconnect reified in and through the image 231.7.4. A hypothetical starting point 241.8. Modern inflexions: obsolescence of old visual devices and tacit challenges to the Albertian model 251.8.1. Obsolescence 251.8.2. Challenges 261.9. Parastatic scenography 281.9.1. For the eyes: the uncomplicated image 281.9.2. Living presences and images 291.9.3. From the screen to film 301.10. From expedition to investigation 321.10.1. Resilience 321.10.2. Ongoing investigation 331.11. Conclusion 341.12. References 34Chapter 2. The “Spatialization” of the Gaze with the Projection Mapping Dispositive 37Justyna Weronika ŁABĄDŹ2.1. Introduction 372.2. The release of the “cinematographic cocoon” 382.3. Changing the projection mapping dispositive 412.4. The spatialization of the gaze or the perception of the projection mapping spectator 442.5. “Attractions set-up” or real content? 482.6. References 49Chapter 3. Projection Mapping: A New Symbolic Form? 51Martina STELLA3.1. Introduction 513.1.1. Symbolic form and apparatus 513.1.2. Apparatus and projection mapping 533.2. A shifting tool 543.3. The surface 563.3.1. The environment/projection ratio 563.3.2. The volume 573.3.3. The projection plane: the substrate 593.4. The projection 603.4.1. The haptic image 603.4.2. The point of view or the projector 613.5. Conclusion 633.6. References 66Chapter 4. Points of View: Origins, History and Limits of Projection Mapping 69Ludovic BURCZYKOWSKI and Marine THÉBAULT4.1. The origins of a movement towards alternative forms according to Romain Tardy 694.1.1. Origins and VJing 694.1.2. Transformation and continuity 704.1.3. Projection mapping and the screen 714.1.4. Projection mapping of yesterday, today and tomorrow 724.2. A short history of projection mapping according to Dominique Moulon 734.2.1. Projection mapping in the history of light 734.2.2. The invention of the video projector 744.2.3. The feeling of immersion with different applications of projection mapping 754.2.4. The role of ICTs today and tomorrow 774.3. Projection mapping and its limits according to Christiane Paul 784.3.1. The New Aesthetic 784.3.2. Projection mapping as a technology 794.3.3. Projection mapping as an experience connecting the physical and the virtual 804.3.4. Projection mapping and museums or art institutions 81Part 2. Texts and Techniques 83Chapter 5. Listening to Creators in Residence 85Marine THÉBAULT and Daniel SCHMITT5.1. Creators, a residence and a festival 855.2. Capturing the genesis of a work 865.3. REMIND: a method to capture the dynamics of the situated creative experience 875.4. Space, tool and solitude 885.4.1. The instrumental space 895.4.2. The dynamics of the emotional states of the creators in situ 975.4.3. Work, emotions and troubles 995.5. New residence arrangements 1005.5.1. Limitations and contributions of this type of survey 1005.5.2. Towards a design of space and experience 1005.5.3. The creator profession 1015.6. Prospects for the future 1025.7. Increased attention to the place of creators in digital arts 1035.8. Acknowledgements 1045.9. References 104Chapter 6. Projection Mapping and Automatic Calibration: Beyond a Technique 107Sofia KOURKOULAKOU6.1. Introduction 1076.2. Towards a new projection dynamic 1076.3. Automatic calibration 1086.4. Automatic geometric calibration 1096.4.1. Procams methods 1096.4.2. Zhang method (Zhang 1998, 1999) 1096.5. Projector calibration using one or more pre-calibrated cameras 1096.5.1. Fringe Pattern/Structured Light DMD (Digital Micromirror Device) 1106.6. Automatic calibration applied 1116.7. Automatic calibration in France 1126.8. Conclusion 1126.9. References 113Chapter 7. Projection Mapping Gaming 115Julian ALVAREZ7.1. Introduction 1157.2. Specifying the scope of the projection mapping game 1187.3. The indoor projection mapping game 1197.4. The outdoor projection mapping game 1237.5. Conclusion 1257.6. References 126Chapter 8. Projection Mapping and Photogrammetry: Interest, Contribution, Current Limitations and Future Perspectives 127Nicolas LISSARRAGUE8.1. Introduction 1278.2. State of the art 1278.3. Photogrammetry for projection mapping 1298.4. Contribution: an automated imaging device for object photogrammetry 1308.5. Current limitations and future prospects 1378.6. References 139Chapter 9. Points of View: Sound, Projection and Interaction 141Jérémy OURY, Ludovic BURCZYKOWSKI and Marine THÉBAULT9.1. Sound creation projection mapping, a real composition of sound 1419.1.1. Introduction 1419.1.2. The place of sound 1429.1.3. Analysis of works of art 1469.1.4. Conclusion 1499.2. Projectionist: a profession according to Pascal Leroy 1509.2.1. History 1509.2.2. Identity and tastes 1519.2.3. Art and technology 1519.2.4. Limitations 1529.2.5. Projection mapping and cinema 1529.3. Interactive projection mapping by Anne-Laure George-Molland 1539.3.1. Enter interactivity to make it exist 1539.3.2. Small interactivity and projection mapping 1559.3.3. The future of interactivity in projection mapping 1569.4. References 157Part 3. Production and Dissemination 159Chapter 10. The Factory of the Future, Augmented Reality and Projection Mapping 161Pascal LEVEL10.1. Introduction 16110.2. The factory of the future 16110.2.1. The process 16110.2.2. The technological challenges of the plant of the future 16310.2.3. A digital and connected factory 16410.3. Augmented reality 16510.3.1. Simple definition 16510.3.2. Some chronological references for augmented reality 16610.4. Factory of the future and augmented reality 16910.5. Augmented reality and projection mapping 17010.6. Future plant and projection mapping 17110.6.1. Some preliminary considerations 17110.6.2. Some examples of projection mapping in manufacturing 17210.7. Conclusion 175Chapter 11. Heritage Mediation through Projection Mapping 177Alexandra GEORGESCU PAQUIN11.1. Introduction 17711.2. The symbolic value of heritage 17911.3. Projection mapping as a means of cultural heritage mediation 18011.3.1. Transcending mediation 18111.3.2. Combined mediation 18611.3.3. Self-reflective mediation 18911.4. Conclusion: monumentalize the monumental 19411.5. References 196Chapter 12. Projection Mapping: A Mediation Tool for Heritage Resilience? 199Hafida BOULEKBACHE and Douniazed CHIBANE12.1. Introduction 19912.2. Architecture, a heritage trace and an art to be preserved 20012.3. The architectural heritage between preservation and mediation issues 20312.4. Meeting between architectural heritage and projection mapping 20312.5. Classification of architectural projection mapping 20512.5.1. Communication issue 20512.5.2. Information issue 20812.6. Meeting between architecture and projection mapping 20912.7. Conclusion 21012.8. References 211Chapter 13. Architectural Projection Mapping Contests: An Opportunity for Experimentation and Discovery 213Jérémy OURY13.1. Introduction 21313.2. Different projection mapping projection contexts 21413.2.1. Limitation of projection mapping orders 21413.2.2. Contests, platforms of creative freedom 21513.3. Interests and functioning of the contests 21613.3.1. The organizers’ point of view 21613.3.2. Functioning of the contests 21713.4. Analysis of the 2018 season 22013.4.1. Perspective of the artists 22013.4.2. Results of the 2018 contests 22313.5. Conclusion 226Chapter 14. Points of View: Supporting and Highlighting Projection Mapping 229Marine THÉBAULT and Ludovic BURCZYKOWSKI14.1. Video Mapping European Center according to Antoine Manier 22914.2. Lighting design and sustainable projection mapping installations according to Alain Grisval 23114.2.1. Lighting designer 23114.2.2. Durable devices 23214.2.3. Economy 23214.2.4. Legal aspect 23314.2.5. Identity and taste 23314.2.6. Interaction for all audiences 234List of Authors 235Index 237