VR "Impulse" is a groundbreaking MR experience that playfully explores what it means to live with Attention Deficit Hyperactivity Disorder (ADHD). We start amongst the inner workings of the brain as we learn about how we process and make sense of the world. Next, we meet four characters whose stories and environments spill out into the room around us in breath-taking MR. We discover the different ways in which ADHD can affect people as we follow their real-life testimony, told in their own words. Reflecting on our own interactions as well as diverse life stories and perspectives, we experience the complexity of ADHD and consider how systems around us could change to make space for us all.

We live in a new epoch known as the Anthropocene, marked by mass human influence on the planet. Exclusively shot from Earth skies in 360 VR, 21-22 China takes us on an immersive meditative journey for a rare look inside China, the World’s largest rising superpower, where rapid urbanization, major industrial development and massive changes are taking place. 21-22 is an ongoing project bringing a series of compelling 360 VR films made exclusively for VR headsets. Each film exploring different regions of the planet for revealing the entropic v negentropic states in the Anthropocene. The 21-22 VR films ultimately offer a unique beyond-human-scale perspective on the planet in these times of global change, climate challenges and the Sixth mass extinction currently underway.

Sixty years after President Kennedy’s assassination, dive into the archives and the testimonies of the last living witnesses of the case to travel back in time thanks to the radically new medium of virtual reality. 源自：

SXSW 2024 - XR Experience Spotlight Lebanon has been facing one of the most severe economic downfalls in the world since 2019. Inflation has skyrocketed, electricity is scarce, life is a constant struggle for many. But despite the hardships, there is hope for a better future. Meet and engage with Rafik, Josephine and Batoul, three young Lebanese who stayed in the country despite the hardships. Explore their realities and listen to their stories and dreams. The documentary utilizes cutting-edge volumetric video, stereoscopic 360 and 3D animation technologies that enable viewers to engage in an holographic interview with young Lebanese from various walks of life and different places of the country to explore their realities. 源自：

SXSW 2024 - XR Experience Competition Hidden in the lost belongings of an Astrobiologist are clues for the journey ahead. Welcome to "Astra," your ticket to the stars. This Mixed Reality Experience transports you from Earth to the deepest corners of the cosmos as you embark on a quest to uncover the key ingredients of life in the Universe. Step foot on planets and their dark moons in a search for future worlds and far away beings. 源自：

IDFA DocLab Competition for Digital Storytelling You’ve heard of a running coach, someone to keep your motivation high. Now, imagine this: what if the coach is a mouse? Inspired by her pet mice and the use of mice in labs, artist and technologist Jiabao Li created Squeeker: The Mouse Coach. It’s a running program, app, and interactive installation that invites participants to run and to contemplate. How layered can the relationship among animals, humans, scientific research and everyday technology be? To take part in the installation, you run on a treadmill. A digital mouse, running on a spinning wheel leads your running speed. If the participants’ accumulative running distance matches the mouse’s daily half-marathon, we will open a bottle of champagne in the evening. Scan the QR code to follow your coach Squeeker on your phone. Then, every time the mouse takes off a spirited run, you’ll get a notification and, perhaps, a jolt of inspiration to run together. Each mile you run earns you a mile to scroll on social media and a treat for your coach. Cue, action, reward—one paw at a time! Supported by Onassis ONX Studios 源自：

IDFA DocLab Competition for Digital Storytelling The portraits of the smiling young people on the photo wall could give you the impression that everyone is having a great time, but the South African artist Aluta Null doesn’t go along with all that pretense. In this interactive AR experience, winner of the XR Award at the Fak’ugesi African Digital Innovation Festival earlier this year, Null explores the darkness and complexity of mental illness, mental health issues and drug addiction. It’s very hard to explain, let alone understand, what it feels like when your head is falling apart. This is the reason for Null’s choice of ghosts as the main characters. Their elusive state between life and death focuses attention on the confusing or frightening emotions that mental health problems can bring. Despite the extremely serious subject, Null doesn’t shy away from black, absurd humor, and the effect is both supportive and relieving. What’s the best choice of alcohol to wash down your pills with, and will it kind of go with your Froot Loops? 源自：

IDFA DocLab Competition for Digital Storytelling Headsets, computer monitors and a dashboard with sales statistics. From the appearance of it, this is a call center. But unlike a call center that inundates you with insurance policy offers or phone contracts, this one sells new kinds of carbon offsets that turn capitalist logic on its head. In this hybrid installation developed by artists Tega Brain and Sam Lavigne, the roles are reversed. You become the salesperson, and your clients are corporate heads of high-emission companies. Your goal is to sell them offsets generated through “Industrial Sabotage as Temporary Carbon Storage,” a methodology that calculates carbon credits from direct action. Offset: Boiler Room offers a critical look at existing carbon compensation schemes and is part of the Offset series, through which the artists envision a compensation market radically different from the current one. 100% of the revenue from the successful sales will be donated to relevant activist organizations. 源自：

Claudix Vanesix was born female and now lives as a non-binary trans person. This means it is impossible for them to take part in Los Negritos de Sipsa, a traditional Peruvian dance that is passed down in their family from father to son—thereby excluding them from part of their own culture. In this fusion of theatrical dance performance and 360 documentary, Vanesix questions the exclusive rights of men in Peruvian society. Vanesix demands a place for themself in that society and then occupies it by performing the dance naked, so that everyone can see that the dancer is not a man. The set for this defiant act is linked to the mountainous landscape of Peru and to the church, which still wields a powerful influence. Vanesix also interviews their father and brother about the exclusion of non-men. It is striking that the older generation is far milder in its judgement than the younger one, who initially seemed more tolerant. 源自：

IDFA DocLab Competition for Immersive Non-Fiction Juitamai is a dance full of contradictions. It gives the female performers a voice, but does not let them have their say. It emancipates Japanese women living in a strongly patriarchal society where they often go unheard, but does so by imposing strict rules. In addition, the dance is a form of accusation towards men, yet it takes an erotic form that confirms and stimulates the male gaze. In the VR project Close, the ambiguity of a more than 200-year-old dance form is heightened by contemporary means. As a viewer, you come very close to the dancers, and can even direct them with hand movements, but there is always distance. Depending on your preference, you hear two stories from Juitamai performers, who interpret the same dance very differently with their highly personal confessions. In the stunning finale, a central role is reserved for the woman’s mouth, which for once takes no notice of the fact that it is supposed to remain closed. 源自：

IDFA DocLab Competition for Digital Storytelling Contact with other players is a key social motive for gaming. True friendships can grow between gamers who regularly play together online—even if they will never see each other’s faces, or know each other’s true location or name. This social experience is very different from our everyday and often rushed exchanges online. Yugo: the non-game is an online production that attempts to replicate that social experience for non-gamers. The gaming element is therefore kept to a minimum: as a player you simply drive a car through a hilly landscape where there is no other traffic. While you’re on the road, someone else may log in from another device, join you in your car and start a voice chat. You can carry on chatting with your invisible co-traveler as you glide through the calming, abstract landscape, listening to the car radio. One potential conversation starter is the radio program, and another is the visual design: the car looks like an old Yugoslavian Yugo, and the landscape is inspired by the region of Kosovo at twilight, when the sky fills with crows and the monoliths on the hills stand out like the utopian socialist monuments of the past. 源自：

IDFA DocLab Competition for Digital Storytelling How can you know where you’re going if you don’t know where you came from? In this animated mixed reality game, it makes no difference where you actually are, because your smartphone screen takes you into the Amsterdam district of Bijlmermeer—experienced through Anouschka, a Black teenager. Following a racist incident at school, she delves into her family history, which turns out to be closely bound up with this local area, one of the most diverse in the Netherlands. You help Anouschka by playing all sorts of mini-games along her way, ranging from collecting the ingredients for dishes cooked by her grandmother Afiba, to a memory challenge based on batik patterns. In between the games, animations and archive footage provide more context, with a sharp focus on the ways immigrants have been championing the preservation of their respective cultures for generations. Anouschka plays the violin, but to find her own song she first needs to rediscover the music of her ancestors. 源自：

IDFA DocLab Competition for Immersive Non-Fiction Chilean women in prison have limited communication with their family—no visits, not even a conversation behind glass. Mothers sometimes spend years separated from their children, whom they have had to leave at home. This VR experience is the result of a project that gave a handful of these women the chance at least to have virtual contact with their loved ones. We first see them in their cells and the common areas of the prison where they spend their time. They then put together a virtual museum of objects that connect them with home: a mirror, a rubber duck, a Mother’s Day card from their child. Each object brings to life the story of the people they have left behind. In the emotional conclusion, we see the women put on a VR headset that enables them to briefly stand beside their children in virtual reality. For now, this is as close as they can get. 源自：

When extended reality artist Ben Joseph Andrews suffers an attack of vestibular migraine, he loses his sense of orientation, balance and spatial awareness. It also affects his experience of reality, where everything familiar suddenly seems new and different—a neurological phenomenon called “jamais vu”. Andrews lets you experience this sensation of jamais vu yourself with a VR headset. This distorts your reality into a black world with objects outlined in white. Sitting at a table, Andrews guides you with his voice through a series of actions with everyday objects, which suddenly feel awkward and clumsy—something as simple as leafing through a book feels strange. How does this experience affect your image of your environment, of the material world, of yourself? Turbulence: Jamais Vu is the first part of a series of mixed reality works that Andrews is making about the chronic condition he lives with, in an attempt to see it not as an impediment, but as a source of creativity. 源自：

IDFA DocLab Competition for Immersive Non-Fiction “Some days go very fast, and some weeks go very slow,” says a worker in the quarries of the Canadian island of Texada. The human experience of time is relative, but it is nothing compared to the timescale of the limestone being excavated. This stone carries history —not just of humanity, but of the earth itself. And we dig it up, crush it, and use it to make things like toothpaste. The virtual reality documentary Texada contrasts these two experiences of time: the human and the geological. The images alternate between shots of the island and more abstract animations. Meanwhile, island residents talk in voice-over about their lives, and someone else tries to impress upon us the incomprehensible immensity of time and the insignificant role of humanity within it: “We’re just a little twig on the great big tree of life, out there on a limb somewhere.” 源自：

IDFA DocLab Competition for Digital Storytelling For some, ChatGPT is the answer to any question, for others it’s an apocalyptic vision. For media artists Kyle McDonald and Lauren Lee McCarthy, a chatbot offers a lot of interactive potential. Becoming part of their installation Voice in My Head is a subjective experience in which ChatGPT is used to influence and shape personal conversation choices. In a reception room, you are given wireless earbuds that connect to an application. From this point on, you have a voice in your head that makes itself heard whether you ask it anything or not. Is it creepy or in fact interesting when the chatbot listens in on your conversations and immediately responds to intervene in your social reality? This reality is the festival environment, where you talk to other visitors who are probably not aware that it’s not just your brilliant mind steering your conversations. “The voice” encourages you and feeds you knowledge. And if you linger on a topic for too long, it advises you to move on to a new subject. In collaboration with The National Theatre. 源自：

Muni d'un casque de réalité virtuelle, vous voilà plongé dans le salon de la maison du docteur Gachet à Auvers-sur-Oise, et vous découvrez le portrait de la fille du docteur Gachet, Marguerite, peint par Van Gogh. Sur la table est posée une palette maculée de peinture. Commence alors le récit de Marguerite Gachet et votre plongée au cœur même de la palette, devenue paysage immersif. À travers les souvenirs de Marguerite, vous découvrez de manière interactive et animée quatre tableaux majeurs de Van Gogh de la période d’Auvers-sur-Oise. La durée de l'expérience immersive est d'environ 10 minutes. VIVE Arts is delighted to announce its partnership with the Musée d'Orsayin Paristo support the major exhibitionVan Gogh in Auvers-sur-Oise: The Final Monthsand the accompanying virtual reality experienceLa Palette de Van Gogh: the first ever by the French museum. The blockbuster exhibition is devoted to the Dutch painter’s works produced during the artistically prolific last months of his life spent in Auvers-sur-Oise, a village just north of Paris. Although Van Gogh only spent a little over two months in Auvers, the period was one of creative renewal for his own style and development, marked by the psychic tension from his new situation and resulting in some of his greatest masterpieces. The related interactive experienceLa Palette de Van Gogh (Van Gogh’s Palette), co-produced by Lucid Realities,Tournez s’il vous plaît, VIVE Arts and Musée d’Orsay, takes as its starting point the last paint palette ever used by Vincent van Gogh,which was never cleaned and isnow held in the Musée d'Orsay’s permanent collection. A high-resolution scan of the palette forms the basis of an imagined virtual landscape inspired by the painter’s world and use of colour, allowing visitors to have a uniquely interactive and sensory experience of the artist's major works from this period.The use ofthe VIVE XR Elite headsetallows visitors to immerse themselves in Van Gogh’s world. An extended version ofLa Palette de Van Gogh,which includes additional renowned works by the artist, is also being developed for global release following the closure of the Musée d'Orsay exhibition in February 2024.

Pink Floyd’s iconic album ‘The Dark Side Of The Moon’, originally released in March 1973, turns 50, and what more fitting a place to celebrate it and experience it than in a Planetarium, through the music set to visuals. With the help of modern technology, the idea of a show combining breath-taking views of the solar system and beyond, played out to 42 minutes of The Dark Side Of The Moon in surround sound, has been embraced by the band. NSC Creative have led the visual production efforts, working closely with Pink Floyd’s long time creative collaborator Aubrey Powell from Hipgnosis.

2023 film directed by Nicolas Philibert

Somewhere on the internet is a land where communities pretend to live out a survivalist fiction. The avatars of the directors of Knit’s Island spent 963 hours there, creating a fascinating film resulting from their encounter with these communities. The “players” reveal their fears and fantasies, in an at times unsettling blurring of the real and the virtual.