Since we started our activity, we worked and collaborated with such amazing artists. From each one we learned something so valuable and unique that we strongly felt we should share their experiences and insights in a series of short interviews.

ABOUT VR with Ioana Mischie


What is VR for you, Ioana Mischie?

To me, VR seemed at first a form of “expanded consciousness” as Gene Youngblood used to name expanded cinema innovations. I believe through VR we can actually re-wire our collective imagination and question it from angles that were unseen before. It is a telepathic journey facilitated mechanically at the moment, however its medium term evolution could lead to noetic epiphanies, if handled for altruistic purposes. To me VR is not the end goal of an art form, but rather a facilitator for achieving advanced multi-layered human thinking. It questions our definitions of reality and art at an unprecedented level. I tend to us it lately for its ability to allow us to imagine alternative societies and to be able to choose urgent actions with more care in our virtual and real surroundings.

VR for Good – how can it be used for social impact?

There are already emerging examples of VR projects used for therapy, education, health, mindfulness purposes, however countless examples of VR projects used for addictive purposes too: FPS, over-conflictual narratives, escapism. We need to develop immersive wisdom as artists and explorers and to promote gradually more
game-changers with a stunning influence in society on the short, medium, long term. Carne y Arena is wonderful example of transmedialized VR where you inhabit characters in the most sensorial manner. Psychic VR developed at MIT is a stunning demo of neuro-VR. Tree VR emerged as a manifesto against deforestation. VR for Good is to me, the only VR that is valid and worth-expanding. I have been archiving good practices of VR in my first book, Cinema Infinit. In there, I have prototyped a new audio-visual genre called noe-fi (noetic fiction), aiming to envisage future led by the advancement of human consciousness and not by the advancement of tech alone, as in sci-fi. I believe VR for Good is an entry point into noetic thinking.

What is the biggest challenge you’ve faced in this field?

Everything is often a challenge in immersive storytelling: from innovative concept creation, to developing VR projects in the absence of production support, to overcoming the ephemerality of technology, to creating educational infrastructure in order to match tech minds with artistic minds in an organic manner. To me, the biggest challenge is, perhaps the fact that artistic VR is not yet democratized, given the emerging technology, and very often most of our work remains unwillingly secret. Still, as one of my good friends in LA used to say, I believe we are witnessing a technological shift that only happens once in a century and therefore I consider myself lucky for having the chance to deal with these challenges and find new aesthetic and ethical grammars for the medium. The beauty and the impact of VR overcomes the difficulty of the behind-the-scenes and we are truly grateful for having the chance to co-invent this “wheel”. I believe VR can become, like folklore, specific to one’s country, yet in the same time, equally universal. So I am looking as forward to co-imagine the future of meaningful VR and I do hope it will succeed to escape the over-commercial pressures of our times and propose new grounds for human advancement.

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What is Projection Mapping for you, Dorel Naste? 

Projection mapping is a creative medium where video projectors are used to show an audio-visual narrative on the surface of irregular 3D objects such as buildings, theatrical stages, and almost any surface. We use projection mapping as an artistic, entertaining, or advertising tool, to impress the audience with extra dimensions, optical illusions, and notions of movement onto previously static objects.

Projection Mapping for Good – how can it be used for social impact? 

Projection mapping is used most of the time for outdoor events. This involves projections on big buildings, in a planned event, or even as a guerilla project. Due to the big projected images, the impact on the viewer is very powerful. ENLIGHTENMENT SOLIDARITY PROJECT is a recent projection mapping initiative that aimed to send a message of hope, love, encouragement, and support to those involved in the recent events in Ukraine. The project took place in more than 30 cities worldwide.


What is the biggest challenge you’ve faced in this field?

One of the biggest challenges we had was a collaborative dome projection show made for the Oriental Pearl Tower in Shanghai. For this project, we had to create a very detailed animation and high-quality rendering at 10.000 x 10.000 pixels. It was challenging both in terms of creation and execution of the 3D assets, but also in terms of rendering. The projection surface was more than 2500m2, projected by 30 pieces of 21.000 ANSI lumens bright projectors, and its dimensions make it the biggest permanent dome projection in China to date.

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ABOUT NFTs with Mihai Dragan


What are NFTs for you, Mihai Dragan? 

Simply put, they are digital certificates of ownership. Their authenticity is not connected to one single authority but is stored on a decentralized network (a blockchain). In a larger sense I think they represent a new way for society to trade and share value. The value that can be traded and shared can range from art, to real estate to temporary ownership of goods and services.
They are an example of where the world is headed: a more decentralized way of creating and accessing value.

NFTs for Good – how can it be used for social impact?

I think there are many ways we can use NFTs for good. Some of the examples we’ve seen from creators using Oveit range from creating and selling art for charity purposes to helping NGOs raise funds from the blockchain community.

One of the dearest examples is the world’s first movie released as NFT frames, The Wishing Tree. The movie was produced by Hospice, the leading palliative care NGO and released as NFT to increase awareness and raise funds. Every NFT is a movie frame and is valued at the cost of one palliative care visit.

What is the biggest challenge you’ve faced in this field?

The biggest challenge is explaining the potential the blockchain technology and the concept of NFTs have to improve our society. The crypto world has transformed from a hacker-friendly subculture to what is probably the biggest technological and societal change of our time.

One other thing we have noticed is that things have gotten a lot easier for the end user. Opening a crypto wallet is a lot easier than it was say 5 years ago and concepts such as art NFTs make everything much more friendly and attractive.