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Hoddick said he wants to develop three additional films this year, then eight in 2017 and then 12 a year after that

The Barco Escape costs exhibitors $100,000 with an additional fee per movie.

there are currently 21 Barco Escape theaters in the world — 16 in the United States, two each in Europe and China, and one in Mexico.

the plan is to have more than 100 by the end of this year, and 1,000 within three to five years. Oh, and they want an additional 1,000 just in China, soon to be the world’s biggest movie market — and one where Imax is in the process of opening hundreds of its own screens

Hoddick said while Barco Escape is only for 2D films at this point, he imagines it’s only a matter of time before 3D comes to the platform

it’s currently about 4 percent more expensive to produce a movie for Barco Escape, because the work has to happen in post-production, Hoddick said new cameras from manufacturers including Sony that can film in the 7:1 aspect ratio necessary for the medium will slash costs significantly

the theater will soon install a camera-based surveillance system to analyze demographics and customize which “lobby dominations” go live — think superhero trailers going up when a crew of high school kids walks in

Schilowitz hopes to engage brands to make 270-degree short films to show before the actual movie. Think Red Bull's Red Bull's many extreme sports videos. Now picture them in an immersive experience.  The money coming from brands could help offset the costs of the Escape screen.

Schilowitz believes you could take that experience into the theater. Have two people playing a virtual reality game while strapped into Oculus Rift-type devices and people would pay to watch the game on the big screen if top- ranked players were competing.

Escape will also be used to show things like concerts which can be better experienced with a wider screen. A Lady Gaga and Tony Bennett show will debut in Escape theaters in 2015.

"We believe entertainment needs to continue to evolve with a more immersive experience,"

Movie screens will continue to morph into ever-wider configurations

That footage will be shown in a special 360-degree OmniCam theater installation planned for the FIFA World Football Museum in Zurich. Meanwhile, startup Jaunt is developing a 360-degree camera for use in virtual reality

High-tech interactivity also may play a role in the next generation of theaters.

They would include a theater where a 3D movie is projected onto a 360-degree dome-shaped screen and real-time facial replacement would be used to project audience members into the action

"You'd have a wristband that identifies who you are, and if you elect to, your body and face can be scanned, allowing the attractions to include you in them and allow you to interact with them

“Ultimately, new technology can reveal desires that already exist on a deep level in society,” says Rafman of the works, which pull from and amplify the seductive forces of video games and cinema. “This desire to escape completely into another dimension has existed for a long time.”

Virtual reality’s recent resurgence in prominence begins with Oculus and its visionary 23-year-old founder, Palmer Luckey. In 2012, the then-18-year-old with an affinity for retooling defunct ’90s VR headsets took a hacked-together model to Kickstarter with a funding goal of $250,000. A month later, over 10,000 individuals contributed $2.4 million to the campaign for what was at the time mainly aimed at being a gaming peripheral. Two years later, Facebook wrote a check to buy Oculus VR for $2 billion

“This is not a drill. It’s real. It’s a moment,” says Michael Naimark, Google’s first resident virtual reality artist (like Char Davies, he’s listed as a pioneer of VR on Wikipedia). “And the arts community can play a huge role in propagation.

Throughout art history, art has reflected the prevalent social relations of the time. It makes sense, then, that the most relative and innovative art forms being produced today would mirror our reality—one defined by a perceived sense of agency in a world filled with invisible algorithms and clicks baited to us by past clicks. The internet spoils us with infinite choice: opportunities to invent our personas, refashion our self-brands, optimize our lives, and enhance our experience. But with mega-corporations quietly holding the joystick, can we really self-determine our destiny?

почти всё свободное время тратила на игры, а для личной гигиены использовала общественные бани. На жизнь Сяо Юн зарабатывала, время от времени устраиваясь кассиром в интернет-кафе. В них же она обычно спала.

В начале 2015 года о такого рода «интернет-кафе-беженцах» в Японии был снят документальный фильм. В картине сообщалось, что многие японцы из-за отсутствия постоянной работы вынуждены жить в небольших каморках в интернет-кафе, где проводят большую часть свободного времени, сидя в сети и играя в онлайн-игры.