For Congresses and Cultural Events on Technology, Innovation, Social Media and many other subjects, PIPS: Lab has developed the so-called "Mass Light Upload." Using Lumasol Technology, invented by PIPS: lab, and allowing real-time drawing with light this intervention is fun and energizing. The audience will all be given a keychain with a LED lamp with which they can communicate with the specially modified system that PIPS:lab has installed. After a small workout, the audience must first log in to the system, after which we can keep 'polls' on the subject of the event The Mass Upload is an interactive special, a combination of theater, music and technology, a creative experience for events that often have to be listened to passively. Together with our client, we develop a script specifically for his or her event.

Anyways is a 360° VR rail-road movie simultaneously experienced by six participants. Six modded VR headsets with surround sound audio setup offer participants a synchronized virtual experience of a single storyline experienced from 6 different point-of-views. The virtual experience is complemented by real world audio, olfactory, and tactile diversions. Shifting between the virtual and the real, the fictive and the non-fictive via the 6 point-of-views, Anyways aims to start a conversation amongst the participants to collectively figure out the story after the film. 

Luma2solator, an interactive installation that uses the lumasol light drawing. This installation allows the audience to draw with light, creating pictures themselves with a simple to operate tool, and using custom made light drawing tools we have created from years of light drawing experience. The audience is encouraged to be free and create whatever pictures they want. The Luma2solator also displays a variety of images that others have already created to inspire the users with the ideas of others. All the images that the audience create are automatically uploaded to the Lumasol website we created (of course these images can be linked to each persons Facebook or other social networking sites, and we have for smaller installations had the images automatically print for the audience). This installation can also be outside (at night) and the pictures the audience create can be projected onto buildings or any appropriate screen live.

The Luma2solator was chosen as one of the 20 masterworks of media art by Neckar Verlag.

A Luma2solator was purchased by the ZKM for the permanent collection.

Anyways is a 360° VR rail-road movie simultaneously experienced by six participants. Six modded VR headsets with surround sound audio setup offer participants a synchronized virtual experience of a single storyline experienced from 6 different point-of-views. The virtual experience is complemented by real world audio, olfactory, and tactile diversions. Shifting between the virtual and the real, the fictive and the non-fictive via the 6 point-of-views, Anyways aims to start a conversation amongst the participants to collectively figure out the story after the film. 

For the touring theatre festival de Parade PIPS:lab is making a special shortcut of the second part of the Social Fiction trilogy: Shadows in the Cloud (4**** in Theaterkrant).

In a time where we are forced to relate ourselves to preprogrammed computerprograms, and we thoughtless park our digital possessions on a virtual cloud, PIPS:lab takes us on a journey through the Cloud. With the audience in the leading part, and a social operating system as the director, this journey is being filmed. The end result however, is always different then we remembered...

Our mission is simple. Our technique isn't.

For the touring theatre festival de Parade PIPS:lab is making a special shortcut of the second part of the Social Fiction trilogy: Shadows in the Cloud (4**** in Theaterkrant).

In a time where we are forced to relate ourselves to preprogrammed computerprograms, and we thoughtless park our digital possessions on a virtual cloud, PIPS:lab takes us on a journey through the Cloud. With the audience in the leading part, and a social operating system as the director, this journey is being filmed. The end result however, is always different then we remembered...

Our mission is simple. Our technique isn't.

Puur door rond te kijken zet je lampjes, motortjes en allerlei geluidjes aan en weer uit. Nee, je zit niet ineens in een virtuele wereld als je deze VR-bril opzet, hij moet namelijk andersom! De wereld ziet er dus eigenlijk niet anders uit. Alleen kun je wel ineens met je blik van alles laten gebeuren. Een lampje aan laten gaan bijvoorbeeld. Vet!

[at this moment, in dutch only, sorry... will be translated soon]

Met Aire d'Assevillers brengt multimedia collectief PIPS:lab een hedendaagse versie van Elckerlijck. Een moralistische zedenpreek voor arm en rijk. Een 21e eeuws wagenspel met een multimedia kampeerbusje op een tankstation langs de franse snelweg, in een tekst van Don Duyns.

'In een maatschappij waar alles gerelateerd is aan geld, is een leven zonder geld niets waard' denkt Robbert, een vastgoedhandelaar die alles heeft verspeeld. Zijn bedrijf, zijn geld, zijn vrouw en kinderen is hij kwijt. Hij vertrekt in zijn BMW naar Frankrijk om zijn leven in stijl achter zich te laten. Op zijn tocht roept hij de hulp in van Otto, een oude schoolvriend met een terminale ziekte en een camper. Samen vertrekken ze naar het vakantiehuisje van Robbert in de Dordogne. De één om te sterven, de ander om nog één keer te leven. Als ze stoppen op Aire d’Assevillers ontmoeten zij Julie, die de reis een compleet nieuwe wending geeft.

Aire d'Assevillers is een theatrale road movie over de gevolgen van de crisis die nog altijd voelbaar zijn. Een verhaal over wanhoop, vergeving en verlossing. Een pleidooi voor een gewetensvol leven omdat we er maar één hebben.

Aire d’Asssevillers is een PIPS:lab productie van Thijs de Wit i.s.m. Andreas Scharfenberg 

[at this moment, in dutch only, sorry... will be translated soon]

Met Aire d'Assevillers brengt multimedia collectief PIPS:lab een hedendaagse versie van Elckerlijck. Een moralistische zedenpreek voor arm en rijk. Een 21e eeuws wagenspel met een multimedia kampeerbusje op een tankstation langs de franse snelweg, in een tekst van Don Duyns.

'In een maatschappij waar alles gerelateerd is aan geld, is een leven zonder geld niets waard' denkt Robbert, een vastgoedhandelaar die alles heeft verspeeld. Zijn bedrijf, zijn geld, zijn vrouw en kinderen is hij kwijt. Hij vertrekt in zijn BMW naar Frankrijk om zijn leven in stijl achter zich te laten. Op zijn tocht roept hij de hulp in van Otto, een oude schoolvriend met een terminale ziekte en een camper. Samen vertrekken ze naar het vakantiehuisje van Robbert in de Dordogne. De één om te sterven, de ander om nog één keer te leven. Als ze stoppen op Aire d’Assevillers ontmoeten zij Julie, die de reis een compleet nieuwe wending geeft.

Aire d'Assevillers is een theatrale road movie over de gevolgen van de crisis die nog altijd voelbaar zijn. Een verhaal over wanhoop, vergeving en verlossing. Een pleidooi voor een gewetensvol leven omdat we er maar één hebben.

Aire d’Asssevillers is een PIPS:lab productie van Thijs de Wit i.s.m. Andreas Scharfenberg 

[at this moment, in dutch only, sorry... will be translated soon]

Met Aire d'Assevillers brengt multimedia collectief PIPS:lab een hedendaagse versie van Elckerlijck. Een moralistische zedenpreek voor arm en rijk. Een 21e eeuws wagenspel met een multimedia kampeerbusje op een tankstation langs de franse snelweg, in een tekst van Don Duyns.

'In een maatschappij waar alles gerelateerd is aan geld, is een leven zonder geld niets waard' denkt Robbert, een vastgoedhandelaar die alles heeft verspeeld. Zijn bedrijf, zijn geld, zijn vrouw en kinderen is hij kwijt. Hij vertrekt in zijn BMW naar Frankrijk om zijn leven in stijl achter zich te laten. Op zijn tocht roept hij de hulp in van Otto, een oude schoolvriend met een terminale ziekte en een camper. Samen vertrekken ze naar het vakantiehuisje van Robbert in de Dordogne. De één om te sterven, de ander om nog één keer te leven. Als ze stoppen op Aire d’Assevillers ontmoeten zij Julie, die de reis een compleet nieuwe wending geeft.

Aire d'Assevillers is een theatrale road movie over de gevolgen van de crisis die nog altijd voelbaar zijn. Een verhaal over wanhoop, vergeving en verlossing. Een pleidooi voor een gewetensvol leven omdat we er maar één hebben.

Aire d’Asssevillers is een PIPS:lab productie van Thijs de Wit i.s.m. Andreas Scharfenberg 

[at this moment, in dutch only, sorry... will be translated soon]

Met Aire d'Assevillers brengt multimedia collectief PIPS:lab een hedendaagse versie van Elckerlijck. Een moralistische zedenpreek voor arm en rijk. Een 21e eeuws wagenspel met een multimedia kampeerbusje op een tankstation langs de franse snelweg, in een tekst van Don Duyns.

'In een maatschappij waar alles gerelateerd is aan geld, is een leven zonder geld niets waard' denkt Robbert, een vastgoedhandelaar die alles heeft verspeeld. Zijn bedrijf, zijn geld, zijn vrouw en kinderen is hij kwijt. Hij vertrekt in zijn BMW naar Frankrijk om zijn leven in stijl achter zich te laten. Op zijn tocht roept hij de hulp in van Otto, een oude schoolvriend met een terminale ziekte en een camper. Samen vertrekken ze naar het vakantiehuisje van Robbert in de Dordogne. De één om te sterven, de ander om nog één keer te leven. Als ze stoppen op Aire d’Assevillers ontmoeten zij Julie, die de reis een compleet nieuwe wending geeft.

Aire d'Assevillers is een theatrale road movie over de gevolgen van de crisis die nog altijd voelbaar zijn. Een verhaal over wanhoop, vergeving en verlossing. Een pleidooi voor een gewetensvol leven omdat we er maar één hebben.

Aire d’Asssevillers is een PIPS:lab productie van Thijs de Wit i.s.m. Andreas Scharfenberg 

For the touring theatre festival de Parade PIPS:lab is making a special shortcut of the second part of the Social Fiction trilogy: Shadows in the Cloud (4**** in Theaterkrant).

In a time where we are forced to relate ourselves to preprogrammed computerprograms, and we thoughtless park our digital possessions on a virtual cloud, PIPS:lab takes us on a journey through the Cloud. With the audience in the leading part, and a social operating system as the director, this journey is being filmed. The end result however, is always different then we remembered...

Our mission is simple. Our technique isn't.

What do you want to do when you’re dead?

Hyves, Facebook, MySpace, Friendster, LinkedIn – it’s almost a full-time job keeping up with all these online communities, updating your profile, sending messages and uploading your latest best photos. And now tech-theatre group PiPS:lab wants us to join another one: DieSpace. There is one prerequisite though: you have to be dead to join. Because of the fast ‘greyification’ of our society, the number of people dying will be increasing rapidly. And dead people don’t have a place to socialize yet… PiPS:lab jumped at this great business opportunity and created DieSpace: “the first active internet community for the diseased”.

Each visitor of their show will get a free DieSpace light account to start out with. So from now on, there’s only one thing to fear after death: whether or not you’ll make enough friends on DieSpace. / Annelies Termeer

The proportional amount of elderly people (65+) in the world will increase dramatically in the near future. This cause of events is what PIPS:lab call Greyification. And in it they see an enormous possibility for commercial self-enrichment.

Thus they create DieSpace.nl: the first internet community for those in the Afterlife.

With granny’s skateboarding on walking frames, musical wheelchairs, many laptops, camera’s and light sensors PIPS:lab presents an interactive and song soaked show about life after death. 

You have a death wish but are hesitant to pursue your dream? With DieSpace you can leave your life and loved ones behind with complete peace of mind!

Co-produced by Melkweg-Paradiso Productiehuis

DieSpace is supported by the Fonds voor Amateurkunst en Podiumkunsten, Amsterdams Fonds voor de Kunsten, Prins Bernhard Cultuur Fonds and VSB Fonds

PIPS:lab is a laboratory and known for it's pioneering work in the field of Art & Technology. To share our knowledge, experience and tools, we sometimes do educational projects with students in different art disciplines. 

We can supervise assignments or projects by individual students or small groups on a project base. We also regularly have interns in the lab. And if you would like to visit our lab with a group of students, please feel free to contact us. 

With our Potator performance we let the audience experiment themselves with PIPS:lab's tools and technology. It's an interactive installation where motion capture and our own designed potator tools are combined. The potator tools combine the qualities of a peeler with those of a brush and make it possible to paint in 3D with virtual peels of reality. Meanwhile it uses scans of everything that appears in its visual range; from textiles, to objects and backgrounds. These are used as paint. The visual output manifests itself as an augmented reality that is directly beamed on a screen. Besides that there is also one pair of oculus rift virtual reality glasses, that make it possible for a person to walk through their own created 3D painted world. Reality functions as paint and canvas at the same time.

With our Potator performance we let the audience experiment themselves with PIPS:lab's tools and technology. It's an interactive installation where motion capture and our own designed potator tools are combined. The potator tools combine the qualities of a peeler with those of a brush and make it possible to paint in 3D with virtual peels of reality. Meanwhile it uses scans of everything that appears in its visual range; from textiles, to objects and backgrounds. These are used as paint. The visual output manifests itself as an augmented reality that is directly beamed on a screen. Besides that there is also one pair of oculus rift virtual reality glasses, that make it possible for a person to walk through their own created 3D painted world. Reality functions as paint and canvas at the same time.

For the touring theatre festival de Parade PIPS:lab is making a special shortcut of the second part of the Social Fiction trilogy: Shadows in the Cloud (4**** in Theaterkrant).

In a time where we are forced to relate ourselves to preprogrammed computerprograms, and we thoughtless park our digital possessions on a virtual cloud, PIPS:lab takes us on a journey through the Cloud. With the audience in the leading part, and a social operating system as the director, this journey is being filmed. The end result however, is always different then we remembered...

Our mission is simple. Our technique isn't.

PIPS:lab is a laboratory and known for it's pioneering work in the field of Art & Technology. To share our knowledge, experience and tools, we sometimes do educational projects with students in different art disciplines. 

We can supervise assignments or projects by individual students or small groups on a project base. We also regularly have interns in the lab. And if you would like to visit our lab with a group of students, please feel free to contact us. 

For the touring theatre festival de Parade PIPS:lab is making a special shortcut of the second part of the Social Fiction trilogy: Shadows in the Cloud (4**** in Theaterkrant).

In a time where we are forced to relate ourselves to preprogrammed computerprograms, and we thoughtless park our digital possessions on a virtual cloud, PIPS:lab takes us on a journey through the Cloud. With the audience in the leading part, and a social operating system as the director, this journey is being filmed. The end result however, is always different then we remembered...

Our mission is simple. Our technique isn't.

For the touring theatre festival de Parade PIPS:lab is making a special shortcut of the second part of the Social Fiction trilogy: Shadows in the Cloud (4**** in Theaterkrant).

In a time where we are forced to relate ourselves to preprogrammed computerprograms, and we thoughtless park our digital possessions on a virtual cloud, PIPS:lab takes us on a journey through the Cloud. With the audience in the leading part, and a social operating system as the director, this journey is being filmed. The end result however, is always different then we remembered...

Our mission is simple. Our technique isn't.

For the touring theatre festival de Parade PIPS:lab is making a special shortcut of the second part of the Social Fiction trilogy: Shadows in the Cloud (4**** in Theaterkrant).

In a time where we are forced to relate ourselves to preprogrammed computerprograms, and we thoughtless park our digital possessions on a virtual cloud, PIPS:lab takes us on a journey through the Cloud. With the audience in the leading part, and a social operating system as the director, this journey is being filmed. The end result however, is always different then we remembered...

Our mission is simple. Our technique isn't.

For the touring theatre festival de Parade PIPS:lab is making a special shortcut of the second part of the Social Fiction trilogy: Shadows in the Cloud (4**** in Theaterkrant).

In a time where we are forced to relate ourselves to preprogrammed computerprograms, and we thoughtless park our digital possessions on a virtual cloud, PIPS:lab takes us on a journey through the Cloud. With the audience in the leading part, and a social operating system as the director, this journey is being filmed. The end result however, is always different then we remembered...

Our mission is simple. Our technique isn't.

For the touring theatre festival de Parade PIPS:lab is making a special shortcut of the second part of the Social Fiction trilogy: Shadows in the Cloud (4**** in Theaterkrant).

In a time where we are forced to relate ourselves to preprogrammed computerprograms, and we thoughtless park our digital possessions on a virtual cloud, PIPS:lab takes us on a journey through the Cloud. With the audience in the leading part, and a social operating system as the director, this journey is being filmed. The end result however, is always different then we remembered...

Our mission is simple. Our technique isn't.

For the touring theatre festival de Parade PIPS:lab is making a special shortcut of the second part of the Social Fiction trilogy: Shadows in the Cloud (4**** in Theaterkrant).

In a time where we are forced to relate ourselves to preprogrammed computerprograms, and we thoughtless park our digital possessions on a virtual cloud, PIPS:lab takes us on a journey through the Cloud. With the audience in the leading part, and a social operating system as the director, this journey is being filmed. The end result however, is always different then we remembered...

Our mission is simple. Our technique isn't.

For the touring theatre festival de Parade PIPS:lab is making a special shortcut of the second part of the Social Fiction trilogy: Shadows in the Cloud (4**** in Theaterkrant).

In a time where we are forced to relate ourselves to preprogrammed computerprograms, and we thoughtless park our digital possessions on a virtual cloud, PIPS:lab takes us on a journey through the Cloud. With the audience in the leading part, and a social operating system as the director, this journey is being filmed. The end result however, is always different then we remembered...

Our mission is simple. Our technique isn't.

For the touring theatre festival de Parade PIPS:lab is making a special shortcut of the second part of the Social Fiction trilogy: Shadows in the Cloud (4**** in Theaterkrant).

In a time where we are forced to relate ourselves to preprogrammed computerprograms, and we thoughtless park our digital possessions on a virtual cloud, PIPS:lab takes us on a journey through the Cloud. With the audience in the leading part, and a social operating system as the director, this journey is being filmed. The end result however, is always different then we remembered...

Our mission is simple. Our technique isn't.

For the touring theatre festival de Parade PIPS:lab is making a special shortcut of the second part of the Social Fiction trilogy: Shadows in the Cloud (4**** in Theaterkrant).

In a time where we are forced to relate ourselves to preprogrammed computerprograms, and we thoughtless park our digital possessions on a virtual cloud, PIPS:lab takes us on a journey through the Cloud. With the audience in the leading part, and a social operating system as the director, this journey is being filmed. The end result however, is always different then we remembered...

Our mission is simple. Our technique isn't.

[at this moment, in dutch only, sorry... will be translated soon]

Met Aire d'Assevillers brengt multimedia collectief PIPS:lab een hedendaagse versie van Elckerlijck. Een moralistische zedenpreek voor arm en rijk. Een 21e eeuws wagenspel met een multimedia kampeerbusje op een tankstation langs de franse snelweg, in een tekst van Don Duyns.

'In een maatschappij waar alles gerelateerd is aan geld, is een leven zonder geld niets waard' denkt Robbert, een vastgoedhandelaar die alles heeft verspeeld. Zijn bedrijf, zijn geld, zijn vrouw en kinderen is hij kwijt. Hij vertrekt in zijn BMW naar Frankrijk om zijn leven in stijl achter zich te laten. Op zijn tocht roept hij de hulp in van Otto, een oude schoolvriend met een terminale ziekte en een camper. Samen vertrekken ze naar het vakantiehuisje van Robbert in de Dordogne. De één om te sterven, de ander om nog één keer te leven. Als ze stoppen op Aire d’Assevillers ontmoeten zij Julie, die de reis een compleet nieuwe wending geeft.

Aire d'Assevillers is een theatrale road movie over de gevolgen van de crisis die nog altijd voelbaar zijn. Een verhaal over wanhoop, vergeving en verlossing. Een pleidooi voor een gewetensvol leven omdat we er maar één hebben.

Aire d’Asssevillers is een PIPS:lab productie van Thijs de Wit i.s.m. Andreas Scharfenberg 

[at this moment, in dutch only, sorry... will be translated soon]

Met Aire d'Assevillers brengt multimedia collectief PIPS:lab een hedendaagse versie van Elckerlijck. Een moralistische zedenpreek voor arm en rijk. Een 21e eeuws wagenspel met een multimedia kampeerbusje op een tankstation langs de franse snelweg, in een tekst van Don Duyns.

'In een maatschappij waar alles gerelateerd is aan geld, is een leven zonder geld niets waard' denkt Robbert, een vastgoedhandelaar die alles heeft verspeeld. Zijn bedrijf, zijn geld, zijn vrouw en kinderen is hij kwijt. Hij vertrekt in zijn BMW naar Frankrijk om zijn leven in stijl achter zich te laten. Op zijn tocht roept hij de hulp in van Otto, een oude schoolvriend met een terminale ziekte en een camper. Samen vertrekken ze naar het vakantiehuisje van Robbert in de Dordogne. De één om te sterven, de ander om nog één keer te leven. Als ze stoppen op Aire d’Assevillers ontmoeten zij Julie, die de reis een compleet nieuwe wending geeft.

Aire d'Assevillers is een theatrale road movie over de gevolgen van de crisis die nog altijd voelbaar zijn. Een verhaal over wanhoop, vergeving en verlossing. Een pleidooi voor een gewetensvol leven omdat we er maar één hebben.

Aire d’Asssevillers is een PIPS:lab productie van Thijs de Wit i.s.m. Andreas Scharfenberg 

[at this moment, in dutch only, sorry... will be translated soon]

Met Aire d'Assevillers brengt multimedia collectief PIPS:lab een hedendaagse versie van Elckerlijck. Een moralistische zedenpreek voor arm en rijk. Een 21e eeuws wagenspel met een multimedia kampeerbusje op een tankstation langs de franse snelweg, in een tekst van Don Duyns.

'In een maatschappij waar alles gerelateerd is aan geld, is een leven zonder geld niets waard' denkt Robbert, een vastgoedhandelaar die alles heeft verspeeld. Zijn bedrijf, zijn geld, zijn vrouw en kinderen is hij kwijt. Hij vertrekt in zijn BMW naar Frankrijk om zijn leven in stijl achter zich te laten. Op zijn tocht roept hij de hulp in van Otto, een oude schoolvriend met een terminale ziekte en een camper. Samen vertrekken ze naar het vakantiehuisje van Robbert in de Dordogne. De één om te sterven, de ander om nog één keer te leven. Als ze stoppen op Aire d’Assevillers ontmoeten zij Julie, die de reis een compleet nieuwe wending geeft.

Aire d'Assevillers is een theatrale road movie over de gevolgen van de crisis die nog altijd voelbaar zijn. Een verhaal over wanhoop, vergeving en verlossing. Een pleidooi voor een gewetensvol leven omdat we er maar één hebben.

Aire d’Asssevillers is een PIPS:lab productie van Thijs de Wit i.s.m. Andreas Scharfenberg 

[at this moment, in dutch only, sorry... will be translated soon]

Met Aire d'Assevillers brengt multimedia collectief PIPS:lab een hedendaagse versie van Elckerlijck. Een moralistische zedenpreek voor arm en rijk. Een 21e eeuws wagenspel met een multimedia kampeerbusje op een tankstation langs de franse snelweg, in een tekst van Don Duyns.

'In een maatschappij waar alles gerelateerd is aan geld, is een leven zonder geld niets waard' denkt Robbert, een vastgoedhandelaar die alles heeft verspeeld. Zijn bedrijf, zijn geld, zijn vrouw en kinderen is hij kwijt. Hij vertrekt in zijn BMW naar Frankrijk om zijn leven in stijl achter zich te laten. Op zijn tocht roept hij de hulp in van Otto, een oude schoolvriend met een terminale ziekte en een camper. Samen vertrekken ze naar het vakantiehuisje van Robbert in de Dordogne. De één om te sterven, de ander om nog één keer te leven. Als ze stoppen op Aire d’Assevillers ontmoeten zij Julie, die de reis een compleet nieuwe wending geeft.

Aire d'Assevillers is een theatrale road movie over de gevolgen van de crisis die nog altijd voelbaar zijn. Een verhaal over wanhoop, vergeving en verlossing. Een pleidooi voor een gewetensvol leven omdat we er maar één hebben.

Aire d’Asssevillers is een PIPS:lab productie van Thijs de Wit i.s.m. Andreas Scharfenberg 

[at this moment, in dutch only, sorry... will be translated soon]

Met Aire d'Assevillers brengt multimedia collectief PIPS:lab een hedendaagse versie van Elckerlijck. Een moralistische zedenpreek voor arm en rijk. Een 21e eeuws wagenspel met een multimedia kampeerbusje op een tankstation langs de franse snelweg, in een tekst van Don Duyns.

'In een maatschappij waar alles gerelateerd is aan geld, is een leven zonder geld niets waard' denkt Robbert, een vastgoedhandelaar die alles heeft verspeeld. Zijn bedrijf, zijn geld, zijn vrouw en kinderen is hij kwijt. Hij vertrekt in zijn BMW naar Frankrijk om zijn leven in stijl achter zich te laten. Op zijn tocht roept hij de hulp in van Otto, een oude schoolvriend met een terminale ziekte en een camper. Samen vertrekken ze naar het vakantiehuisje van Robbert in de Dordogne. De één om te sterven, de ander om nog één keer te leven. Als ze stoppen op Aire d’Assevillers ontmoeten zij Julie, die de reis een compleet nieuwe wending geeft.

Aire d'Assevillers is een theatrale road movie over de gevolgen van de crisis die nog altijd voelbaar zijn. Een verhaal over wanhoop, vergeving en verlossing. Een pleidooi voor een gewetensvol leven omdat we er maar één hebben.

Aire d’Asssevillers is een PIPS:lab productie van Thijs de Wit i.s.m. Andreas Scharfenberg 

[at this moment, in dutch only, sorry... will be translated soon]

Met Aire d'Assevillers brengt multimedia collectief PIPS:lab een hedendaagse versie van Elckerlijck. Een moralistische zedenpreek voor arm en rijk. Een 21e eeuws wagenspel met een multimedia kampeerbusje op een tankstation langs de franse snelweg, in een tekst van Don Duyns.

'In een maatschappij waar alles gerelateerd is aan geld, is een leven zonder geld niets waard' denkt Robbert, een vastgoedhandelaar die alles heeft verspeeld. Zijn bedrijf, zijn geld, zijn vrouw en kinderen is hij kwijt. Hij vertrekt in zijn BMW naar Frankrijk om zijn leven in stijl achter zich te laten. Op zijn tocht roept hij de hulp in van Otto, een oude schoolvriend met een terminale ziekte en een camper. Samen vertrekken ze naar het vakantiehuisje van Robbert in de Dordogne. De één om te sterven, de ander om nog één keer te leven. Als ze stoppen op Aire d’Assevillers ontmoeten zij Julie, die de reis een compleet nieuwe wending geeft.

Aire d'Assevillers is een theatrale road movie over de gevolgen van de crisis die nog altijd voelbaar zijn. Een verhaal over wanhoop, vergeving en verlossing. Een pleidooi voor een gewetensvol leven omdat we er maar één hebben.

Aire d’Asssevillers is een PIPS:lab productie van Thijs de Wit i.s.m. Andreas Scharfenberg 

For the touring theatre festival de Parade PIPS:lab is making a special shortcut of the second part of the Social Fiction trilogy: Shadows in the Cloud (4**** in Theaterkrant).

In a time where we are forced to relate ourselves to preprogrammed computerprograms, and we thoughtless park our digital possessions on a virtual cloud, PIPS:lab takes us on a journey through the Cloud. With the audience in the leading part, and a social operating system as the director, this journey is being filmed. The end result however, is always different then we remembered...

Our mission is simple. Our technique isn't.

For the touring theatre festival de Parade PIPS:lab is making a special shortcut of the second part of the Social Fiction trilogy: Shadows in the Cloud (4**** in Theaterkrant).

In a time where we are forced to relate ourselves to preprogrammed computerprograms, and we thoughtless park our digital possessions on a virtual cloud, PIPS:lab takes us on a journey through the Cloud. With the audience in the leading part, and a social operating system as the director, this journey is being filmed. The end result however, is always different then we remembered...

Our mission is simple. Our technique isn't.

For the touring theatre festival de Parade PIPS:lab is making a special shortcut of the second part of the Social Fiction trilogy: Shadows in the Cloud (4**** in Theaterkrant).

In a time where we are forced to relate ourselves to preprogrammed computerprograms, and we thoughtless park our digital possessions on a virtual cloud, PIPS:lab takes us on a journey through the Cloud. With the audience in the leading part, and a social operating system as the director, this journey is being filmed. The end result however, is always different then we remembered...

Our mission is simple. Our technique isn't.

PIPS:lab is a laboratory and known for it's pioneering work in the field of Art & Technology. To share our knowledge, experience and tools, we sometimes do educational projects with students in different art disciplines. 

We can supervise assignments or projects by individual students or small groups on a project base. We also regularly have interns in the lab. And if you would like to visit our lab with a group of students, please feel free to contact us. 

For the touring theatre festival de Parade PIPS:lab is making a special shortcut of the second part of the Social Fiction trilogy: Shadows in the Cloud (4**** in Theaterkrant).

In a time where we are forced to relate ourselves to preprogrammed computerprograms, and we thoughtless park our digital possessions on a virtual cloud, PIPS:lab takes us on a journey through the Cloud. With the audience in the leading part, and a social operating system as the director, this journey is being filmed. The end result however, is always different then we remembered...

Our mission is simple. Our technique isn't.

With our Potator performance we let the audience experiment themselves with PIPS:lab's tools and technology. It's an interactive installation where motion capture and our own designed potator tools are combined. The potator tools combine the qualities of a peeler with those of a brush and make it possible to paint in 3D with virtual peels of reality. Meanwhile it uses scans of everything that appears in its visual range; from textiles, to objects and backgrounds. These are used as paint. The visual output manifests itself as an augmented reality that is directly beamed on a screen. Besides that there is also one pair of oculus rift virtual reality glasses, that make it possible for a person to walk through their own created 3D painted world. Reality functions as paint and canvas at the same time.

With our Potator performance we let the audience experiment themselves with PIPS:lab's tools and technology. It's an interactive installation where motion capture and our own designed potator tools are combined. The potator tools combine the qualities of a peeler with those of a brush and make it possible to paint in 3D with virtual peels of reality. Meanwhile it uses scans of everything that appears in its visual range; from textiles, to objects and backgrounds. These are used as paint. The visual output manifests itself as an augmented reality that is directly beamed on a screen. Besides that there is also one pair of oculus rift virtual reality glasses, that make it possible for a person to walk through their own created 3D painted world. Reality functions as paint and canvas at the same time.

With our Potator performance we let the audience experiment themselves with PIPS:lab's tools and technology. It's an interactive installation where motion capture and our own designed potator tools are combined. The potator tools combine the qualities of a peeler with those of a brush and make it possible to paint in 3D with virtual peels of reality. Meanwhile it uses scans of everything that appears in its visual range; from textiles, to objects and backgrounds. These are used as paint. The visual output manifests itself as an augmented reality that is directly beamed on a screen. Besides that there is also one pair of oculus rift virtual reality glasses, that make it possible for a person to walk through their own created 3D painted world. Reality functions as paint and canvas at the same time.

Special home-made installations for a specific event, festival or occasion. Always interactive, live, multidisciplinary and experimental...

Social Fiction is a trilogy wherein PIPS:lab gets recklessly stuck between theatre, cinema , painting , gaming and music. It is a glimpse of the future where all boundaries between realities are completely diffused. PIPS:lab brings you into an augmented state of confusion.

After Social Fiction 1, where PIPS:lab explored the boundaries of online privacy, they now have entered the virtual space even further.

We are increasingly forced to relate to pre-programmed computer programs. Who does not follow, does not count.

In Shadows in the Cloud the performers and audience are jointly dominated by a social operating system, called Terence. He promises us everything we ever dreamt of. We just have to follow his exact instructions. The fearless cybernauts of PIPS:lab will test this new operating system on you, so eventually we can all escape from daily reality through a galactic gateway.

In Social Fiction PIPS:lab uses a motion capture system in combination with the self-invented Potator tools. These make it possible to paint in 3D with peels of reality. With the triptych Social Fiction PIPS:lab contributes in its own way to the digital reali-Zeitgeist.

“…I believe the show is much like a ballet, where the dance is the intricate and subtle

interactions between humans and technology.” [getdown.ca 20/11/2014]

“Imaginative, interactive, clever sci-fi from Amsterdam.” [YP Live Nationwide 21/11/2014]

“In the end, all the parts came together in an interesting blend of digital animation, performance art and music. To explain the process would be to spoil the fun, so I will only say that this show must be seen to be believed.” [getdown.ca 20/11/2014]

“An intriguing set blends pop art and the wonders of modern technology, while plenty of electronic music interludes force you to consider your own place in the digital realm.” [YP Live Nationwide 21/11/2014]

Social Fiction is a trilogy wherein PIPS:lab gets recklessly stuck between theatre, cinema , painting , gaming and music. It is a glimpse of the future where all boundaries between realities are completely diffused. PIPS:lab brings you into an augmented state of confusion.

After Social Fiction 1, where PIPS:lab explored the boundaries of online privacy, they now have entered the virtual space even further.

We are increasingly forced to relate to pre-programmed computer programs. Who does not follow, does not count.

In Shadows in the Cloud the performers and audience are jointly dominated by a social operating system, called Terence. He promises us everything we ever dreamt of. We just have to follow his exact instructions. The fearless cybernauts of PIPS:lab will test this new operating system on you, so eventually we can all escape from daily reality through a galactic gateway.

In Social Fiction PIPS:lab uses a motion capture system in combination with the self-invented Potator tools. These make it possible to paint in 3D with peels of reality. With the triptych Social Fiction PIPS:lab contributes in its own way to the digital reali-Zeitgeist.

“…I believe the show is much like a ballet, where the dance is the intricate and subtle

interactions between humans and technology.” [getdown.ca 20/11/2014]

“Imaginative, interactive, clever sci-fi from Amsterdam.” [YP Live Nationwide 21/11/2014]

“In the end, all the parts came together in an interesting blend of digital animation, performance art and music. To explain the process would be to spoil the fun, so I will only say that this show must be seen to be believed.” [getdown.ca 20/11/2014]

“An intriguing set blends pop art and the wonders of modern technology, while plenty of electronic music interludes force you to consider your own place in the digital realm.” [YP Live Nationwide 21/11/2014]

Social Fiction is a trilogy wherein PIPS:lab gets recklessly stuck between theatre, cinema , painting , gaming and music. It is a glimpse of the future where all boundaries between realities are completely diffused. PIPS:lab brings you into an augmented state of confusion.

After Social Fiction 1, where PIPS:lab explored the boundaries of online privacy, they now have entered the virtual space even further.

We are increasingly forced to relate to pre-programmed computer programs. Who does not follow, does not count.

In Shadows in the Cloud the performers and audience are jointly dominated by a social operating system, called Terence. He promises us everything we ever dreamt of. We just have to follow his exact instructions. The fearless cybernauts of PIPS:lab will test this new operating system on you, so eventually we can all escape from daily reality through a galactic gateway.

In Social Fiction PIPS:lab uses a motion capture system in combination with the self-invented Potator tools. These make it possible to paint in 3D with peels of reality. With the triptych Social Fiction PIPS:lab contributes in its own way to the digital reali-Zeitgeist.

“…I believe the show is much like a ballet, where the dance is the intricate and subtle

interactions between humans and technology.” [getdown.ca 20/11/2014]

“Imaginative, interactive, clever sci-fi from Amsterdam.” [YP Live Nationwide 21/11/2014]

“In the end, all the parts came together in an interesting blend of digital animation, performance art and music. To explain the process would be to spoil the fun, so I will only say that this show must be seen to be believed.” [getdown.ca 20/11/2014]

“An intriguing set blends pop art and the wonders of modern technology, while plenty of electronic music interludes force you to consider your own place in the digital realm.” [YP Live Nationwide 21/11/2014]

Social Fiction is a trilogy wherein PIPS:lab gets recklessly stuck between theatre, cinema , painting , gaming and music. It is a glimpse of the future where all boundaries between realities are completely diffused. PIPS:lab brings you into an augmented state of confusion.

After Social Fiction 1, where PIPS:lab explored the boundaries of online privacy, they now have entered the virtual space even further.

We are increasingly forced to relate to pre-programmed computer programs. Who does not follow, does not count.

In Shadows in the Cloud the performers and audience are jointly dominated by a social operating system, called Terence. He promises us everything we ever dreamt of. We just have to follow his exact instructions. The fearless cybernauts of PIPS:lab will test this new operating system on you, so eventually we can all escape from daily reality through a galactic gateway.

In Social Fiction PIPS:lab uses a motion capture system in combination with the self-invented Potator tools. These make it possible to paint in 3D with peels of reality. With the triptych Social Fiction PIPS:lab contributes in its own way to the digital reali-Zeitgeist.

“…I believe the show is much like a ballet, where the dance is the intricate and subtle

interactions between humans and technology.” [getdown.ca 20/11/2014]

“Imaginative, interactive, clever sci-fi from Amsterdam.” [YP Live Nationwide 21/11/2014]

“In the end, all the parts came together in an interesting blend of digital animation, performance art and music. To explain the process would be to spoil the fun, so I will only say that this show must be seen to be believed.” [getdown.ca 20/11/2014]

“An intriguing set blends pop art and the wonders of modern technology, while plenty of electronic music interludes force you to consider your own place in the digital realm.” [YP Live Nationwide 21/11/2014]

Social Fiction is a trilogy wherein PIPS:lab gets recklessly stuck between theatre, cinema , painting , gaming and music. It is a glimpse of the future where all boundaries between realities are completely diffused. PIPS:lab brings you into an augmented state of confusion.

After Social Fiction 1, where PIPS:lab explored the boundaries of online privacy, they now have entered the virtual space even further.

We are increasingly forced to relate to pre-programmed computer programs. Who does not follow, does not count.

In Shadows in the Cloud the performers and audience are jointly dominated by a social operating system, called Terence. He promises us everything we ever dreamt of. We just have to follow his exact instructions. The fearless cybernauts of PIPS:lab will test this new operating system on you, so eventually we can all escape from daily reality through a galactic gateway.

In Social Fiction PIPS:lab uses a motion capture system in combination with the self-invented Potator tools. These make it possible to paint in 3D with peels of reality. With the triptych Social Fiction PIPS:lab contributes in its own way to the digital reali-Zeitgeist.

“…I believe the show is much like a ballet, where the dance is the intricate and subtle

interactions between humans and technology.” [getdown.ca 20/11/2014]

“Imaginative, interactive, clever sci-fi from Amsterdam.” [YP Live Nationwide 21/11/2014]

“In the end, all the parts came together in an interesting blend of digital animation, performance art and music. To explain the process would be to spoil the fun, so I will only say that this show must be seen to be believed.” [getdown.ca 20/11/2014]

“An intriguing set blends pop art and the wonders of modern technology, while plenty of electronic music interludes force you to consider your own place in the digital realm.” [YP Live Nationwide 21/11/2014]

Special home-made installations for a specific event, festival or occasion. Always interactive, live, multidisciplinary and experimental...

Social Fiction is a trilogy wherein PIPS:lab gets recklessly stuck between theatre, cinema , painting , gaming and music. It is a glimpse of the future where all boundaries between realities are completely diffused. PIPS:lab brings you into an augmented state of confusion.

After Social Fiction 1, where PIPS:lab explored the boundaries of online privacy, they now have entered the virtual space even further.

We are increasingly forced to relate to pre-programmed computer programs. Who does not follow, does not count.

In Shadows in the Cloud the performers and audience are jointly dominated by a social operating system, called Terence. He promises us everything we ever dreamt of. We just have to follow his exact instructions. The fearless cybernauts of PIPS:lab will test this new operating system on you, so eventually we can all escape from daily reality through a galactic gateway.

In Social Fiction PIPS:lab uses a motion capture system in combination with the self-invented Potator tools. These make it possible to paint in 3D with peels of reality. With the triptych Social Fiction PIPS:lab contributes in its own way to the digital reali-Zeitgeist.

“…I believe the show is much like a ballet, where the dance is the intricate and subtle

interactions between humans and technology.” [getdown.ca 20/11/2014]

“Imaginative, interactive, clever sci-fi from Amsterdam.” [YP Live Nationwide 21/11/2014]

“In the end, all the parts came together in an interesting blend of digital animation, performance art and music. To explain the process would be to spoil the fun, so I will only say that this show must be seen to be believed.” [getdown.ca 20/11/2014]

“An intriguing set blends pop art and the wonders of modern technology, while plenty of electronic music interludes force you to consider your own place in the digital realm.” [YP Live Nationwide 21/11/2014]

Special home-made installations for a specific event, festival or occasion. Always interactive, live, multidisciplinary and experimental...

Social Fiction is a trilogy wherein PIPS:lab gets recklessly stuck between theatre, cinema , painting , gaming and music. It is a glimpse of the future where all boundaries between realities are completely diffused. PIPS:lab brings you into an augmented state of confusion.

Here and now

Altered realities and digital representations can no longer be ignored in our daily lives. Started in the entertainment industries, virtual (and augmented) reality tools are now even used in life saving applications such as medical research. Documentaries and discussions about ‘real and not real ', privacy and the always-on society where the here and now no longer exists, are frequently in the news media. Almost every news platform has its own technology and media section nowadays. Dave Eggers wrote The Circle and recently HER was released, a film in which a person enters into a relationship with his ideal partner: its own customized operating system. And by the revelations about the NSA suddenly the whole world knew that secrets or confidentiality do not exist in the digital world.

With Social Fiction PIPS:lab contributes in it’s own way to the digital reali-Zeitgeist. They use the latest technology in combination with their own developed tools and software. As a theatre and arts collective, PIPS:lab sees it as its task to take the live audience to other dimensions and make them experience how we can design our own future.

Social Fiction 1 was created in 2013 and performed at Theaterfestival De Parade. Social Fiction 2 will première February 27, 2015 at Frascati Amsterdam. As Social Fiction is rather a process than a clearly defined production. We do previews, in-between performances, and blending shows in between the hard numbers. Not afraid to loose count. Are you?

Social Fiction is a trilogy wherein PIPS:lab gets recklessly stuck between theatre, cinema , painting , gaming and music. It is a glimpse of the future where all boundaries between realities are completely diffused. PIPS:lab brings you into an augmented state of confusion.

Here and now

Altered realities and digital representations can no longer be ignored in our daily lives. Started in the entertainment industries, virtual (and augmented) reality tools are now even used in life saving applications such as medical research. Documentaries and discussions about ‘real and not real ', privacy and the always-on society where the here and now no longer exists, are frequently in the news media. Almost every news platform has its own technology and media section nowadays. Dave Eggers wrote The Circle and recently HER was released, a film in which a person enters into a relationship with his ideal partner: its own customized operating system. And by the revelations about the NSA suddenly the whole world knew that secrets or confidentiality do not exist in the digital world.

With Social Fiction PIPS:lab contributes in it’s own way to the digital reali-Zeitgeist. They use the latest technology in combination with their own developed tools and software. As a theatre and arts collective, PIPS:lab sees it as its task to take the live audience to other dimensions and make them experience how we can design our own future.

Social Fiction 1 was created in 2013 and performed at Theaterfestival De Parade. Social Fiction 2 will première February 27, 2015 at Frascati Amsterdam. As Social Fiction is rather a process than a clearly defined production. We do previews, in-between performances, and blending shows in between the hard numbers. Not afraid to loose count. Are you?

Social Fiction is a trilogy wherein PIPS:lab gets recklessly stuck between theatre, cinema , painting , gaming and music. It is a glimpse of the future where all boundaries between realities are completely diffused. PIPS:lab brings you into an augmented state of confusion.

Here and now

Altered realities and digital representations can no longer be ignored in our daily lives. Started in the entertainment industries, virtual (and augmented) reality tools are now even used in life saving applications such as medical research. Documentaries and discussions about ‘real and not real ', privacy and the always-on society where the here and now no longer exists, are frequently in the news media. Almost every news platform has its own technology and media section nowadays. Dave Eggers wrote The Circle and recently HER was released, a film in which a person enters into a relationship with his ideal partner: its own customized operating system. And by the revelations about the NSA suddenly the whole world knew that secrets or confidentiality do not exist in the digital world.

With Social Fiction PIPS:lab contributes in it’s own way to the digital reali-Zeitgeist. They use the latest technology in combination with their own developed tools and software. As a theatre and arts collective, PIPS:lab sees it as its task to take the live audience to other dimensions and make them experience how we can design our own future.

Social Fiction 1 was created in 2013 and performed at Theaterfestival De Parade. Social Fiction 2 will première February 27, 2015 at Frascati Amsterdam. As Social Fiction is rather a process than a clearly defined production. We do previews, in-between performances, and blending shows in between the hard numbers. Not afraid to loose count. Are you?

Social Fiction is a trilogy wherein PIPS:lab gets recklessly stuck between theatre, cinema , painting , gaming and music. It is a glimpse of the future where all boundaries between realities are completely diffused. PIPS:lab brings you into an augmented state of confusion.

Here and now

Altered realities and digital representations can no longer be ignored in our daily lives. Started in the entertainment industries, virtual (and augmented) reality tools are now even used in life saving applications such as medical research. Documentaries and discussions about ‘real and not real ', privacy and the always-on society where the here and now no longer exists, are frequently in the news media. Almost every news platform has its own technology and media section nowadays. Dave Eggers wrote The Circle and recently HER was released, a film in which a person enters into a relationship with his ideal partner: its own customized operating system. And by the revelations about the NSA suddenly the whole world knew that secrets or confidentiality do not exist in the digital world.

With Social Fiction PIPS:lab contributes in it’s own way to the digital reali-Zeitgeist. They use the latest technology in combination with their own developed tools and software. As a theatre and arts collective, PIPS:lab sees it as its task to take the live audience to other dimensions and make them experience how we can design our own future.

Social Fiction 1 was created in 2013 and performed at Theaterfestival De Parade. Social Fiction 2 will première February 27, 2015 at Frascati Amsterdam. As Social Fiction is rather a process than a clearly defined production. We do previews, in-between performances, and blending shows in between the hard numbers. Not afraid to loose count. Are you?

Social Fiction is a trilogy wherein PIPS:lab gets recklessly stuck between theatre, cinema , painting , gaming and music. It is a glimpse of the future where all boundaries between realities are completely diffused. PIPS:lab brings you into an augmented state of confusion.

Here and now

Altered realities and digital representations can no longer be ignored in our daily lives. Started in the entertainment industries, virtual (and augmented) reality tools are now even used in life saving applications such as medical research. Documentaries and discussions about ‘real and not real ', privacy and the always-on society where the here and now no longer exists, are frequently in the news media. Almost every news platform has its own technology and media section nowadays. Dave Eggers wrote The Circle and recently HER was released, a film in which a person enters into a relationship with his ideal partner: its own customized operating system. And by the revelations about the NSA suddenly the whole world knew that secrets or confidentiality do not exist in the digital world.

With Social Fiction PIPS:lab contributes in it’s own way to the digital reali-Zeitgeist. They use the latest technology in combination with their own developed tools and software. As a theatre and arts collective, PIPS:lab sees it as its task to take the live audience to other dimensions and make them experience how we can design our own future.

Social Fiction 1 was created in 2013 and performed at Theaterfestival De Parade. Social Fiction 2 will première February 27, 2015 at Frascati Amsterdam. As Social Fiction is rather a process than a clearly defined production. We do previews, in-between performances, and blending shows in between the hard numbers. Not afraid to loose count. Are you?

Social Fiction is a trilogy wherein PIPS:lab gets recklessly stuck between theatre, cinema , painting , gaming and music. It is a glimpse of the future where all boundaries between realities are completely diffused. PIPS:lab brings you into an augmented state of confusion.

Here and now

Altered realities and digital representations can no longer be ignored in our daily lives. Started in the entertainment industries, virtual (and augmented) reality tools are now even used in life saving applications such as medical research. Documentaries and discussions about ‘real and not real ', privacy and the always-on society where the here and now no longer exists, are frequently in the news media. Almost every news platform has its own technology and media section nowadays. Dave Eggers wrote The Circle and recently HER was released, a film in which a person enters into a relationship with his ideal partner: its own customized operating system. And by the revelations about the NSA suddenly the whole world knew that secrets or confidentiality do not exist in the digital world.

With Social Fiction PIPS:lab contributes in it’s own way to the digital reali-Zeitgeist. They use the latest technology in combination with their own developed tools and software. As a theatre and arts collective, PIPS:lab sees it as its task to take the live audience to other dimensions and make them experience how we can design our own future.

Social Fiction 1 was created in 2013 and performed at Theaterfestival De Parade. Social Fiction 2 will première February 27, 2015 at Frascati Amsterdam. As Social Fiction is rather a process than a clearly defined production. We do previews, in-between performances, and blending shows in between the hard numbers. Not afraid to loose count. Are you?

Social Fiction is a trilogy wherein PIPS:lab gets recklessly stuck between theatre, cinema , painting , gaming and music. It is a glimpse of the future where all boundaries between realities are completely diffused. PIPS:lab brings you into an augmented state of confusion.

Here and now

Altered realities and digital representations can no longer be ignored in our daily lives. Started in the entertainment industries, virtual (and augmented) reality tools are now even used in life saving applications such as medical research. Documentaries and discussions about ‘real and not real ', privacy and the always-on society where the here and now no longer exists, are frequently in the news media. Almost every news platform has its own technology and media section nowadays. Dave Eggers wrote The Circle and recently HER was released, a film in which a person enters into a relationship with his ideal partner: its own customized operating system. And by the revelations about the NSA suddenly the whole world knew that secrets or confidentiality do not exist in the digital world.

With Social Fiction PIPS:lab contributes in it’s own way to the digital reali-Zeitgeist. They use the latest technology in combination with their own developed tools and software. As a theatre and arts collective, PIPS:lab sees it as its task to take the live audience to other dimensions and make them experience how we can design our own future.

Social Fiction 1 was created in 2013 and performed at Theaterfestival De Parade. Social Fiction 2 will première February 27, 2015 at Frascati Amsterdam. As Social Fiction is rather a process than a clearly defined production. We do previews, in-between performances, and blending shows in between the hard numbers. Not afraid to loose count. Are you?

Social Fiction is a trilogy wherein PIPS:lab gets recklessly stuck between theatre, cinema , painting , gaming and music. It is a glimpse of the future where all boundaries between realities are completely diffused. PIPS:lab brings you into an augmented state of confusion.

Here and now

Altered realities and digital representations can no longer be ignored in our daily lives. Started in the entertainment industries, virtual (and augmented) reality tools are now even used in life saving applications such as medical research. Documentaries and discussions about ‘real and not real ', privacy and the always-on society where the here and now no longer exists, are frequently in the news media. Almost every news platform has its own technology and media section nowadays. Dave Eggers wrote The Circle and recently HER was released, a film in which a person enters into a relationship with his ideal partner: its own customized operating system. And by the revelations about the NSA suddenly the whole world knew that secrets or confidentiality do not exist in the digital world.

With Social Fiction PIPS:lab contributes in it’s own way to the digital reali-Zeitgeist. They use the latest technology in combination with their own developed tools and software. As a theatre and arts collective, PIPS:lab sees it as its task to take the live audience to other dimensions and make them experience how we can design our own future.

Social Fiction 1 was created in 2013 and performed at Theaterfestival De Parade. Social Fiction 2 will première February 27, 2015 at Frascati Amsterdam. As Social Fiction is rather a process than a clearly defined production. We do previews, in-between performances, and blending shows in between the hard numbers. Not afraid to loose count. Are you?

Social Fiction is a trilogy wherein PIPS:lab gets recklessly stuck between theatre, cinema , painting , gaming and music. It is a glimpse of the future where all boundaries between realities are completely diffused. PIPS:lab brings you into an augmented state of confusion.

Here and now

Altered realities and digital representations can no longer be ignored in our daily lives. Started in the entertainment industries, virtual (and augmented) reality tools are now even used in life saving applications such as medical research. Documentaries and discussions about ‘real and not real ', privacy and the always-on society where the here and now no longer exists, are frequently in the news media. Almost every news platform has its own technology and media section nowadays. Dave Eggers wrote The Circle and recently HER was released, a film in which a person enters into a relationship with his ideal partner: its own customized operating system. And by the revelations about the NSA suddenly the whole world knew that secrets or confidentiality do not exist in the digital world.

With Social Fiction PIPS:lab contributes in it’s own way to the digital reali-Zeitgeist. They use the latest technology in combination with their own developed tools and software. As a theatre and arts collective, PIPS:lab sees it as its task to take the live audience to other dimensions and make them experience how we can design our own future.

Social Fiction 1 was created in 2013 and performed at Theaterfestival De Parade. Social Fiction 2 will première February 27, 2015 at Frascati Amsterdam. As Social Fiction is rather a process than a clearly defined production. We do previews, in-between performances, and blending shows in between the hard numbers. Not afraid to loose count. Are you?

Social Fiction is a trilogy wherein PIPS:lab gets recklessly stuck between theatre, cinema , painting , gaming and music. It is a glimpse of the future where all boundaries between realities are completely diffused. PIPS:lab brings you into an augmented state of confusion.

After Social Fiction 1, where PIPS:lab explored the boundaries of online privacy, they now have entered the virtual space even further.

We are increasingly forced to relate to pre-programmed computer programs. Who does not follow, does not count.

In Shadows in the Cloud the performers and audience are jointly dominated by a social operating system, called Terence. He promises us everything we ever dreamt of. We just have to follow his exact instructions. The fearless cybernauts of PIPS:lab will test this new operating system on you, so eventually we can all escape from daily reality through a galactic gateway.

In Social Fiction PIPS:lab uses a motion capture system in combination with the self-invented Potator tools. These make it possible to paint in 3D with peels of reality. With the triptych Social Fiction PIPS:lab contributes in its own way to the digital reali-Zeitgeist.

“…I believe the show is much like a ballet, where the dance is the intricate and subtle

interactions between humans and technology.” [getdown.ca 20/11/2014]

“Imaginative, interactive, clever sci-fi from Amsterdam.” [YP Live Nationwide 21/11/2014]

“In the end, all the parts came together in an interesting blend of digital animation, performance art and music. To explain the process would be to spoil the fun, so I will only say that this show must be seen to be believed.” [getdown.ca 20/11/2014]

“An intriguing set blends pop art and the wonders of modern technology, while plenty of electronic music interludes force you to consider your own place in the digital realm.” [YP Live Nationwide 21/11/2014]

PIPS:lab staat ook op tegen kanker en werkte mee aan deze KWF campagne. Met onze lumasol techniek maakten vrijwilligers en kunstenaars lichtberichten voor het KWF. Na 4 dagen live painten in een loods in Amsterdam Noord, heeft onze ABB robot Stefke het overgenomen. In totaal zijn er meer dan 1800 lichtberichten gemaakt. 

Sta op tegen kanker en stuur een KWF Lichtbericht.

1 op de 3 mensen krijgt kanker. Kanker raakt ons dus allemaal. Laat zien voor wie jíj opstaat. Schrijf een bijzonder bericht voor een dierbare en laat weten dat je aan hem of haar denkt.

What do you want to do when you’re dead?

Hyves, Facebook, MySpace, Friendster, LinkedIn – it’s almost a full-time job keeping up with all these online communities, updating your profile, sending messages and uploading your latest best photos. And now tech-theatre group PiPS:lab wants us to join another one: DieSpace. There is one prerequisite though: you have to be dead to join. Because of the fast ‘greyification’ of our society, the number of people dying will be increasing rapidly. And dead people don’t have a place to socialize yet… PiPS:lab jumped at this great business opportunity and created DieSpace: “the first active internet community for the diseased”.

Each visitor of their show will get a free DieSpace light account to start out with. So from now on, there’s only one thing to fear after death: whether or not you’ll make enough friends on DieSpace. / Annelies Termeer

The proportional amount of elderly people (65+) in the world will increase dramatically in the near future. This cause of events is what PIPS:lab call Greyification. And in it they see an enormous possibility for commercial self-enrichment.

Thus they create DieSpace.nl: the first internet community for those in the Afterlife.

With granny’s skateboarding on walking frames, musical wheelchairs, many laptops, camera’s and light sensors PIPS:lab presents an interactive and song soaked show about life after death. 

You have a death wish but are hesitant to pursue your dream? With DieSpace you can leave your life and loved ones behind with complete peace of mind!

Co-produced by Melkweg-Paradiso Productiehuis

DieSpace is supported by the Fonds voor Amateurkunst en Podiumkunsten, Amsterdams Fonds voor de Kunsten, Prins Bernhard Cultuur Fonds and VSB Fonds

What do you want to do when you’re dead?

Hyves, Facebook, MySpace, Friendster, LinkedIn – it’s almost a full-time job keeping up with all these online communities, updating your profile, sending messages and uploading your latest best photos. And now tech-theatre group PiPS:lab wants us to join another one: DieSpace. There is one prerequisite though: you have to be dead to join. Because of the fast ‘greyification’ of our society, the number of people dying will be increasing rapidly. And dead people don’t have a place to socialize yet… PiPS:lab jumped at this great business opportunity and created DieSpace: “the first active internet community for the diseased”.

Each visitor of their show will get a free DieSpace light account to start out with. So from now on, there’s only one thing to fear after death: whether or not you’ll make enough friends on DieSpace. / Annelies Termeer

The proportional amount of elderly people (65+) in the world will increase dramatically in the near future. This cause of events is what PIPS:lab call Greyification. And in it they see an enormous possibility for commercial self-enrichment.

Thus they create DieSpace.nl: the first internet community for those in the Afterlife.

With granny’s skateboarding on walking frames, musical wheelchairs, many laptops, camera’s and light sensors PIPS:lab presents an interactive and song soaked show about life after death. 

You have a death wish but are hesitant to pursue your dream? With DieSpace you can leave your life and loved ones behind with complete peace of mind!

Co-produced by Melkweg-Paradiso Productiehuis

DieSpace is supported by the Fonds voor Amateurkunst en Podiumkunsten, Amsterdams Fonds voor de Kunsten, Prins Bernhard Cultuur Fonds and VSB Fonds

PIPS:lab is a laboratory and known for it's pioneering work in the field of Art & Technology. To share our knowledge, experience and tools, we sometimes do educational projects with students in different art disciplines. 

We can supervise assignments or projects by individual students or small groups on a project base. We also regularly have interns in the lab. And if you would like to visit our lab with a group of students, please feel free to contact us. 

Special home-made installations for a specific event, festival or occasion. Always interactive, live, multidisciplinary and experimental...

[at this moment, in dutch only, sorry... will be translated soon]

Met Aire d'Assevillers brengt multimedia collectief PIPS:lab een hedendaagse versie van Elckerlijck. Een moralistische zedenpreek voor arm en rijk. Een 21e eeuws wagenspel met een multimedia kampeerbusje op een tankstation langs de franse snelweg, in een tekst van Don Duyns.

'In een maatschappij waar alles gerelateerd is aan geld, is een leven zonder geld niets waard' denkt Robbert, een vastgoedhandelaar die alles heeft verspeeld. Zijn bedrijf, zijn geld, zijn vrouw en kinderen is hij kwijt. Hij vertrekt in zijn BMW naar Frankrijk om zijn leven in stijl achter zich te laten. Op zijn tocht roept hij de hulp in van Otto, een oude schoolvriend met een terminale ziekte en een camper. Samen vertrekken ze naar het vakantiehuisje van Robbert in de Dordogne. De één om te sterven, de ander om nog één keer te leven. Als ze stoppen op Aire d’Assevillers ontmoeten zij Julie, die de reis een compleet nieuwe wending geeft.

Aire d'Assevillers is een theatrale road movie over de gevolgen van de crisis die nog altijd voelbaar zijn. Een verhaal over wanhoop, vergeving en verlossing. Een pleidooi voor een gewetensvol leven omdat we er maar één hebben.

Aire d’Asssevillers is een PIPS:lab productie van Thijs de Wit i.s.m. Andreas Scharfenberg 

[at this moment, in dutch only, sorry... will be translated soon]

Met Aire d'Assevillers brengt multimedia collectief PIPS:lab een hedendaagse versie van Elckerlijck. Een moralistische zedenpreek voor arm en rijk. Een 21e eeuws wagenspel met een multimedia kampeerbusje op een tankstation langs de franse snelweg, in een tekst van Don Duyns.

'In een maatschappij waar alles gerelateerd is aan geld, is een leven zonder geld niets waard' denkt Robbert, een vastgoedhandelaar die alles heeft verspeeld. Zijn bedrijf, zijn geld, zijn vrouw en kinderen is hij kwijt. Hij vertrekt in zijn BMW naar Frankrijk om zijn leven in stijl achter zich te laten. Op zijn tocht roept hij de hulp in van Otto, een oude schoolvriend met een terminale ziekte en een camper. Samen vertrekken ze naar het vakantiehuisje van Robbert in de Dordogne. De één om te sterven, de ander om nog één keer te leven. Als ze stoppen op Aire d’Assevillers ontmoeten zij Julie, die de reis een compleet nieuwe wending geeft.

Aire d'Assevillers is een theatrale road movie over de gevolgen van de crisis die nog altijd voelbaar zijn. Een verhaal over wanhoop, vergeving en verlossing. Een pleidooi voor een gewetensvol leven omdat we er maar één hebben.

Aire d’Asssevillers is een PIPS:lab productie van Thijs de Wit i.s.m. Andreas Scharfenberg 

[at this moment, in dutch only, sorry... will be translated soon]

Met Aire d'Assevillers brengt multimedia collectief PIPS:lab een hedendaagse versie van Elckerlijck. Een moralistische zedenpreek voor arm en rijk. Een 21e eeuws wagenspel met een multimedia kampeerbusje op een tankstation langs de franse snelweg, in een tekst van Don Duyns.

'In een maatschappij waar alles gerelateerd is aan geld, is een leven zonder geld niets waard' denkt Robbert, een vastgoedhandelaar die alles heeft verspeeld. Zijn bedrijf, zijn geld, zijn vrouw en kinderen is hij kwijt. Hij vertrekt in zijn BMW naar Frankrijk om zijn leven in stijl achter zich te laten. Op zijn tocht roept hij de hulp in van Otto, een oude schoolvriend met een terminale ziekte en een camper. Samen vertrekken ze naar het vakantiehuisje van Robbert in de Dordogne. De één om te sterven, de ander om nog één keer te leven. Als ze stoppen op Aire d’Assevillers ontmoeten zij Julie, die de reis een compleet nieuwe wending geeft.

Aire d'Assevillers is een theatrale road movie over de gevolgen van de crisis die nog altijd voelbaar zijn. Een verhaal over wanhoop, vergeving en verlossing. Een pleidooi voor een gewetensvol leven omdat we er maar één hebben.

Aire d’Asssevillers is een PIPS:lab productie van Thijs de Wit i.s.m. Andreas Scharfenberg 

[at this moment, in dutch only, sorry... will be translated soon]

Met Aire d'Assevillers brengt multimedia collectief PIPS:lab een hedendaagse versie van Elckerlijck. Een moralistische zedenpreek voor arm en rijk. Een 21e eeuws wagenspel met een multimedia kampeerbusje op een tankstation langs de franse snelweg, in een tekst van Don Duyns.

'In een maatschappij waar alles gerelateerd is aan geld, is een leven zonder geld niets waard' denkt Robbert, een vastgoedhandelaar die alles heeft verspeeld. Zijn bedrijf, zijn geld, zijn vrouw en kinderen is hij kwijt. Hij vertrekt in zijn BMW naar Frankrijk om zijn leven in stijl achter zich te laten. Op zijn tocht roept hij de hulp in van Otto, een oude schoolvriend met een terminale ziekte en een camper. Samen vertrekken ze naar het vakantiehuisje van Robbert in de Dordogne. De één om te sterven, de ander om nog één keer te leven. Als ze stoppen op Aire d’Assevillers ontmoeten zij Julie, die de reis een compleet nieuwe wending geeft.

Aire d'Assevillers is een theatrale road movie over de gevolgen van de crisis die nog altijd voelbaar zijn. Een verhaal over wanhoop, vergeving en verlossing. Een pleidooi voor een gewetensvol leven omdat we er maar één hebben.

Aire d’Asssevillers is een PIPS:lab productie van Thijs de Wit i.s.m. Andreas Scharfenberg 

[at this moment, in dutch only, sorry... will be translated soon]

Met Aire d'Assevillers brengt multimedia collectief PIPS:lab een hedendaagse versie van Elckerlijck. Een moralistische zedenpreek voor arm en rijk. Een 21e eeuws wagenspel met een multimedia kampeerbusje op een tankstation langs de franse snelweg, in een tekst van Don Duyns.

'In een maatschappij waar alles gerelateerd is aan geld, is een leven zonder geld niets waard' denkt Robbert, een vastgoedhandelaar die alles heeft verspeeld. Zijn bedrijf, zijn geld, zijn vrouw en kinderen is hij kwijt. Hij vertrekt in zijn BMW naar Frankrijk om zijn leven in stijl achter zich te laten. Op zijn tocht roept hij de hulp in van Otto, een oude schoolvriend met een terminale ziekte en een camper. Samen vertrekken ze naar het vakantiehuisje van Robbert in de Dordogne. De één om te sterven, de ander om nog één keer te leven. Als ze stoppen op Aire d’Assevillers ontmoeten zij Julie, die de reis een compleet nieuwe wending geeft.

Aire d'Assevillers is een theatrale road movie over de gevolgen van de crisis die nog altijd voelbaar zijn. Een verhaal over wanhoop, vergeving en verlossing. Een pleidooi voor een gewetensvol leven omdat we er maar één hebben.

Aire d’Asssevillers is een PIPS:lab productie van Thijs de Wit i.s.m. Andreas Scharfenberg 

Social Fiction is a trilogy wherein PIPS:lab gets recklessly stuck between theatre, cinema , painting , gaming and music. It is a glimpse of the future where all boundaries between realities are completely diffused. PIPS:lab brings you into an augmented state of confusion.

After Social Fiction 1, where PIPS:lab explored the boundaries of online privacy, they now have entered the virtual space even further.

We are increasingly forced to relate to pre-programmed computer programs. Who does not follow, does not count.

In Shadows in the Cloud the performers and audience are jointly dominated by a social operating system, called Terence. He promises us everything we ever dreamt of. We just have to follow his exact instructions. The fearless cybernauts of PIPS:lab will test this new operating system on you, so eventually we can all escape from daily reality through a galactic gateway.

In Social Fiction PIPS:lab uses a motion capture system in combination with the self-invented Potator tools. These make it possible to paint in 3D with peels of reality. With the triptych Social Fiction PIPS:lab contributes in its own way to the digital reali-Zeitgeist.

“…I believe the show is much like a ballet, where the dance is the intricate and subtle

interactions between humans and technology.” [getdown.ca 20/11/2014]

“Imaginative, interactive, clever sci-fi from Amsterdam.” [YP Live Nationwide 21/11/2014]

“In the end, all the parts came together in an interesting blend of digital animation, performance art and music. To explain the process would be to spoil the fun, so I will only say that this show must be seen to be believed.” [getdown.ca 20/11/2014]

“An intriguing set blends pop art and the wonders of modern technology, while plenty of electronic music interludes force you to consider your own place in the digital realm.” [YP Live Nationwide 21/11/2014]

[at this moment, in dutch only, sorry... will be translated soon]

Met Aire d'Assevillers brengt multimedia collectief PIPS:lab een hedendaagse versie van Elckerlijck. Een moralistische zedenpreek voor arm en rijk. Een 21e eeuws wagenspel met een multimedia kampeerbusje op een tankstation langs de franse snelweg, in een tekst van Don Duyns.

'In een maatschappij waar alles gerelateerd is aan geld, is een leven zonder geld niets waard' denkt Robbert, een vastgoedhandelaar die alles heeft verspeeld. Zijn bedrijf, zijn geld, zijn vrouw en kinderen is hij kwijt. Hij vertrekt in zijn BMW naar Frankrijk om zijn leven in stijl achter zich te laten. Op zijn tocht roept hij de hulp in van Otto, een oude schoolvriend met een terminale ziekte en een camper. Samen vertrekken ze naar het vakantiehuisje van Robbert in de Dordogne. De één om te sterven, de ander om nog één keer te leven. Als ze stoppen op Aire d’Assevillers ontmoeten zij Julie, die de reis een compleet nieuwe wending geeft.

Aire d'Assevillers is een theatrale road movie over de gevolgen van de crisis die nog altijd voelbaar zijn. Een verhaal over wanhoop, vergeving en verlossing. Een pleidooi voor een gewetensvol leven omdat we er maar één hebben.

Aire d’Asssevillers is een PIPS:lab productie van Thijs de Wit i.s.m. Andreas Scharfenberg 

Special home-made installations for a specific event, festival or occasion. Always interactive, live, multidisciplinary and experimental...

[at this moment, in dutch only, sorry... will be translated soon]

Met Aire d'Assevillers brengt multimedia collectief PIPS:lab een hedendaagse versie van Elckerlijck. Een moralistische zedenpreek voor arm en rijk. Een 21e eeuws wagenspel met een multimedia kampeerbusje op een tankstation langs de franse snelweg, in een tekst van Don Duyns.

'In een maatschappij waar alles gerelateerd is aan geld, is een leven zonder geld niets waard' denkt Robbert, een vastgoedhandelaar die alles heeft verspeeld. Zijn bedrijf, zijn geld, zijn vrouw en kinderen is hij kwijt. Hij vertrekt in zijn BMW naar Frankrijk om zijn leven in stijl achter zich te laten. Op zijn tocht roept hij de hulp in van Otto, een oude schoolvriend met een terminale ziekte en een camper. Samen vertrekken ze naar het vakantiehuisje van Robbert in de Dordogne. De één om te sterven, de ander om nog één keer te leven. Als ze stoppen op Aire d’Assevillers ontmoeten zij Julie, die de reis een compleet nieuwe wending geeft.

Aire d'Assevillers is een theatrale road movie over de gevolgen van de crisis die nog altijd voelbaar zijn. Een verhaal over wanhoop, vergeving en verlossing. Een pleidooi voor een gewetensvol leven omdat we er maar één hebben.

Aire d’Asssevillers is een PIPS:lab productie van Thijs de Wit i.s.m. Andreas Scharfenberg 

Special home-made installations for a specific event, festival or occasion. Always interactive, live, multidisciplinary and experimental...

PIPS:lab is a laboratory and known for it's pioneering work in the field of Art & Technology. To share our knowledge, experience and tools, we sometimes do educational projects with students in different art disciplines. 

We can supervise assignments or projects by individual students or small groups on a project base. We also regularly have interns in the lab. And if you would like to visit our lab with a group of students, please feel free to contact us. 

What do you want to do when you’re dead?

Hyves, Facebook, MySpace, Friendster, LinkedIn – it’s almost a full-time job keeping up with all these online communities, updating your profile, sending messages and uploading your latest best photos. And now tech-theatre group PiPS:lab wants us to join another one: DieSpace. There is one prerequisite though: you have to be dead to join. Because of the fast ‘greyification’ of our society, the number of people dying will be increasing rapidly. And dead people don’t have a place to socialize yet… PiPS:lab jumped at this great business opportunity and created DieSpace: “the first active internet community for the diseased”.

Each visitor of their show will get a free DieSpace light account to start out with. So from now on, there’s only one thing to fear after death: whether or not you’ll make enough friends on DieSpace. / Annelies Termeer

The proportional amount of elderly people (65+) in the world will increase dramatically in the near future. This cause of events is what PIPS:lab call Greyification. And in it they see an enormous possibility for commercial self-enrichment.

Thus they create DieSpace.nl: the first internet community for those in the Afterlife.

With granny’s skateboarding on walking frames, musical wheelchairs, many laptops, camera’s and light sensors PIPS:lab presents an interactive and song soaked show about life after death. 

You have a death wish but are hesitant to pursue your dream? With DieSpace you can leave your life and loved ones behind with complete peace of mind!

Co-produced by Melkweg-Paradiso Productiehuis

DieSpace is supported by the Fonds voor Amateurkunst en Podiumkunsten, Amsterdams Fonds voor de Kunsten, Prins Bernhard Cultuur Fonds and VSB Fonds

What do you want to do when you’re dead?

Hyves, Facebook, MySpace, Friendster, LinkedIn – it’s almost a full-time job keeping up with all these online communities, updating your profile, sending messages and uploading your latest best photos. And now tech-theatre group PiPS:lab wants us to join another one: DieSpace. There is one prerequisite though: you have to be dead to join. Because of the fast ‘greyification’ of our society, the number of people dying will be increasing rapidly. And dead people don’t have a place to socialize yet… PiPS:lab jumped at this great business opportunity and created DieSpace: “the first active internet community for the diseased”.

Each visitor of their show will get a free DieSpace light account to start out with. So from now on, there’s only one thing to fear after death: whether or not you’ll make enough friends on DieSpace. / Annelies Termeer

The proportional amount of elderly people (65+) in the world will increase dramatically in the near future. This cause of events is what PIPS:lab call Greyification. And in it they see an enormous possibility for commercial self-enrichment.

Thus they create DieSpace.nl: the first internet community for those in the Afterlife.

With granny’s skateboarding on walking frames, musical wheelchairs, many laptops, camera’s and light sensors PIPS:lab presents an interactive and song soaked show about life after death. 

You have a death wish but are hesitant to pursue your dream? With DieSpace you can leave your life and loved ones behind with complete peace of mind!

Co-produced by Melkweg-Paradiso Productiehuis

DieSpace is supported by the Fonds voor Amateurkunst en Podiumkunsten, Amsterdams Fonds voor de Kunsten, Prins Bernhard Cultuur Fonds and VSB Fonds

The Potator is the latest invention of PIPS:lab. The Potator makes it possible to paint in 3D with visual peels of reality, by combining the qualities of a vegetable peeler with that of a brush. The handy tool scans everything that appaers in its visual range; objects, textures or backgrounds - thereby always aware of its own position. With the photographical strips the user of the Potator can paint  spatially or sculpt virtually. The visual output manifests itself as a photo or augmented reality: reality functions as paint and canvas at the same time. The Potator brings together painting, sculpting and movement, and challenges its users to shape reality…  

The Potator is the latest invention of PIPS:lab. The Potator makes it possible to paint in 3D with visual peels of reality, by combining the qualities of a vegetable peeler with that of a brush. The handy tool scans everything that appaers in its visual range; objects, textures or backgrounds - thereby always aware of its own position. With the photographical strips the user of the Potator can paint  spatially or sculpt virtually. The visual output manifests itself as a photo or augmented reality: reality functions as paint and canvas at the same time. The Potator brings together painting, sculpting and movement, and challenges its users to shape reality…  

The Potator is the latest invention of PIPS:lab. The Potator makes it possible to paint in 3D with visual peels of reality, by combining the qualities of a vegetable peeler with that of a brush. The handy tool scans everything that appaers in its visual range; objects, textures or backgrounds - thereby always aware of its own position. With the photographical strips the user of the Potator can paint  spatially or sculpt virtually. The visual output manifests itself as a photo or augmented reality: reality functions as paint and canvas at the same time. The Potator brings together painting, sculpting and movement, and challenges its users to shape reality…  

Installation: A dark round room surrounded by cameras with long exposure times. Participants can draw a three dimensional light sculpture with an arsenal of light tools. A flash of light determined by a countdown captures the participant(s) in the midth of their creation.

Lumalive is a visual show where we draw with light and create stunning visuals again following the PIPS:lab philosophy of no pre-recorded material and where all the technical manipulation is done live on stage. For these performances PIPS:lab create a great and musically inspired show, however we always end the set by handing out lights and letting the audience draw for a while to create the visuals. Normally these shows are combined with our own DJ's from Rednosedistrikt, but we could also collaborate with local DJ's. 

What do you want to do when you’re dead?

Hyves, Facebook, MySpace, Friendster, LinkedIn – it’s almost a full-time job keeping up with all these online communities, updating your profile, sending messages and uploading your latest best photos. And now tech-theatre group PiPS:lab wants us to join another one: DieSpace. There is one prerequisite though: you have to be dead to join. Because of the fast ‘greyification’ of our society, the number of people dying will be increasing rapidly. And dead people don’t have a place to socialize yet… PiPS:lab jumped at this great business opportunity and created DieSpace: “the first active internet community for the diseased”.

Each visitor of their show will get a free DieSpace light account to start out with. So from now on, there’s only one thing to fear after death: whether or not you’ll make enough friends on DieSpace. / Annelies Termeer

The proportional amount of elderly people (65+) in the world will increase dramatically in the near future. This cause of events is what PIPS:lab call Greyification. And in it they see an enormous possibility for commercial self-enrichment.

Thus they create DieSpace.nl: the first internet community for those in the Afterlife.

With granny’s skateboarding on walking frames, musical wheelchairs, many laptops, camera’s and light sensors PIPS:lab presents an interactive and song soaked show about life after death. 

You have a death wish but are hesitant to pursue your dream? With DieSpace you can leave your life and loved ones behind with complete peace of mind!

Co-produced by Melkweg-Paradiso Productiehuis

DieSpace is supported by the Fonds voor Amateurkunst en Podiumkunsten, Amsterdams Fonds voor de Kunsten, Prins Bernhard Cultuur Fonds and VSB Fonds

With little rituals Daan celebrates his love for Yvonne. He puts her in a doll house, covers the table with her dishes and wears her clothes. It's the little things that are important to him.

With little rituals Daan celebrates his love for Yvonne. He puts her in a doll house, covers the table with her dishes and wears her clothes. It's the little things that are important to him.

With little rituals Daan celebrates his love for Yvonne. He puts her in a doll house, covers the table with her dishes and wears her clothes. It's the little things that are important to him.

With little rituals Daan celebrates his love for Yvonne. He puts her in a doll house, covers the table with her dishes and wears her clothes. It's the little things that are important to him.

With little rituals Daan celebrates his love for Yvonne. He puts her in a doll house, covers the table with her dishes and wears her clothes. It's the little things that are important to him.

With little rituals Daan celebrates his love for Yvonne. He puts her in a doll house, covers the table with her dishes and wears her clothes. It's the little things that are important to him.

With little rituals Daan celebrates his love for Yvonne. He puts her in a doll house, covers the table with her dishes and wears her clothes. It's the little things that are important to him.

With little rituals Daan celebrates his love for Yvonne. He puts her in a doll house, covers the table with her dishes and wears her clothes. It's the little things that are important to him.

With little rituals Daan celebrates his love for Yvonne. He puts her in a doll house, covers the table with her dishes and wears her clothes. It's the little things that are important to him.

The Potator is the latest invention of PIPS:lab. The Potator makes it possible to paint in 3D with visual peels of reality, by combining the qualities of a vegetable peeler with that of a brush. The handy tool scans everything that appaers in its visual range; objects, textures or backgrounds - thereby always aware of its own position. With the photographical strips the user of the Potator can paint  spatially or sculpt virtually. The visual output manifests itself as a photo or augmented reality: reality functions as paint and canvas at the same time. The Potator brings together painting, sculpting and movement, and challenges its users to shape reality…  

With little rituals Daan celebrates his love for Yvonne. He puts her in a doll house, covers the table with her dishes and wears her clothes. It's the little things that are important to him.

With little rituals Daan celebrates his love for Yvonne. He puts her in a doll house, covers the table with her dishes and wears her clothes. It's the little things that are important to him.

With little rituals Daan celebrates his love for Yvonne. He puts her in a doll house, covers the table with her dishes and wears her clothes. It's the little things that are important to him.

With little rituals Daan celebrates his love for Yvonne. He puts her in a doll house, covers the table with her dishes and wears her clothes. It's the little things that are important to him.

A collaboration with Likeminds and De Factory. And Thijs is the director.

The Potator is the latest invention of PIPS:lab. The Potator makes it possible to paint in 3D with visual peels of reality, by combining the qualities of a vegetable peeler with that of a brush. The handy tool scans everything that appaers in its visual range; objects, textures or backgrounds - thereby always aware of its own position. With the photographical strips the user of the Potator can paint  spatially or sculpt virtually. The visual output manifests itself as a photo or augmented reality: reality functions as paint and canvas at the same time. The Potator brings together painting, sculpting and movement, and challenges its users to shape reality…  

first halfhalf painting in PIPSlab

Together with Thomas Bratzke, we created the new art discipline half/half  paintings. These paintings are partly for real and partly in augmented reality. Looking at the painting you can see the craftmanship of the painter, if you keep your iPad in front of it, a second virtual layer appears. We can describe it, but you should actually see it for yourself! Check out the video in pics and media.

What do you want to do when you’re dead?

Hyves, Facebook, MySpace, Friendster, LinkedIn – it’s almost a full-time job keeping up with all these online communities, updating your profile, sending messages and uploading your latest best photos. And now tech-theatre group PiPS:lab wants us to join another one: DieSpace. There is one prerequisite though: you have to be dead to join. Because of the fast ‘greyification’ of our society, the number of people dying will be increasing rapidly. And dead people don’t have a place to socialize yet… PiPS:lab jumped at this great business opportunity and created DieSpace: “the first active internet community for the diseased”.

Each visitor of their show will get a free DieSpace light account to start out with. So from now on, there’s only one thing to fear after death: whether or not you’ll make enough friends on DieSpace. / Annelies Termeer

The proportional amount of elderly people (65+) in the world will increase dramatically in the near future. This cause of events is what PIPS:lab call Greyification. And in it they see an enormous possibility for commercial self-enrichment.

Thus they create DieSpace.nl: the first internet community for those in the Afterlife.

With granny’s skateboarding on walking frames, musical wheelchairs, many laptops, camera’s and light sensors PIPS:lab presents an interactive and song soaked show about life after death. 

You have a death wish but are hesitant to pursue your dream? With DieSpace you can leave your life and loved ones behind with complete peace of mind!

Co-produced by Melkweg-Paradiso Productiehuis

DieSpace is supported by the Fonds voor Amateurkunst en Podiumkunsten, Amsterdams Fonds voor de Kunsten, Prins Bernhard Cultuur Fonds and VSB Fonds

What do you want to do when you’re dead?

Hyves, Facebook, MySpace, Friendster, LinkedIn – it’s almost a full-time job keeping up with all these online communities, updating your profile, sending messages and uploading your latest best photos. And now tech-theatre group PiPS:lab wants us to join another one: DieSpace. There is one prerequisite though: you have to be dead to join. Because of the fast ‘greyification’ of our society, the number of people dying will be increasing rapidly. And dead people don’t have a place to socialize yet… PiPS:lab jumped at this great business opportunity and created DieSpace: “the first active internet community for the diseased”.

Each visitor of their show will get a free DieSpace light account to start out with. So from now on, there’s only one thing to fear after death: whether or not you’ll make enough friends on DieSpace. / Annelies Termeer

The proportional amount of elderly people (65+) in the world will increase dramatically in the near future. This cause of events is what PIPS:lab call Greyification. And in it they see an enormous possibility for commercial self-enrichment.

Thus they create DieSpace.nl: the first internet community for those in the Afterlife.

With granny’s skateboarding on walking frames, musical wheelchairs, many laptops, camera’s and light sensors PIPS:lab presents an interactive and song soaked show about life after death. 

You have a death wish but are hesitant to pursue your dream? With DieSpace you can leave your life and loved ones behind with complete peace of mind!

Co-produced by Melkweg-Paradiso Productiehuis

DieSpace is supported by the Fonds voor Amateurkunst en Podiumkunsten, Amsterdams Fonds voor de Kunsten, Prins Bernhard Cultuur Fonds and VSB Fonds

What do you want to do when you’re dead?

Hyves, Facebook, MySpace, Friendster, LinkedIn – it’s almost a full-time job keeping up with all these online communities, updating your profile, sending messages and uploading your latest best photos. And now tech-theatre group PiPS:lab wants us to join another one: DieSpace. There is one prerequisite though: you have to be dead to join. Because of the fast ‘greyification’ of our society, the number of people dying will be increasing rapidly. And dead people don’t have a place to socialize yet… PiPS:lab jumped at this great business opportunity and created DieSpace: “the first active internet community for the diseased”.

Each visitor of their show will get a free DieSpace light account to start out with. So from now on, there’s only one thing to fear after death: whether or not you’ll make enough friends on DieSpace. / Annelies Termeer

The proportional amount of elderly people (65+) in the world will increase dramatically in the near future. This cause of events is what PIPS:lab call Greyification. And in it they see an enormous possibility for commercial self-enrichment.

Thus they create DieSpace.nl: the first internet community for those in the Afterlife.

With granny’s skateboarding on walking frames, musical wheelchairs, many laptops, camera’s and light sensors PIPS:lab presents an interactive and song soaked show about life after death. 

You have a death wish but are hesitant to pursue your dream? With DieSpace you can leave your life and loved ones behind with complete peace of mind!

Co-produced by Melkweg-Paradiso Productiehuis

DieSpace is supported by the Fonds voor Amateurkunst en Podiumkunsten, Amsterdams Fonds voor de Kunsten, Prins Bernhard Cultuur Fonds and VSB Fonds

photo: Jakob Schlötter

Oneseconds en PIPS:lab present: HET SPOOKHUIS [THE HAUNTED HOUSE]

The Haunted House is dark. The Haunted House is a confrontation with yourself. Much more can not be said without spoiling it. We can only warn. A visit to the Haunted House is an intelligent, psychological anxiety experience…

If you are not afraid of a life changing experience …

If you dare to lose complete control …

If you have the courage to get lost in your inner-self…

photo: Szilvi Toth

Social Fiction is a trilogy wherein PIPS:lab gets recklessly stuck between theatre, cinema , painting , gaming and music. It is a glimpse of the future where all boundaries between realities are completely diffused. PIPS:lab brings you into an augmented state of confusion.

Every day all social media ask us to provide a lot of input, also private information. And we give it. We give everything. Simply because we want to use these services to be able to share, tag and follow online. Like our friends. We loose most of our rights on this information – many times without knowing it. Let alone that we’re beware of the potential abuse.

In Social Fiction the personification of social media extorts information and even physical appearances from the performers and the audience. People are followed and scanned. Text messages get published and fall apart: seemingly meaningless, but forever saved and traceable. All the collected and constructed elements in the show are three dimensionally composed with our Potator tools in a motion capture installation. Social Fiction is a sequence of acts and actions filled with funky music and a unique solo on recorder. It results in a grand finale that breaks the boundaries between theatre, cinema and videogames.

photo: Szilvi Toth

Social Fiction is a trilogy wherein PIPS:lab gets recklessly stuck between theatre, cinema , painting , gaming and music. It is a glimpse of the future where all boundaries between realities are completely diffused. PIPS:lab brings you into an augmented state of confusion.

Every day all social media ask us to provide a lot of input, also private information. And we give it. We give everything. Simply because we want to use these services to be able to share, tag and follow online. Like our friends. We loose most of our rights on this information – many times without knowing it. Let alone that we’re beware of the potential abuse.

In Social Fiction the personification of social media extorts information and even physical appearances from the performers and the audience. People are followed and scanned. Text messages get published and fall apart: seemingly meaningless, but forever saved and traceable. All the collected and constructed elements in the show are three dimensionally composed with our Potator tools in a motion capture installation. Social Fiction is a sequence of acts and actions filled with funky music and a unique solo on recorder. It results in a grand finale that breaks the boundaries between theatre, cinema and videogames.

With little rituals Daan celebrates his love for Yvonne. He puts her in a doll house, covers the table with her dishes and wears her clothes. It's the little things that are important to him.

photo: Szilvi Toth

Social Fiction is a trilogy wherein PIPS:lab gets recklessly stuck between theatre, cinema , painting , gaming and music. It is a glimpse of the future where all boundaries between realities are completely diffused. PIPS:lab brings you into an augmented state of confusion.

Every day all social media ask us to provide a lot of input, also private information. And we give it. We give everything. Simply because we want to use these services to be able to share, tag and follow online. Like our friends. We loose most of our rights on this information – many times without knowing it. Let alone that we’re beware of the potential abuse.

In Social Fiction the personification of social media extorts information and even physical appearances from the performers and the audience. People are followed and scanned. Text messages get published and fall apart: seemingly meaningless, but forever saved and traceable. All the collected and constructed elements in the show are three dimensionally composed with our Potator tools in a motion capture installation. Social Fiction is a sequence of acts and actions filled with funky music and a unique solo on recorder. It results in a grand finale that breaks the boundaries between theatre, cinema and videogames.

photo: Jakob Schlötter

Oneseconds en PIPS:lab present: HET SPOOKHUIS [THE HAUNTED HOUSE]

The Haunted House is dark. The Haunted House is a confrontation with yourself. Much more can not be said without spoiling it. We can only warn. A visit to the Haunted House is an intelligent, psychological anxiety experience…

If you are not afraid of a life changing experience …

If you dare to lose complete control …

If you have the courage to get lost in your inner-self…

photo: Jakob Schlötter

Oneseconds en PIPS:lab present: HET SPOOKHUIS [THE HAUNTED HOUSE]

The Haunted House is dark. The Haunted House is a confrontation with yourself. Much more can not be said without spoiling it. We can only warn. A visit to the Haunted House is an intelligent, psychological anxiety experience…

If you are not afraid of a life changing experience …

If you dare to lose complete control …

If you have the courage to get lost in your inner-self…

What do you want to do when you’re dead?

Hyves, Facebook, MySpace, Friendster, LinkedIn – it’s almost a full-time job keeping up with all these online communities, updating your profile, sending messages and uploading your latest best photos. And now tech-theatre group PiPS:lab wants us to join another one: DieSpace. There is one prerequisite though: you have to be dead to join. Because of the fast ‘greyification’ of our society, the number of people dying will be increasing rapidly. And dead people don’t have a place to socialize yet… PiPS:lab jumped at this great business opportunity and created DieSpace: “the first active internet community for the diseased”.

Each visitor of their show will get a free DieSpace light account to start out with. So from now on, there’s only one thing to fear after death: whether or not you’ll make enough friends on DieSpace. / Annelies Termeer

The proportional amount of elderly people (65+) in the world will increase dramatically in the near future. This cause of events is what PIPS:lab call Greyification. And in it they see an enormous possibility for commercial self-enrichment.

Thus they create DieSpace.nl: the first internet community for those in the Afterlife.

With granny’s skateboarding on walking frames, musical wheelchairs, many laptops, camera’s and light sensors PIPS:lab presents an interactive and song soaked show about life after death. 

You have a death wish but are hesitant to pursue your dream? With DieSpace you can leave your life and loved ones behind with complete peace of mind!

Co-produced by Melkweg-Paradiso Productiehuis

DieSpace is supported by the Fonds voor Amateurkunst en Podiumkunsten, Amsterdams Fonds voor de Kunsten, Prins Bernhard Cultuur Fonds and VSB Fonds

photo: Jakob Schlötter

Oneseconds en PIPS:lab present: HET SPOOKHUIS [THE HAUNTED HOUSE]

The Haunted House is dark. The Haunted House is a confrontation with yourself. Much more can not be said without spoiling it. We can only warn. A visit to the Haunted House is an intelligent, psychological anxiety experience…

If you are not afraid of a life changing experience …

If you dare to lose complete control …

If you have the courage to get lost in your inner-self…

What do you want to do when you’re dead?

Hyves, Facebook, MySpace, Friendster, LinkedIn – it’s almost a full-time job keeping up with all these online communities, updating your profile, sending messages and uploading your latest best photos. And now tech-theatre group PiPS:lab wants us to join another one: DieSpace. There is one prerequisite though: you have to be dead to join. Because of the fast ‘greyification’ of our society, the number of people dying will be increasing rapidly. And dead people don’t have a place to socialize yet… PiPS:lab jumped at this great business opportunity and created DieSpace: “the first active internet community for the diseased”.

Each visitor of their show will get a free DieSpace light account to start out with. So from now on, there’s only one thing to fear after death: whether or not you’ll make enough friends on DieSpace. / Annelies Termeer

The proportional amount of elderly people (65+) in the world will increase dramatically in the near future. This cause of events is what PIPS:lab call Greyification. And in it they see an enormous possibility for commercial self-enrichment.

Thus they create DieSpace.nl: the first internet community for those in the Afterlife.

With granny’s skateboarding on walking frames, musical wheelchairs, many laptops, camera’s and light sensors PIPS:lab presents an interactive and song soaked show about life after death. 

You have a death wish but are hesitant to pursue your dream? With DieSpace you can leave your life and loved ones behind with complete peace of mind!

Co-produced by Melkweg-Paradiso Productiehuis

DieSpace is supported by the Fonds voor Amateurkunst en Podiumkunsten, Amsterdams Fonds voor de Kunsten, Prins Bernhard Cultuur Fonds and VSB Fonds

The Potator is the latest invention of PIPS:lab. The Potator makes it possible to paint in 3D with visual peels of reality, by combining the qualities of a vegetable peeler with that of a brush. The handy tool scans everything that appaers in its visual range; objects, textures or backgrounds - thereby always aware of its own position. With the photographical strips the user of the Potator can paint  spatially or sculpt virtually. The visual output manifests itself as a photo or augmented reality: reality functions as paint and canvas at the same time. The Potator brings together painting, sculpting and movement, and challenges its users to shape reality…