Chapter 14 Technology as a bridge to Audience Participation

Chapter 14 Technology as a bridge to Audience Participation
The advance in digital technology and internet is likely to contribute on a two-way form of communication which extends beyond polite applause within theatre building. In other words, for theatres internet is becoming the newest method to redefine the relationships with audience and afresh its public images, especially to those new generation theatergoers.
Among the major theaters in Britain the theaters funded by government -and follows its curriculum- and those who does not show considerably large differences in their use of digital technology. The National Theatre, Bristol Old Vic, and Birmingham Repertory Theatre belongs to the former group while Shakespeare's Globe Theatre belongs to the latter.
The former group formed a complex broadband project entitled Stagework, which was commissioned by government. The site provides a lot of informations including an introduction, a plot synopsis and a rehearsal diary. But, yet it does not take full advantage of internet in terms of one-way communication. Metaphor that is invoked is passive and televisual, and takes away the two most important aspects, the liveness and real audience interaction.
On the other hand, Royal Shakespeare Company approached the internet as a method of education and audience interaction, in a quiet different way. The part where they give selective information according to choices selected by audience is very much similar to what former group has done. However the more important aspects these Shakespeare's Globe Theatre has used about internet, was an 'Adopt an Actor' scheme. The scheme involves student groups being assigned to a particular actor for the duration of the rehearsal process, and the process is aired through internet. So the students and audience over the world can follow an actor's experience as they create a role from the first day of the rehearsal to the final performance in the Globe. Although some people view this approach as an evangelical indoctrination, it is more likely an approach that has the potential to instil in the student participants a very clear sense of the purpose and relevance of these ancient words through a personal and private dialogue set up between audience member and actor. Which seems to be a better way to use internet as theatre-audience interaction method.

Chapter 13 Addenda, Phenomenology, Embodiment: Cyborgs and Disability Performance

Chapter 13 Addenda, Phenomenology, Embodiment: Cyborgs and Disability Performance
The cyborg can be defined as a person with addenda and addenda of disabled people can have a dual function in contemporary visual work. They not only act as semiotic markers of difference, but also as seductive performance invitations into a different form of embodiment. To address the nature of this sensual engagement with otherness it is needed to analyze the visual tactility or tactile visuality discussed by Maurice Merleau-Ponty.
To Maurice Merleau-Ponty, a phenomenologist, visual representation is in a productive tension with a form of tactility, the physical extension of vision. The deep connection between tactility and visibility lies in the material sharing of the universes charted by the two senses. For example, in the computer games, which became ever more adept at creating the gravitational experience of driving on a race circuit, the tactility of viewing is demonstrated in a way such that the location of the eyes in relation to space, time and weight are manipulated.
Aimee Mullins visual persona is example of this fascination with non-traditional embodiment. She is a fashion model, athlete and activist who walk with leg prostheses. Through the movies and commercials the eye is seduced into spatiality and viscerality through the camera. For example in the Catwalk TV advertisement (2000) placing of closer view of Mullin's knees amongst hand-held, fast moving, 'atmosphere' shots emphasizes the relative normality of the situation and Aimee's unusual legs. As the shot travels up and down on her, the people with flesh legs feel kinaesthetically familiar to her through her clasping and laughing gestures. In Catwalk the animal imagery stands in counter point to metal legs, and meanwhile the strange is placed into familiarity through the sensual appeal, aligning the spectator to the freedom and to an echo of the Aimee's cyborg body. The addenda of the visible, the tactile, puts under erasure of the addenda of the body and on a trajectory towards unified engagement with a lived experience of disabled people.
Other part of seduction and engagement to addenda was through a Body Spaces (2000): a disability culture tech-performance. Through this fair, the participants created environments that choreograph the spectator's physical experience, that send spectators on a trajectory towards difference, and that the distance their spatial/visual/tactile experience from the normative. In the workshop the implications of architecture and normalisation, and normative processes of disabled was discussed. The participants attempted to undermine the conventional stories of restriction and tragedy that are attached to other bodies. The strategies in spatial technologies of movement and media technologies used to foreground phenomenological experiences was also discussed.
The first strategy discussed was photography, the dominating approach to the world that disvows the viewing self and that abstracts experience. Through the displays which were displayed in such a manner that neutral vision position was not possible, the photos became evidence for the embodied vision onto the world.
Second strategy was pathways, in that installation, spectator's attention was drawn into the different technologies of moving in space. The lines were mapped on the ground and the attempts of visitors to match these line inserted themselves bodily onto into these traces were interesting sight.
The last strategy mentioned was video, which was able to be manipulated by interactive controls offered to the visitors. The video Geometries investigated the geometries of bodies, their boundaries, and the shapes and volumes afforded by permanent and temporary addenda.
Body Space (2000) provided its visitors with a full trace of living differently, especially the different body experience through machines. It was an investigation of identity politics between and across the image and the body.
To conclude, through opening of these registers of continuity, the works can also be seen to play on the boundaries of the flesh/artifice/cyborg, both in their audience address as artefacts echoing physical experience, and as depictions of human 'addendas' which become part of different forms of embodiment: the exciting bodies can emerge out of popular culture's desire for new forms of embodiment, and new opportunities can open up for disabled people.

subject

Subject: Virtual space and digital public art


I am going to write about "Virtual space and digital public art."
I will research how public art has been expanded and changed after digital technology and networks are developed.

Reference: Digital Art/ Public Art: Governance and Agency in the Networked Commons by Christiane Paul

Chapter11 Intelligence, Interaction, Reaction, and Performance

Chapter11 Intelligence, Interaction, Reaction, and Performance




The performances consist of various physical/virtual interactions using a diverse range of technologies including motion capture, artificial intelligence and or 3D animation. With the technological advancements, new liminal spaces exist where there is a potential for a diverse creativity and experimentation.


Blue Bloodshot Flowers (Performed at Brunel University, 2001)
It is a movement-scripted piece. This performance consisted of the real-time interaction between a human performer Elodie Berland, and Jeremiah(a head model based upon Geoface technology), an avatar and also between Jeremiah and the audience. Jeremiah consists of computerised artificial intelligence with the ability to track humans, objects and other stimuli and to react to something near him directly and in real time.
It was divided into two sections The first part consisted of a scripted movement-based interactive piece with Berland, while the second part involves the spectators who were invited to interact with Jeremiah.
***origin and identity


Dead East, Dead West (Performed at Institute of Contemporary Arts, 2003)
it was an experimental sound and movement-based piece with some fragmented script and fused with 3D interactive technology. It consisted of motion tracking interactive pads, ad miniature cameras worn by the performers. When seeing the performance with polarised glasses the captured images come straight out at the spectators. In addition this was n intercultural and interracial performance that explored and exploded the margin between dominant Western art practices and the exotic performance of the other.
' Intelligence, interaction, reaction and performance' is an ongoing project of what is hoped will be a variety of performances which combine the physical and virtual in performance. Emphasis was placed more in the process of adaptation rather than on the finished product.
The performances are hybridised and intertextual and demonstrate such aesthetic features as heterogeneity, indeterminancy, reflxivity, framentation, a certain shift-shape style, and a repetitiveness which produces not sameness but difference. The digital, like all formal systems, has no inherent semantics unless meaning is added.
For Merleau-Ponty, instrumentation and technology is mutually implicated with the body in an epistemological sense. The body adapts and extends itself through external instruments. The experience of the corporal schema is not fixed or delimited but extendable to the various tools and technologies that may be embodied. Our bodies are always open to and intertwined with the world. Therefore, technologies implies a reconfiguration of our embodied experience. The intertwining of body ,technology, and world is important since instead of abandoning or subjugating the physical body, instrumentation and technology extends it by altering and recreating its embodied experience. The body, in turn, creates new technologies and instrumentation to bring potential creativity and mediation into its corporeal world.

Chapter8 Kinaesthetic Traces Across Material Forms

Chapter8 Kinaesthetic Traces Across Material Forms:


Stretching the Screen's Stage
America performing artist Lois Fuller and French scientist Etienne Jules Marey created techniques that mediated and materialised body movement beyond its ephemeral ever-changing natureand sought to expand the scientific and artistic scope of movement over time with movement perception and transformation.
Marey" isolates the body into a controlled environment to capture quantitive shifts of movement over time with 'movement mapping' techniques.
He contributed to what constitutes movement and kinaesthetic knowledge, by framing amplifying and converting movement into linear, sequential, two dimensional representations
Fuller: created an expressive body-screen which transformed her body and its surrounding space into animalistic(serpentine) and elemental(fire) metaphors.
she contributed to what constitutes movement and kinaesthetic knowledge, by creating performances which transfigure the expressive materiality of bodily movement.


Fuller and body screenographies:
She extended the figurative body by transforming and chreographing movements with mechanical 뭋 electronic techniques and strategies. Fuller attached meters of white fabric 시 bamboo cane-shaped arm extensions to create a screen that enveloped her body. Using these techniques, Fuller transformed her body into illusions of fire, animals and flowers. She transformed the figurative femalebody with bodily screenographies into metamorphic and kinaesthetic sculptures.


Marey and movement mapping
Marey was framing and mapping the body by creating instruments to study the movement of animals, bodies and atmospheric elements. He developed instruments to frame, isolate, amplify, record and analyse movement.


Trajet
In trajet, the screen is not only a projection surface, but also a dynamic participant in the screenography, with video and reactions that move in relationship to the visitorin real-time. The interactive experience is articulated through motorised 녀spended screens moving in response to the visitor's path. The screens' movements introduce the visitor to alternative pathways to follow, and movements with which to play and dance. Like Fuller's undulalting screen, the movement of the screens 's ripples around the bodies of the visitors. The visitor's body in trajets has the opportunity to experience its inner-felt movements' kinaesthesia, a sense of empathy for other movements and physical connection to the images.


Cinedance
cinedance is an artform that extends both what is cinema and what is dance. This extends the body-medium of the audience through movement empathy and haptic perception with cinematic techniques of shifts in point of view, referential framing, decor, montage, compositing and so on.

Chapter 6 Materials vs Content in Digitally Mediated Performance

Chapter 6 Materials vs Content in Digitally Mediated PerformanceThe Author classifies the performance in two types: one is material-driven one and the other is content-driven one. Both of works used motion tracking systems that respond to movements of the dancers and a unified methodology for using those tracked movements to manipulate the media. However there are big differences between them.1.Material-driven performance : Apparitions by Klaus Obermaier(2004)-the visuals stay within a clearly defined realm throughout the course of the piece and these visuals are visible throughout almost the entire work.-exhaustively explore the attributes of all materials used in a work.-these works are in essence, about the materials themselves.2.Contents-driven performance :16[R]evolutions by Mark Coniglio and Dawn Stopiellohttp://www.troikaranch.org/16revs/trailer-qt.htmlhttp://www.youtube.com/watch?v=LJ3_AOBX6TM&NR=1http://www.youtube.com/watch?v=Rbv7n0ZgA98 (about the technology)-It presents a far more varied palette of visual imagery that is present in several sections but is significantly absent in others and in a few spots the imagery is not interactively controlled at all.-Full exploration of the narrative arc is of primary importance, and that the materials, whether they be movement, text, or visuals can be brought to bear as needed as long as they support the aesthetic intent of the piece and as long as they do not appear as deus es machina.-They attempt to join the visual imagery with the dance and theatrical sections in support of ideas. The rigor comes in relating all materials to the core narrative theme of the work.-to intensify each other in a complementary manner, so that the viewer's attention remain intensely focused on the content of the work.When attempting to combine technologically advanced visual imagery with content-based performance, we find some problem because imagery(in large scale) is seductive in a way that is quite difficult to control. Viewer also can not concentrated to the contents because viewers are seduced by the visuals to the point where the other materials became invisible or a viewer is not rigorous as a viewer.(newness and novelty of the imagery makes it difficult for the inexperienced viewer to focus on anything.)-Suggestion to move past this stageThose who are creating content-driven work must forge ahead in parallel with those who are creating materials driven work.If these two camps pay attention to each other as we present our work, and the audiences are able to experience both modes, we have the opportunity go beyond the historical model as we holistically and simultaneously develop theory, technique, and content. The technology is very fancy at first and it is getting most often used to support the performance or art works. But after a time it is not a priori. It is integrated into our experience that exhaustive exploration of it becomes unnecessary.Classifying performance in two category is a little unnatural. Material or technology is not an oppositional concept to content. I think two elements are needed to explore the art works. and make an impact on each other.Troika Ranch is a digital dance theater company that focuses on creation, education and innovation in theatrical performance. In 1990 choreographerDawn Stoppiello and composer/media artist Mark Coniglio founded Troika Ranch,Troika Ranch’s original stage works are based on a specific process of interaction between live performers and digital media.16Revolutions100,000 years of human evolution are condensed into 16 [R]evolutions. The work focuses on a single evolutionary path: how the animal drives of our pre-human ancestors have become sublimated to the point of abject confusion and disconnection. In stark contrast to this path, are exquisite three-dimensional visuals that warp and morph in direct response to the dancers movement. 16 [R]evolutions asks the question, can we reconnect with our core needs to feed, fight and reproduce while continuing to evolve into beings of light and intellect?Troika Ranch uses interactive digital media and computer technology as an essential component of their performances. Bending arm can warp a video image and the kick of a leg can recall a musical phrase.Troika Ranch’s sensory devices allow the dancers to approach a performance in a manner similar to a jazz musician: they can follow their instincts from moment to moment.Isadora® is the software “brain” behind Troika Ranch performances and is the main technology used to generate the 3D imagery for Troika Ranch’s current project. Isadora is a graphic programming environment that provides interactive control over digital media, with special emphasis on real-time manipulation of digital video. Isadora gathers movement information from various sensory devices and uses that information to control and manipulate digital video, music synthesizers, sound modulation devices, theatrical lighting and robotic set pieces.

Chapter5 Artistic considerations in the use of motion tracking with live performers

Chapter5 Artistic considerations in the use of motion tracking with live performersTopic of this chapter is motion tracking from the viewpoint of its practical uses and artistic implications.From Ancient Greek theatres, human motion is used in performance to control sounds and images. Digital technologies such as video surveillance cameras and computers became affordable in the mid 1990s. They were taken up by many technology- interested artists including Troika Ranch, Ventra Dance Company, and Palindrome, In the 2000s a kind of dialogue between actor and machine is possible.Today many audiences are tiring of digital effects and the interactive performing scene is a crisis.motion tracking : Motion tracking, motion capture and motion sensing are ex interchangeably used by artists to describe systems in which video cameras are attached to computers. The human motion data from these systems are used to generate or influence secondary media such as sounds, music, or projections in stage and installation art.realtimeinteraction: interaction is a feeling you can achieve in a performance setting. It relates to spontaneity, openness, looseness and communication in the artistic material which allows for a convincing exchange to take place. Motion tracking and interaction affect our appreciation of the theatre or dance, even if interaction is not more artistic or the goal.The EyeCon System : It is an excellent tool for dancers and choreographers to control music and sound samples with their movement. EyeCon allows a variety of parameters of input and output and compliance to the interactive systems. Compliance refers to the nature of the casual relationship, Compliance concerns the psychology of the relationship: input and output.many relevant issues that make the performance interesting and artistic: camera angle, amplification of gesture, communication with an unseen player visuals or acoustic accompaniment. They are dependent on both Technology and psychology: Education, timing, repetition, Interaction by implication and intuitive logic.Conclusion: The fascination with the means can confuse the end. Technical issues are often confused with efficacy from an artistic standpoint. when artists use the technology, they should consider developing an understanding of its implications rather than improving the technology.