2008년 6월 6일 금요일
The Subject of Article
14. Technology as a Bridge to Audience Participation?
- Tech as a Bridge to audience participation
2) Project
- the stagework project
- the Exploring Shakespeare project
- the Adopt an actor' scheme run by Shakespeare's Glove Theatre
3) 3 factor
- Funding factor: subsided or non-subsided
- Method factor: traditional vs new ways of communication, close vs opened
- Ethic factor: the role of theatre in our society in 21C.
4) The stagework project, The Exploring Shakespeare project
- Funding: subsidized
- attitudes: present education materials,
unpresedented access to the work
to center on gathering of individuals at their respective theatre
- critics: gathering individuals through diverse is not new
5) the Adopt an actor' scheme run by Shakespeare's Glove Theatre
- Funding: Non-subsidized
- attitudes: speaks direct to that audience in an open-ended way in real time
Involvement of a geographical wide range of audience
- critics: spontaneous and inventive approach
creativity by two way form communication
13. Addenda, Phenomenology, Embodiment: Cyborgs and Diability Performance
- Kuppers seems to assert that the disables' social and political conditions should be reconsidered in the era of digital media technology.
- the disables are less different than seductive, like fascinating cyborg
- the visual tactility: visual representation is not just in the area of vision, but closely related to physical tactility in terms of Merlo-Ponty's visual perception.
- the interwoven identity of human release other beauty.
- Body Spaces, 2000 provides visual representation with tactile/tangible environment for experiencing other world. So called, different forms of embodiment
11. Intelligence, Interaction, Reaction, and Performance
1) Blue Bloodshot Flowers
- one of a series of experimental performance projects which explores and examines this physical/virtual interface from the audience
- There is also a simple, built in emotion engine which allows him to respond to visual stimulus via expressions or emotions.
- http://personal.ee.surrey.ac.uk/Personal/R.Bowden/jeremiah/jeremiah.html
2) Dead East, Dead West
- an experimental sound and movement-based piece with some fragmented script, is fused with 3D interactive technology, the results of which are perhaps unique to the singular performer/audience perspective. The performers wear wireless miniature cameras, which provide the audience and each other with images of what they directly, see, giving a new dimension to interactive performance. This intercultural, interracial and technological performance explores and explodes the margin between what is seen as dominant Western art practices and the 'exotic' performance of the 'other'.
- http://people.brunel.ac.uk/bst/vol0302/Performances/sueb.htm
10. Body Waves Sound Waves: Optik Live Sound and Performance
- Impulse into action, which results in all movement and sound, is an all or nothing
- In both music and action, repeating is a key technical building block for the Optik process
- repeating = paradox
- The separation of sound and vision into separate sensory processes for performance opens up many creatve possibilities.
2) The arrival of digital sound
- diagetic = diegetic (cinematic term)
- diegetic: Character is playing instrument or turning on CD player
- Non-diegetic: Background Music
- The sound inrecent Optik work is 'diegetic'
- The source of sound is always present, not imported
3) Jarlett's system
8. Kinaesthetic Traces Across Material Forms
1) Trajets(2000)
It is an installation inspired by dance and visual choreography. Twelve motorised screens move slowly in response to the paths taken by the vicitors through the space. Video imagery projected onto the screens is of moving bodies and kinaesthetic patterns
2) Body Screenography?
- Attached meters of white fabric to bamboo cane-shaped arm extensions
- Extend the figurative body by transforming and choreography
3) movement mapping
- Isolated the body into a controlled environment to capture quantitative shifts of movement over time with movement-mapping techniques.
4) Cinedance = Videodance = Screendance
6. Materials vs Content in Digitally Mediated Performance
- Apparitions by Klaus Obermaier(2004)
- http://www.exile.at/apparition/index.html?AppM=press.html
- Abstraction
- dance (more contemporary abstracted sense)-
- making materials the subject of the piece
- modernist agenda
2) Contents-driven performance
- 16[R]evolutions by Mark Coniglio and Dawn Stopiello(2006).
- http://www.troikaranch.org/16revs/trailer-qt.html
- http://www.youtube.com/watch?v=LJ3_AOBX6TM&NR=1
- http://www.youtube.com/watch?v=Rbv7n0ZgA98
- narrative
- theatre (more traditional literary interpretation)
- use materials to suggest or provide context for an idea
- not fit under the modernist directive.
5. Artistic Considerations in the Use of Motion Tracking with Live Performers: A Practical Guide
1) Motion tracking describe systems in which video cameras are attached to computers. With the cameras focused on humans in motion, data can be collected and processed for any number of purposes.
2) Motion captute
It implies the recording of movement data for later processing. Systems such as Vicon are used routinely in the motion picture industry to create animated characters with realistic animal or human movements.
By wearing reflective balls attached to certain positions on the body, a collection of points moving in three dimensions is calculated by computer.
3) Motion sensing
EyeCon is a system designed to give a sense of the motion, rather than exact data on position and motion. While Eyecon does indeed have a feature to allow it to monitor the positions of individual performers on stage.
4) Merce Cunningham, 'Biped'
a dance piece in which dancers appear both in the live sense, and in the form of projected animations.
It is not a realtime system. The motion-captured data was processed in advance, and then projected simultaneously with dance.
4. Saira Virous: Game Choreography in Multiplayer Online Performance Spaces
- http://dance.asu.edu/adapt/
- http://funksoup.com/viroid_desc.htm