IMMERSIVE AUDIOVISUAL ENVIRONMENTS - IV
Following up the last post related to dance performances inside responsive audiovisual spaces. This time four more cases where the bodies of the performers are tracked by computer vision and its movements data used to manipulate sound&visuals.
// Picture from “Stocos”. Featured below.
"Glow" subtly explores the power structures between man and machine and follows the life-cycle of a new kind of cyborg - from the beauty of a supernaturally, sparkling foetus and the adolescence of logic and lines, to a body hunted in a threatening world of shadows."
By Chunky Move and Freider Weiss. More info and details here.
"Stocos creates a space in which natural and artificial entities, sounds and visuals coexist and interrelate. It relies on stochastic processes and swarm simulations for the creation of dance movements, musical compositions and video imagery. A dense network of interactions among algorithms, dance, music and visuals establishes coherence, simultaneity and presence in the behavioral and aesthetic characteristics of the piece."
"As a result, the stage becomes a responsive environment whose visual and acoustic properties emerge from the mutual interactions between dancer and simulation"
Below a detail from the “scene 6” and a documentary with interviews with the creators and inside details.
By Pablo Palacio y Muriel Romero (Conception and idea) + Daniel Bisig (Interaction and swarm simulations). More details and full credits here.
DANCING WITH SWARMING PARTICLES
Interactive installation and performance that intends to explore the relationship between a physical user/performer and a virtual performer the “avatar” which has the physical characteristics of morphing flocking particles.
The avatar’s body is composed by flocking particles that initially float in the virtual space without any apparent order. It is through the energy of the physical user/performer’s movements that the particles will start to morph into the avatar’s body.
After the performance, the audience was invited to experience and interact with their own swarming particles’ avatar (check [02:22]).
by Rodrigo Carvalho/Visiophone, Tamar Regev (performer), Anna Mura (coordinator).
Made in Specs [Synthetic Perceptive, Emotive and Cognitive Systems group] / UPF / Barcelona.
More info and full performance here.
"Frost is a dance performance where the warm intensity of the body contrasts with the frozen imprints left behind. It is a performance about memory.
In a motion sensitive scenography, graphical “stills” of the dancers movement are appearing on stage along side a sound scape inspired by breaking Icebergs - the physical drive in the dancing body becomes the narrative that feeds the cognitive visualization of memory.”
By Recoil Performance Group. Tina Tarpgaard (Choreographer), Ole Kristensen and Jonas Jongejan (Visuals and Software).
More details and full credits here.
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IMMERSIVE AUDIOVISUAL ENVIRONMENTS - III
Third part of Immersive Audiovisual Environments, this time dedicated to dance performances, where the performers are inside a responsive audiovisual space.
By the use of several technologies like computer vision/body tracking, projection mapping,sound&light synchrony, among others, the performer and the space are augmented, transformed and morphed into temporal fantasies and alternative worlds.
In the darkness of the theatre halls the audiences are transported to places of transition between the real worlds and cyberspace action arenas.
[Scene from “Seventh Sense”, featured below]
"Two dancers and their digital reproduction is the scenographic frame of this humorous and emotional portrait of human relations.
Based on rules and structured in a game like manner, the performance makes way for a playful dialogue between man, woman and the digital “footprints” they leave behind”.
By Tina Tarpgaard (Choreography), Ole Kristensen and Jonas Jongejan (interactive system and visuals), Hilary Briggs & Luca Marazia and Laura Lohi & Nelson Smith (Dancers). More info here.
"3D [Embodied] is a mixed reality performance involving a virtual world as a platform to explore 3D immersive spatial virtual and physical displays. Combining real time geometry perspective transformation of the peripheral projected space and skeleton tracking from the dance performer, 3D [Embodied] experiences spatial augmented reality."
[Final performance, Austin, 2013]
[Skeleton tracking and perspective test]
By Joao Beira, Choreography by Yacov Sharir, sound design by Bruce Pennycook and technical support by Sebastian Kox, Yago de Quay and Marta Ferraz.
More detailed info :
Beira, J., Carvalho R., Kox S. (2013). “Mixed reality immersive design: a study in interactive dance”. in “ImmersiveMe ‘13” Proceedings of the 2013 ACM international workshop on Immersive media experiences.
Immersive environment where the performers are in the middle of a box with projection on three walls and the floor. Their position is being constantly tracked by a computer vision system on the top, and every motion has repercussions in a 3D mesh geometry.
By Anarchy Dance and Ultra Combo. More info here.
"Trinity is an audiovisual interactive dance piece which tells the journey of a body going through different states of perception of the space. Through movement, the body is immersed in an environment of textures and audiovisual landscapes that not only accompany but will push to a transformation process."
By Oscar Sol (visuals and interaction), Iris Heitzinger (choreography and dance), Ramón Prada (music), Ariadna Papiol (costume design). More info here.
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SOUND SCULPTURES - III
Continuation of the previous post (Sound Sculptures II ). Collecting some more interesting approaches to Cymatics, From live A/V performances and immersive installations to pure medium explorations.
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SOUND SCULPTURES - II
Part 2 of “Sound Sculptures”, where physical shapes are formed by the materialisation of sound frequencies. Part 1 was dedicated to 3d printed objects formed with data from sound analyse, this post will be focused on collecting some interesting explorations on “Cymatics”.
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MOTION SCULPTURES - VI
Part VI of the collection of projects where shapes and forms are the result of collecting movement data(digital/analogue) through time (position, velocity, direction, rotation, … ).
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MOTION SCULPTURES - V
Collection of projects where shapes and forms are the result of collecting movement data(digital/analogue) through time (position, velocity, direction, rotation, … ). Shifting data from one domain to another (from Motion to Visual) gives us a new perspective on the movement. It extends motion in time and freezes its path.
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IMMERSIVE AUDIOVISUAL ENVIRONMENTS - II
Second part of the post related to Immersive Audiovisual Environments, Virtual, Augmented and Mixed realities spaces. Places dominated by space-time disorders, that do not obey to the laws of physics as we know them in the real world.
Cyberspaces built on bright grids of data where it is possible to interact with alternative relativities, and manipulate space, time, sound and vision.
Places that do not intend to simulate the real world, but to augment it, give new perceptions of space and time, “and define arbitrary, abstract and otherwise impossible relationships between action and result.” Krueger, Myron (1977). “Responsive Enviroments”.
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GRAPHIC SOUND VISUALIZERS - VII
Part VII of sound visualisations collection.
[graphic sound visualizers / seeing sound / hyper sensory / synaesthetic events]
//Stills from “CHROMOPHORE”, “EFF LUX” and “PROJECT1111”
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IMMERSIVE AUDIOVISUAL ENVIRONMENTS - I
This new series of posts collects Immersive Audiovisual Environments.
Virtual, Augmented and Mixed realities spaces built on a tridimensional matrix where the data is materialised in space, like in Gibson's Cyberspace.
”Unthinkable complexity. Lines of light ranged in the nonspace of the mind, clusters and constellations of data. Like city lights, receding." William Gibson “Neuromancer”, 1981
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COLOUR ORGANS - II
Part II of the post related to “Colour Organs” (part I here), featuring an historical colour-organ creator (Mary Hallock-Greenwalt) and also some of the nowadays new approaches.
"Since ancient times artists have longed to create with moving lights a music for the eye comparable to the effects of sound for the ear. If they were less successful than composers of auditory music, the sole reason rests in the fact that light is harder to manipulate than air."
"Most inventors of color organs were convinced that their instruments constituted a breakthrough (…) yet almost every color-organ, despite the wonderful compositions they play, remains an eccentric curiosity and a technological dead end”
Moritz, William (1986) , “Towards an Aesthetics of Visual Music”
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