Necessidades dos usuários de espaços de performances imersivas mediatizadas

Over the last two decades performance artists have made use of videoconferencing systems for installations, joint performances and rehearsals; often negotiating costly and bespoke (custom-made) soft and hardware. More recently, pervasive and low-cost videoconferencing technology has successfully been applied in mediated installations, paving the way for the technology to be incorporated into the curriculum of performance colleges thereby creating a need for systematic user requirement research. We report on a study in which theatre and dance students collaborated across a videoconferencing connection. The results highlighted different requirements for distributed theatre and dance practitioners and these findings form an input into an EU Framework 7 research program focusing on how to better support the mediated performance space and enable audience feedback and interaction. We highlight theoretical perspectives relevant to telepresence in performance. Lastly we describe how insights into user requirements for immersive mediated performance spaces led to building a prototype consisting of two Computer Aided Virtual Environments (CAVEs) connected via the Internet.Nas duas últimas décadas artistas performáticos vêm fazendo uso desistemas de videoconferências para instalações, performances conjuntas e ensaios, frequentemente negociando por preço elevado tanto o software quanto o hardware “bespoke” (feito sob encomenda). Recentemente, tecnologia pervasiva de baixo-custo para videoconferência tem sido aplicada em instalações mediadas, abrindo o caminho para uma tecnologia a ser incorporada no currículo das escolas superiores de performance, criando assim a obrigação de uma investigação sistemática sobre as necessidades do usuário. Relatamos um estudo no qual estudantes de teatro e de dança compartilham experiência por meio de conexão de videoconferência. Os resultados ressaltam as diferentes exigências feitas aos difusores de práticas de teatro e dança e esses resultados contribuem para um programa de investigação da UE Framework 7, cujo enfoque é a melhor forma de apoiar o espaço de atuação mediada, e permitir resposta interativa do público. Ressaltamos perspectivas teóricas relevantes para a telepresença em performance. Por último, descrevemos como insights sobre as necessidades dos usuários de espaços de performances imersivas mediadas levaram à construção de um protótipo que consiste em duas cavernas (CAVEs – Ambientes virtuais em Computer Aided [CAD]), conectadas através da internet

Co-present and remote audience experiences: intensity and cohesion

This article presents the results of modelling audience response to new types of networked theatre plays. As the main contribution of the work we introduce two types of metrics: intensity, relating to how intensively co-present and remote aspects of a performance are rated, and cohesion, relating to how a performance as a whole, the combination of co-present and remote aspects, affects an audience. In particular, we model audience response based on two in the wild evaluations, staged by a low budget theatre company, a streamed and a distributed performance. The streamed performance is similar to NT Live, where a theatre play is delivered to other theatres with an audience. The distributed performance, on the other hand, connects actors in two different theatres (with audiences) creating one single play. The streamed performance was experienced as less intense as well as less cohesive by the remote audience, whilst the distributed performance integrated co-present and remote aspects tightly. Remote aspects of the distributed performance were still experienced as less intense, but the performance as a whole was highly cohesive. Apart from the identification of these two new metrics (intensity and cohesion), based on our experiences we argue that an innovative way of bundling relevant emerging technologies is needed to give a voice to the, as yet silent, remote audience

Noise Drawings 1, 3, & 2

Work in progress for a collaboration between musician/composer J.Lynch and dancer/choreographer Kuldip Singh-Barmi. These three noise drawings draw on elements of experimental music, performance, improvisation, movement, noise and dance in a way which engages with the principles of drawing/sketching. the reinforcing of lines and repetition to develop a reified outcome serves as a means to think through modular synthesis and movement and how the two might develop a symbiotic relationship and ultimately a collaborative sensibility and methodology for making shared scores. This Performance was shown and discussed at theMusic and/as Process conference 2022

Noise Drawing No.4

The live presentation of the ongoing collaboration between Johny Lamb and Kuldip Singh-Barmi. The work builds on Johny's research into principles of modular synthesisers and/as drawing (other research including a paper initially presented at this event will its own entry on this system), and also engages with questions of hierarchy between music and dance, improvisation, and score. The performance took place at the Electronics Symposium at The Fish Factory Arts Centre on the 25/11/23

User requirements in immersive mediated performance spaces

Vconect (http://www.vconect-project.eu/) is an EU Framework 7 research program. One of the aims is to support the area of mediated performance for the purpose of remote teaching, rehearsals and performances through videoconferencing technologies featuring automated editing and composition of multiple live audio-video streams onto multiple screens. The orchestration of the video and audio streams will take into account a variety of editing cues originating from directional audio, face detection and physiological sensors augmenting audience feedback. \ud \ud Over the last two decades performance artists have made use of videoconferencing systems for installations, joint performances and rehearsals; often negotiating costly and bespoke soft and hardware. More recently, pervasive and low-cost videoconferencing technology has successfully been applied in mediated installations, paving the way for the technology to be incorporated into the curriculum of performance colleges thereby creating a need for systematic user requirement research. We report on a series of studies in which theatre and dance students collaborated across a videoconferencing connection. The results highlighted different technology requirements for distributed theatre and dance practitioners and these findings help shape the the Vonect research agenda. We highlight theoretical perspectives relevant to telepresence in performance