Water Light Graffiti by Antonin Fourneau, created in the Digitalarti Artlab. Absence_trailer. Augmented Reality Sandbox with Real-Time Water Flow Simulation. Matt Richardson turns Arduino, Twitter and lasers into art (video) NIKE MUSIC SHOE. In Triplicate. J.viewz playing Teardrop with vegetables. POLYPHONIC PLAYGROUND. >7,000,000,000 | Cycling ’74. Guthman 2012 | Preliminaries | Space Palette | Tim Thompson. AXIS MUNDI. Kinect art. Interactive Danse. Simple Harmonic Motion for Light at One Arts Plaza. 20x moving head spotlights 4ch sound custom software Duration: infinite loop (1 hour cycle) Dimensions: 10m x 16m Simple Harmonic Motion at the One Arts Plaza, Dallas, Texas as part of Dallas Aurora Festival 2015. Other works from this series and more information on the series of work in general can be found here. Simple Harmonic Motion is an ongoing series of projects and research investigating complexity from simplicity – specifically the emergence of complex behaviour through the interaction of simple multilayered rhythms.
Simple Harmonic Motion for Light is a site specific sound and light installation for robotic spotlights and surround sound. Made with openFrameworks. Live Media: Interactive Technology and Theatre. In lieu of an abstract, here is a brief excerpt of the content: Theatre Topics 11.2 (2001) 107-130 [Figures] In the past century, film, radio, and video technologies gave rise to new forms of dramatic expression and a global entertainment industry. In the past decade, interactive media technologies have been producing an artistic and cultural revolution of similar, if not greater, proportions.
The primary focus of this paper, however, is not the role of theatre in interactive media but the role of interactive media in theatre--"theatre" here referring to the old-fashioned, nonparticipatory Western performance genre in which a group of live performers gathers before a group of live spectators to enact a scripted play. Defining Interactive Media First I wish to establish just what interactive media technology means in this context. Three crucial features distinguish interactive media from linear media: 1) Random access. 2) An arbitrary link between trigger and output. 3) Media manipulation. Digital Drama: The technology transforming theatre.
"Vidiots, they sometimes call us," admits Timothy Bird. Some people in the theatre industry don't take kindly to the innovations that Mr Bird and his team at Knifedge are introducing to the stage. Innovations like a computer-generated avatar sword-fighting an actor live on stage in his most recent show Pippin, transporting the audience to the world of a computer game. Or the sight of a Seurat painting gradually coming to life on stage in Sunday in the Park with George, the show which cemented Knifedge's reputation with an Olivier award for Best Set Design in 2007.
Impressive feats like these by Mr Bird and others like him have meant that in the last five years the role of "video designer" has become increasingly common in theatrical programme credits - a term hardly known a decade ago. So who are these "vidiots", and what do they want to do to theatre? No 3D glasses required "Theatre is very different," he says. Image copyright Other Image copyright bbc 'Mere spectacle' Classic drama Critical eye.
Interactive Technology. When theatre goes digital - The Space. When we think about theatre and digital technology, what usually springs to mind is live screening. Broadcasting live performance online or direct to cinema or TV screens is a fantastic way of broadening access, but it doesn’t usually have much of an impact on the work itself. It doesn’t really affect audience engagement either – you’re still just watching the show, whether in a theatre, a cinema, or on a smartphone from a caravan in the Scottish Highlands.
More and more companies, however, are engaging with digital technology in increasingly inventive ways, putting it at the very core of what they do and pushing the boundaries of audience experience as a result. When director Alexander Devriendt of the Belgian theatre company Ontroerend Goed came up with the idea for Fight Night (pictured above), a show about democracy and the act of voting, he “immediately felt that the audience have to be part of it. But digitisation wasn’t just a logistical choice, says Svendsen. Interactive theatre: five rules of play from an audience perspective | Culture professionals network.
Interactive theatre is not a new genre, but its popularity has exploded. Tricky to define but characterised by an active, physical relationship between audience and production, it often incorporates a site-specific venue around which the audience is free to roam. Shunt, arguably the daddy of this genre, has inspired countless other companies, all wrestling for space on the fringe. Done well, interactive theatre is extraordinary: engaging, exhilarating and transcendent. All too often, however, so-called 'interactive' shows are sloppy and ineffective. With this in mind here are five rules for interactive theatre from an audience perspective, based on my own experiences at a range of shows. Think outside your venue Site-specific venues range from reclaimed spaces to venues constructed entirely from scratch or the great outdoors.
Fringe favourite Briony Kimmings is a master of this art and her show, Mega, dumped the audience in a barren roundabout in Ipswich. Keep things simple(r) Making Film and Art with the Xbox Kinect - An Exist Elsewhere Behind the Scenes Featurette. Dancing With The Lights HD - HYPNOTIZING! You won't be able to stop watching. Wushu Shadow Fight Performance (Official Video Hi-Res) Apparition - Klaus Obermaier & Ars Electronica Futurelab. CLEANING, Interactive Performance, Max/MSP/Jitter, Quartz Composer, Multimedia.