Culture shock: The best artistic stories that science has to tell Thousands of years ago people made up stories to explain the world. Myths describing the changing seasons often became dogma, morphing into religion. Fact, theory and story slid around one another, shaping an idea of what the world was, how it worked and what the meaning of life was. More recently science nudged those belief systems aside – unless you happen to be a creationist – and enjoyed a brief interlude when everything seemed measurable, discoverable and explainable. But it isn’t. These days string theory and quantum physics seem to occupy a similar space to the old myths. Some of these ideas are almost romantically delicious. On a perhaps more practical level, there’s the work of Benoit Mandelbrot, the Polish-born French mathematician who saw how fractal geometry creates the structure underpinning what may otherwise seem like chaos, and that even clouds and coastlines have an underlying degree of order.
A new stage age: why theatres should embrace digital technology | Lyn Gardner | Stage Facing the future ... Unlimited's The Moon, the Moon, which invites online public participation. Photograph: Robert Day There was a time, back in the late 1980s and early 1990s, when "multimedia" was a real buzzword. Theatre Sandbox is one such opportunity. There are already plenty of examples of how technology has transformed theatre. As Andrew Taylor over at the Artful Manager has suggested, "participatory technology seems foreign to many, but it is also intriguing as it carries many of the qualities we value in the arts. 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
Theatre Sandbox - making space for great ideas | Pervasive Media Studio Theatre Sandbox, a new opportunity for theatre artists, companies and collectives, is offering six £10,000 commissions to support the research and development of experimental pieces of performance which engage with Pervasive Media Technologies.What are we looking for?Theatre Sandbox is for people who have already dabbled with digital technology and those who are completely new to it – it is a great opportunity to experiment, explore and take risks within a supported space. We are looking for great creative ideas and people who get excited about treading new ground and sharing their learning with others. What is Pervasive Media?Pervasive Media is any experience that uses sensors and mobile/wireless networks to deliver content (film, audio, music, images, a game…) that is sensitive to your situation – which could be where you are, how you feel, or who you are with. What does the scheme offer? Applications will be accepted until 30 April and the scheme will run from July – September 2010:
The Choreography of Attention | elevr At nearly every VR related conference I’ve been to someone either on stage or in discussions steadfastly claims: You can not edit in VR. Usually this is followed by a quip about teleporting audience members from place to place and how ‘just not real that is.’ I’m not sure how this strange notion got started, but let me assure you: it’s all lies. Lies I tell you! Seriously people. Editing is a thing When an expert says that you can’t edit in VR what they usually mean is that the standard film language for shot types: establishing shot, close up, etc, have no easy analog in VR. VR recorders are not cameras, like mobiles are not phones Now that I have thoroughly convinced you that VR editing in a thing, let’s talk turkey. VR is a somatic medium You might notice that nearly every filmic shot type is defined by its relationship to the main subject being recorded. We know things with our guts. This format is all about guiding people through an immersive experience, body and mind.
New Stages: Challenges for Teaching the Aesthetics of Drama Online About Unlimited Theatre We are storytellers and we want to change the world (even a little bit) for the better. Unlimited is a company of artists and producers based in Leeds UK making and telling inspirational stories for live performance in public spaces – theatres, festivals, galleries, museums, the streets of your city, on the internet, in virtual and augmented realities and for broadcast. We specialise in collaborating with scientists and telling stories inspired by leading edge developments by researchers at the forefront of their fields. “Unlimited have been pioneers in combining theatre and science, fearlessly going where few other companies have gone before in exploring the metaphysical and everyday impact of scientific advances on our lives” The Guardian While much of our work with scientists is for an adult audience, we have a dedicated strand for children delivered through the Unlimited Space Agency (UNSA). “The Unlimited Space Agency is great. Welcome to the shows. Core Artists… Welcome to the show.
Xiangyang presents a multimedia drama Performers take part in the live multimedia drama, Caolu Zhuge, in Xiangyang, Hubei province, on Sept 28. The latest multimedia technology is used to create the drama. A scene of the multimedia drama A multimedia drama Caolu Zhuge (Zhuge Liang in a thatched cottage), was shown in Xiangyang city, in central China's Hubei province, on Sept 28. The performance was a combination of the latest multimedia technology and drama, about the life of Zhuge Liang, an outstanding statesman and strategist during the Three Kingdoms period (AD 220-280), and other historical characters including Liu Bei, Zhou Yu and Cao Cao. The round stage of the live performance, located in the Longzhong scenic spot, has a diameter spanning a hundred meters. The drama was divided into three parts. During Liu's third visit, Zhuge presents Liu with his famous Longzhong Plan, which focuses on a strategy to unify China. The last part, Chibi Fu (Ode of Chibi), focuses on the talents of Zhuge in war strategy. Edited by Niva Whyman