Video Creativity beyond Dissemination

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In Media Arts, the creative process is often relegated to the realm of the unexplainable, shrouded in mystery and mysticism, yet there is a long tradition of attempts to more formally model artistic and creative processes. Philosophers have developed a a number of normative models for artistic creation, from Hegel's characterization of art as a path to self-consciousness to Dewey's representation of art as the sum of our intentions and experiences. I will discuss models (both classical and contemporary) of creative practice and experience and their potential application to new media arts and technology. These new models that connect the roles of creator and viewer/participant have redefined participatory design, art, and theater. This introduces a new role for a new breed of artist: to catalyze new ideas and foster creative collaboration across disciplines.

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  • Video Creativity beyond Dissemination

    1. 1. video creativity beyond dissemination watch, remix, perform, (repeat) David A. Shamma • Yahoo! Research Berkeley Renata Sheppard • UIUC
    2. 7. The Imagination Environment
    3. 8. Agreement
    4. 9. Agreement
    5. 10. Agreement “ He (Saddam Hussein) systematically violated that agreement.”
    6. 11. Lyrics and Dramatics
    7. 12. Lyrical and Dramatic Images Home Mustard Lyrical (Canonical) Dramatic (Popular)
    8. 13. Csikszentmihalyi’s Flow State
    9. 14. Gates Flickr IndexStock Wikipedia Google
    10. 15. Artist Audience Artwork
    11. 17. Raygun
    12. 18. Spore 1.1
    13. 19. Office Plant #1
    14. 20. People like video
    15. 21. People like video
    16. 22. The New Video Web
    17. 23. Communication vs. Content
    18. 24. Communication vs. Content <ul><li>Playback </li></ul><ul><li>Tags </li></ul><ul><li>Links/Embed </li></ul><ul><li>Favorites </li></ul><ul><li>Comments </li></ul><ul><li>People </li></ul><ul><li>Shares </li></ul>
    19. 25. Remixing http://timetags.research.yahoo.com/remix/
    20. 26. Remixing http://timetags.research.yahoo.com/remix/
    21. 27. Remixing http://timetags.research.yahoo.com/remix/
    22. 28. Live Video <ul><li>Builders Association - Continuous City </li></ul>
    23. 29. Beyond Dissemination: Dance,Technology and the Creative Process <ul><li>The partnership of technology and the art of dance </li></ul><ul><li>The responsibility of an artist today: defining a relationship </li></ul><ul><li>As an end, or a means to an end </li></ul>Biped, Merce Cunningham, 1999
    24. 30. The Technology and Dance Ecosystem <ul><li>Technology and Dance have a symbiotic relationship </li></ul><ul><li>Responsibility </li></ul>Motion capture apparatus on a dancer
    25. 31. A Brief History of Dance and Technology <ul><li>The first, most significant relationship of dance and technology </li></ul><ul><li>Profound impact on the field of dance, first practical means of documentation </li></ul><ul><li>Access/Share/review/analyze choreography </li></ul><ul><li>Tool to create work </li></ul><ul><li>Understand/Study technique </li></ul><ul><li>Build performance skills </li></ul><ul><li>Spawned a new form of dance </li></ul><ul><li>Dance as the ideal subject matter </li></ul><ul><li>Brief History continued </li></ul><ul><li>Polarizing effect on the dance profession: a threat to the fundamental value of the direct interpersonal encounter </li></ul><ul><li>Or is it a much needed tool for creation, analysis, documentation, and sharing? </li></ul>Isadora Duncan in ‘Mazurka’ Chopin Opu 17, no. 4 in 1915
    26. 32. Brief History continued <ul><li>Turn of the century-1945: a revolutionary tool </li></ul><ul><li>A Study in Choreography for Camera by Maya Deren (1945) and Nine Variations on a Dance Theme by Hilary Harris (1966) redefine possibilities </li></ul>Maya Deren A Study in Choreography for Camera, 1945
    27. 33. The Tele-immersive Environment, UIUC <ul><li>TEEVE: An active research model for technology/arts collaboration </li></ul>Renata dancing in the tele-immersive lab, March 2007
    28. 34. TI: The Basic Set up <ul><li>3-D system that creates a virtual space for co-located participants to interact in real time </li></ul><ul><li>A virtual environment with digital options, multiple points of view, and attachment free movement </li></ul>UC Berkeley UIUC
    29. 35. TI: Tele-Immersion <ul><li>User enters the space, multiple arrays of cameras capture, stream, and render the image in 3-D, displaying it on a large screen </li></ul>
    30. 36. Demo: the tele-immersive experience
    31. 37. TI: Tele-Immersion <ul><li>Collaborative Tool: high level of immersion and interaction </li></ul><ul><li>Creative Device: compositional aid, endless possibilities for structured improvisations </li></ul><ul><li>Archival Tool: offers new solutions to 2-D limitations of dance documentation </li></ul><ul><li>Learning Environment: REGETI project </li></ul><ul><li>Physical Therapy: health applications </li></ul>
    32. 38. TI: Tele-Immersion <ul><li>The information is streamed over high bandwidth networking called Internet2 </li></ul><ul><li>Digital Options: size, dancing with self, taking advantage of current limitations </li></ul><ul><li>Developments: new user interface </li></ul><ul><li>Can either be a remotely shared experience or an internal one </li></ul>
    33. 39. Demo: Digital Options and Applications
    34. 40. Technology and Dance Today <ul><li>Life Forms (Merce Cunningham) </li></ul><ul><li>Motion Capture (Bill T. Jones, Bebe Miller, others) </li></ul><ul><li>Isadora, live performance tool </li></ul>Paul Kaiser, Haunted, 2002 Bill T. Jones, Ghostcatcher, 1999
    35. 41. Merce Cunningham <ul><li>Merce Cunningham: pioneer in dance/technology </li></ul><ul><li>“ Four Events that have Led to Large Discoveries” </li></ul><ul><ul><li>1. Collaboration with composer John Cage </li></ul></ul><ul><ul><li>2. Chance operations </li></ul></ul><ul><ul><li>3. Work with film and video </li></ul></ul><ul><ul><li>4. Exploration of computer technology </li></ul></ul><ul><li>Dance for Camera in Points in Space </li></ul><ul><li>Life Forms in Beach Birds </li></ul><ul><li>Motion Capture in Biped </li></ul><ul><li>A lifetime of innovation </li></ul>
    36. 42. The Reality of Technology <ul><li>Incorporating the technology throughout the entire process enables an authentic creative experience </li></ul><ul><li>Technical difficulties/limitations: </li></ul><ul><ul><li>Latency limits speed of movement </li></ul></ul><ul><ul><li>Limited image clarity </li></ul></ul><ul><ul><li>Space is smaller than typical studio </li></ul></ul><ul><li>Recovering from the honeymoon </li></ul>
    37. 43. The Phases of Creative Exploration with Tele-immersion <ul><li>Initiation/Inspiration/Honeymoon phase </li></ul><ul><li>Experimentation/Noodling/Wandering phase </li></ul><ul><li>Plateau </li></ul><ul><li>Criticism/Questioning phase </li></ul><ul><li>Expansion/Development: the ecosystem begins here </li></ul>
    38. 44. The Rewards of working with TI <ul><li>Manipulate (virtual) reality </li></ul><ul><li>Interact with and “touch” someone who is thousands of miles away </li></ul><ul><li>Creative challenge </li></ul><ul><li>Developing options to preserve historic works </li></ul><ul><li>Get people moving and moving in new ways </li></ul>
    39. 45. Understanding the Creative Ecosystem <ul><li>What is research in dance? </li></ul><ul><li>The structure of dance: juxtaposition </li></ul><ul><li>Departure in evaluative process between science and art </li></ul><ul><ul><li>Suggests a change for both the artistic and scientific communities </li></ul></ul><ul><li>Genotypes and phenotypes </li></ul>
    40. 46. Challenges of Technology and Arts <ul><li>Could the technology component exist as a separate entity? </li></ul><ul><li>How is work evaluated in art and in science or both? </li></ul><ul><ul><li>Careful not to evaluate art with the same metrics used in science </li></ul></ul><ul><ul><li>Careful not to embrace art without critical analysis </li></ul></ul><ul><li>Should we draw a line between technology that is a clever trick and technology that is art? </li></ul><ul><li>The blurred line: </li></ul><ul><ul><li>Creativity/media arts </li></ul></ul><ul><ul><li>Creator/consumer </li></ul></ul>
    41. 47. Conclusion <ul><li>Long standing argument of technology versus the artist’s hand--however the camera is still in the hands of the artist </li></ul><ul><li>We are recognizing a change in process due to new materials </li></ul><ul><li>It is important to recognize these models, to acknowledge that a process can be analyzed, codified </li></ul><ul><li>The ultimate goal of the art and technology ecosystem remains: recontextualize, transform, reinvent </li></ul>

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