Video Creativity beyond Dissemination

video creativity beyond dissemination watch, remix, perform, (repeat) David A. Shamma • Yahoo! Research Berkeley Renata Sheppard • UIUC

The Imagination Environment

Agreement

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Lyrics and Dramatics

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Csikszentmihalyi’s Flow State

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Artist Audience Artwork

Raygun

Spore 1.1

Office Plant #1

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The New Video Web

Communication vs. Content

Communication vs. Content
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Remixing http://timetags.research.yahoo.com/remix/

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Beyond Dissemination: Dance,Technology and the Creative Process
The partnership of technology and the art of dance
The responsibility of an artist today: defining a relationship
As an end, or a means to an end
Biped, Merce Cunningham, 1999

The Technology and Dance Ecosystem
Technology and Dance have a symbiotic relationship
Responsibility
Motion capture apparatus on a dancer

A Brief History of Dance and Technology
The first, most significant relationship of dance and technology
Profound impact on the field of dance, first practical means of documentation
Access/Share/review/analyze choreography
Tool to create work
Understand/Study technique
Build performance skills
Spawned a new form of dance
Dance as the ideal subject matter
Brief History continued
Polarizing effect on the dance profession: a threat to the fundamental value of the direct interpersonal encounter
Or is it a much needed tool for creation, analysis, documentation, and sharing?
Isadora Duncan in ‘Mazurka’ Chopin Opu 17, no. 4 in 1915

Brief History continued
Turn of the century-1945: a revolutionary tool
A Study in Choreography for Camera by Maya Deren (1945) and Nine Variations on a Dance Theme by Hilary Harris (1966) redefine possibilities
Maya Deren A Study in Choreography for Camera, 1945

The Tele-immersive Environment, UIUC
TEEVE: An active research model for technology/arts collaboration
Renata dancing in the tele-immersive lab, March 2007

TI: The Basic Set up
3-D system that creates a virtual space for co-located participants to interact in real time
A virtual environment with digital options, multiple points of view, and attachment free movement
UC Berkeley UIUC

TI: Tele-Immersion
User enters the space, multiple arrays of cameras capture, stream, and render the image in 3-D, displaying it on a large screen

Demo: the tele-immersive experience

TI: Tele-Immersion
Collaborative Tool: high level of immersion and interaction
Creative Device: compositional aid, endless possibilities for structured improvisations
Archival Tool: offers new solutions to 2-D limitations of dance documentation
Learning Environment: REGETI project
Physical Therapy: health applications

TI: Tele-Immersion
The information is streamed over high bandwidth networking called Internet2
Digital Options: size, dancing with self, taking advantage of current limitations
Developments: new user interface
Can either be a remotely shared experience or an internal one

Demo: Digital Options and Applications

Technology and Dance Today
Life Forms (Merce Cunningham)
Motion Capture (Bill T. Jones, Bebe Miller, others)
Isadora, live performance tool
Paul Kaiser, Haunted, 2002 Bill T. Jones, Ghostcatcher, 1999

Merce Cunningham
Merce Cunningham: pioneer in dance/technology
“ Four Events that have Led to Large Discoveries”
1. Collaboration with composer John Cage
2. Chance operations
3. Work with film and video
4. Exploration of computer technology
Dance for Camera in Points in Space
Life Forms in Beach Birds
Motion Capture in Biped
A lifetime of innovation

The Reality of Technology
Incorporating the technology throughout the entire process enables an authentic creative experience
Technical difficulties/limitations:
Latency limits speed of movement
Limited image clarity
Space is smaller than typical studio
Recovering from the honeymoon

The Phases of Creative Exploration with Tele-immersion
Initiation/Inspiration/Honeymoon phase
Experimentation/Noodling/Wandering phase
Plateau
Criticism/Questioning phase
Expansion/Development: the ecosystem begins here

The Rewards of working with TI
Manipulate (virtual) reality
Interact with and “touch” someone who is thousands of miles away
Creative challenge
Developing options to preserve historic works
Get people moving and moving in new ways

Understanding the Creative Ecosystem
What is research in dance?
The structure of dance: juxtaposition
Departure in evaluative process between science and art
Suggests a change for both the artistic and scientific communities
Genotypes and phenotypes

Challenges of Technology and Arts
Could the technology component exist as a separate entity?
How is work evaluated in art and in science or both?
Careful not to evaluate art with the same metrics used in science
Careful not to embrace art without critical analysis
Should we draw a line between technology that is a clever trick and technology that is art?
The blurred line:
Creativity/media arts
Creator/consumer

Conclusion
Long standing argument of technology versus the artist’s hand--however the camera is still in the hands of the artist
We are recognizing a change in process due to new materials
It is important to recognize these models, to acknowledge that a process can be analyzed, codified
The ultimate goal of the art and technology ecosystem remains: recontextualize, transform, reinvent

Video Creativity beyond Dissemination

by David Shamma on Oct 31, 2007

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Video Creativity beyond Dissemination — Presentation Transcript