Mixing Realities


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Presentation at the Mixed Realities Lab. which then was at Nanyang Technology University.

Published in: Design, Education
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Mixing Realities

  1. 1. Mixing Realities Ben Salem
  2. 2. Overview • How did theatre become successful at creating a reality ★ Plot, Characters, Performance, empathy and involvement ★ A case study: Improvisational theatre “Commedia dell’Arte”(C) By Ben Salem, 2005
  3. 3. Reality? • Reality is an illusion of the world that surrounds us that is rendered by our senses(C) By Ben Salem, 2005
  4. 4. How sensitive are we? • Seeing •Rods and cones can produce a detectable electrical response to a single photon • Hearing •In the inner-ear the hydrogen. membrane can move to a distance smaller than the diameter of a single atom of tympanic • Tasting •The perception of taste involve a combination of: “(1) direct chemical stimulation of taste buds, (2) stimulation of olfactory receptors by vapours from foods, (3) stimulation of chemical sensitive and somato-sensory free nerve endings.” analyse Nolte (2002) The Human Brain: An Introduction to its Functional Anatomy(C) By Ben Salem, 2005
  5. 5. So what about realism? • Level of realism? • Is it attainable? • Desirable?(C) By Ben Salem, 2005
  6. 6. Possible but...(C) By Ben Salem, 2005 Counting the sand grains syndrome!
  7. 7. Better look at well used tricks!(C) By Ben Salem, 2005
  8. 8. Improvisational theatre • More than a performance or a story • it is an experience the audience enjoys having! • Minimal set and costumes(C) By Ben Salem, 2005
  9. 9. Modern Mime • Pantomime •a dramatic entertainment, originating in Roman mime, in which performers express meaning through gestures accompanied by music. •• an absurdly exaggerated piece of behaviour : he made a pantomime of checking his watch. •• informal a ridiculous or confused situation or event : the drive to town was a pantomime.(C) By Ben Salem, 2005
  10. 10. CdA •CdA comes from middle 16th century Italy and is at the origin of modern mime theatre. •CdA isperform continuously renewed where a play is loosely outlined and the actors essentially improvised theatre, and changed acts on their own initiative, while at the same time reacting to the audience. Salem (2005) Commedia Virtuale: from theatre to avatars, Digital Creativity, Vol. 16, No. 3.(C) By Ben Salem, 2005
  11. 11. Commedia dell’Arte •A stock of characters for all situations and for all conditions •Comprehensive repertoire of archetypical personalities (the shy, the crooks, the clumsy...) •A reflection of own experience for everyone • Easy to identify with some of the characters •Social and moralexaggeration, or ridicule to expose, describe and satire • Humour, irony, criticise(C) By Ben Salem, 2005
  12. 12. Commedia dell’Arte • The strength of CdA comes from: • Caricatured characters (both in behaviour and appearance) that represent the archetypical social personalities • A narrative that is clear, unambiguous and rather grossly exaggerated • A plot that involve some breaking of social, ethical, or moral rules.(C) By Ben Salem, 2005
  13. 13. (C) By Ben Salem, 2005
  14. 14. (C) By Ben Salem, 2005
  15. 15. PlotSalem & Rauterberg (2005 ) Power Death and Love: A `Trilogy for entertainment, Proc. ICEC 2005 (C) By Ben Salem, 2005
  16. 16. Characters • All the key emotions are rendered • Different intensities and in various combinations • Anger, Disgust, fear, happiness and sadness Luan Phan et al., (2002) Functional Neuroanatomy of emotions. NeuroImages.(C) By Ben Salem, 2005
  17. 17. Performance • Discourse • Visual Appearance • Body language and gestures(C) By Ben Salem, 2005
  18. 18. Empathy • Reflection of personal experience • Course of events that is blatantly inviting for your reaction • Relates to everyday life(C) By Ben Salem, 2005
  19. 19. Involvement • Audience directly invited to intervene in the plot • Body language demanding your participation • Plot with gaps for the audience to fill(C) By Ben Salem, 2005
  20. 20. Conclusion I • Successful in 2 realities mixed up. ★ The play and the audience are intermingled. ★ Spectators become actors, and vice-versa • All have a say in the course of events(C) By Ben Salem, 2005
  21. 21. Conclusion II • Why Mixing realities? ★ We are interested in the concept of Kansei media.(C) By Ben Salem, 2005
  22. 22. (C) By Ben Salem, 2005