| Popis: |
A rich sense of togetherness can be achieved in distributed audiences by using scenography, dramaturgy, story telling (narratives), conscientiously applied on a foundation of advances in media technology. This paper describes the findings from a series of full-scale performances, nicknamed the "Point 25". This event was launched as a joint venture between The Royal Institute of Technology in Stockholm (KTH) and Stanford University in Palo Alto, CA within the Connected Performance Spaces Project (a.k.a COPS), funded by WGLN (Wallenberg Global Learning Network). Each performance consisted of two performing nodes (each hosting two musicians) and two audience nodes, respectively located in the universities' performance spaces, separated by 10 000 km and nine time zones. The physical scenography was based on a hexagonal boundary with a number of large projection screens, cameras, microphones, speakers et cetera. In this common “performer-audience” scene, there were designated "hot" capture areas for the performers to work in, assisted by auxiliary video feeds for real-time transitions and immersive blending. On each side of the intercontinental performance, there was a ”presence producer” in action, changing the characteristics of the interactive spaces for the performers, thus exploring new narrative tools and developing new experiences for the audience. This type of event implies that enriched convergence between media-related disciplines, will move the boundaries of what is possible to do today. To work together inevitably leads to a deeper understanding of each others’ research areas, and ultimately to what we refer to as concept calibration – a starting point for breaking new ground within presence production. It shows that it is possible to build communities between humans separated both by large distances as well as previously disjunctive fields of research, arts and performance Qc 20120113 Connected Performance Spaces |
