PIPS:lab- Anyways
This performance is a 360 VR experience for 6 participants at a time. Each audience member is immersed in a conversation with 5 other eccentric characters sitting in a train cabin. The experience used binaural sound, as well as enabling the participant to hear the inner voice of their own character. I experienced this performance first hand at Utrecht Spring festival. It was an interesting concept, as it used a realistic situation recognizable to any audience member; trying to keep up with 6 conversations at once in a social situation. There were 2 live cast members, who used touch to engage your bodily awareness, and make you feel as if the body being touched in the experience was actually your own body.
Similarly to my own idea, this performance also challenged what could be considered as a performance, as the experience took place in a glass box out in public. This then gained public audience members, who were watching the participants from outside the box. It is interesting that as technological performances have developed at potentially a faster rate than public are used to, even the notion that it is being used in the first place is interesting for people to watch.
DAPPer- Shadow Play
As Dapper's digital performance research associate, in October 2019 I had the opportunity to take part in Phoenix's Virtual and Augmented reality expo, where I helped present the companies most recent work in progress- Shadow Play. The piece was a collaboration between live performance company Assault Events, the immersive storytelling studio Cats Are Not Peas, and the Institute of Creative Technologies. It was a VR dance piece, investigating how choreography, immersive sound and 360 film making can inform each other to develop new work for emergent immersive environments.
The 3 minute piece was filmed in 2 parts of 180 film, and stitched together to make it 360. It then went on to be adapted to enable the participant to walk around the performance in the same style volumetric capture would allow (but without using it). This baffled me, as well as Dapper member Sophy Smith, and I would love to find out how Alex (from Cats Are Not Peas) managed it, but she would not say.
This piece highlighted the agency VR provides an audience, allowing them to choose which performance they would like to watch. It also played with the perspective VR offers, where positioning a camera from a high height makes a viewer feel like a giant towering over the performer, but alternatively if the camera was positioned at a low level, the audience member becomes tiny in comparison to the performer, creating a sense of vulnerability.
This performance is a 360 VR experience for 6 participants at a time. Each audience member is immersed in a conversation with 5 other eccentric characters sitting in a train cabin. The experience used binaural sound, as well as enabling the participant to hear the inner voice of their own character. I experienced this performance first hand at Utrecht Spring festival. It was an interesting concept, as it used a realistic situation recognizable to any audience member; trying to keep up with 6 conversations at once in a social situation. There were 2 live cast members, who used touch to engage your bodily awareness, and make you feel as if the body being touched in the experience was actually your own body.Similarly to my own idea, this performance also challenged what could be considered as a performance, as the experience took place in a glass box out in public. This then gained public audience members, who were watching the participants from outside the box. It is interesting that as technological performances have developed at potentially a faster rate than public are used to, even the notion that it is being used in the first place is interesting for people to watch.
DAPPer- Shadow Play
As Dapper's digital performance research associate, in October 2019 I had the opportunity to take part in Phoenix's Virtual and Augmented reality expo, where I helped present the companies most recent work in progress- Shadow Play. The piece was a collaboration between live performance company Assault Events, the immersive storytelling studio Cats Are Not Peas, and the Institute of Creative Technologies. It was a VR dance piece, investigating how choreography, immersive sound and 360 film making can inform each other to develop new work for emergent immersive environments.
The 3 minute piece was filmed in 2 parts of 180 film, and stitched together to make it 360. It then went on to be adapted to enable the participant to walk around the performance in the same style volumetric capture would allow (but without using it). This baffled me, as well as Dapper member Sophy Smith, and I would love to find out how Alex (from Cats Are Not Peas) managed it, but she would not say.
This piece highlighted the agency VR provides an audience, allowing them to choose which performance they would like to watch. It also played with the perspective VR offers, where positioning a camera from a high height makes a viewer feel like a giant towering over the performer, but alternatively if the camera was positioned at a low level, the audience member becomes tiny in comparison to the performer, creating a sense of vulnerability.
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