In Real Life, Post Performance Documentary

IRL: PIT 2012 Show Footage

Thanks to the PIT 2012 Video Team Members Mark Cheng, Bruce Wayne, Gerry Liao and our own Francesca Garfias.

IRL in PIT 2012 at SFU Woodwards

These were the poster designs distributed before the show.

Thanks to Snow Zhang from Team Shadow for designing them.

IRL Cue Sheet

If you click on the link below it will take you to view our final cue sheet. Quite a lot of cues, but our show was very different. It is a combination of theater, contemporary dance and interactive performance. Took a while to build but it was a amazing achievement.

Final Cue Sheet.

Camera Mount

 

This is the mount we created ourselves for holding our camera on a pipe. It is a sad example of a mount, it was a fire hazard, shaky and hard to put up. Safety doesn't matter to us however.

It's basically made of of a 2X4 that was cut up in 4's. We then mounted a smaller piece on top of another which was connected with a 1/4" x 6" screw and some washers, that would also screw into our camera.

Now that we made the bed for the camera, the actual attachment to the pipe came from a c-clamp that was screwed into the bottom portion of the mount.

Finally we kept the whole thing steady using a string that wrapped around our camera and mount. Also there needed to be a safety cable around the camera just in case.  

Entos presents IRL: Combining Lighting + Audio

This is the Max patch we designed to cue lighting and audio together for more efficiency during performance. However though it worked, it wasn't exactly perfect, and we didn't have enough time or experience to fix the patch. One problem we had was that after a run through of the cues, we had to reset everything one by one, this wasn't efficient at all.

The sounds are basically opened and played once the toggle is turned on, there is a gain slider to control sound.

Basically how we are controlling the ETC ION light board is first we build the Cue list on the ION, and then through the patch, we trigger a message that contains the cue number and it's list number. This message is translated to MSC (Midi Sound Control) and then sent out by MIDI out as a 'Go Cue' command. It's works really well especially because it can jump from one cue to another. We found that only Cues from >= 100 and <= 109.99 worked. I don't know why this is, so we really had to think about how to number our cues.

We connected the ION to our M-Audio Fast Track Pro. From the M-Audio's MIDI out to ION's MIDI in. Here's an image of where we connected our midi cable; a male to female cable.

Music wise, since the M-Audio needed to connected to our macbook by usb, we decided to output our sound from the M-Audio as well. So basically the the sound board was connected to the M-Audio's headphone jack using a 1/4'' jack.

This patch was based on Michael Todd's patch for translating and sending MSC light commands from Max/MSP to the ETC ION light board. So a lot of thanks must go out to him for developing his patch.

Here's the link to his site: http://eltodd.blogspot.ca/2011/05/msc-commands-from-maxmsp.html

Here is the compressed form of the patch:

----------begin_max5_patcher----------
6245.3oc6c01baibj9yx+JPw6RN6ydUl2GL2Uop3XWaNe0to1ra9xUQoTAQB
Ig0TfJ7E+xlJ6u8C.8PQRIBfVT.C.nl0qoo.Ag54Y5omd59Y54e9hSFcwruD
uXTv+UveK3jS9mu3jSJtT9ENw9ymL5lnuLdZzhhaaz3Y2bSb5xQuA9rkweYY
w0+iSiF+wYqt6CRWcS1OMMdYwWiXu5kyRWlFcSbwW4syShlt99uMZ43qSRu5
74wiWBBDMTINk7l.QwqTgL+eXlSIA+8sdbWFMt3wQsWKYRwCe1E+72PUi15F
Wj7KE2HibJYiPljtVFo4W6e8hWj+xaPhF2DuXQzUwO.MnDR.c+PwZ4Dtzxud
aLzZGMZml0i.kjrBfo3UAs.qB2Bj1FP36CPnr8CHrC.PRi+b1unGfGKhSmDb
0roIWc8xwqhaTkDRQCWm2qFX.cDRIMewio4eH5Cw+xjnw+Z0Mu8zHDDnaipL
Echx0ut2VAaTS0acfhKSnJ.adX8RqoqEVJUWX+HTwpWZaNnsL6juaUb.W2fC
.B05B8e3eN.qjLJssMSVFX7WXAuO4lfkyBJl9nIQkPnS2NvRRpxt.ayPp1xv
PESTbZYpCM8LEgRXXKALxnqZlB1Q3TEgRNLGgo9oJXs+bEKmc0USiejc8IYi
htSdqPuWP13MP9q6uMJG01ivKL2IavNQk1.l6XGp4NhpqL28+tZwxfuKWwNX
0sAeXQzEwSmFG7tr6Md956dZRZ73YqRK9JrFD3Bg4ILpsrHxEknZPzcpEQoa
rHpjgfEQABKhjviNKhJoDLEJPXQjXFjVDUgEJ7gbIFKhD2XQj2fchbX9bUn4
fsHJ6JKhEfAsIAihwvR5A6LLQzkXAsIULjEf.SJNXrf2o5EjlLLA.XHDgGLX
v5Rvf0jCRjfkdg5vGkP6TvnI0LBoEpDxmfCkjN0jgoAACst.L3feAGRHWMlN
ELZxHqPIlhoT4Z5AiFgcJZHZRzPX0MngGLZn6Tz30rlDNTrB+JgWOHzP0oyt
95FU4fAJGL8AiFcpOnpW2jFNLbwlPMePfQm5DZXStByPHGAjCFJ5VeP4mk91
UKm8tYyyaSmk9gaudVZbvhYqRmr2H1vav0xPkPlsB2JhMhxRsWnpsWddIgm3
1feJGM9SydJKb+wALJ6R5K.FX14Ry4W3iKRVa+aMdtEMrvQ1iHYZ7mhmuHYV
5V28Iiht81st7Ia8UxwvedVwCR9l6tTRJbI5cWZd7mRV+8MvEy5Ydw5O7tTu
AwvlQg07aCya3VM9rdwqlNa7Gimrkh2IilDe4i6oL613zMeih6XmW18NSRuc
d7hrgQQKsMhs+MGsZ5xy2O7u6mu1Rvd+v8pebxnqlmLYVZtPry2L+xq+0ku9
OXLz1xcwcjFc6d9xKmMa5EQyy6RtXZ7Nc0YiQhRStIZY7xjarFit66kbysyS
.CA2cs3znrmw0KFOe1zo67nfO4S64SljoMLN9yISVdcwyZCZsCgM1VOa6Qu6
b86MJFFGtF8J0TU4tABqcjaffKr906f0RxnZoC0J9f01fy+ViVe4ByS1ABGX
is32V4s0sEgJsOUNZTLSOGGVPKEKHN.KtZwmSxZ.GHZTOTj4IrLq8CHBDmUN
qbvPpKEM3MXqdmXJ2Np.EsatwZRc8qk1tkkOhnAa26ldkcmwlzH5.kaRtLZi
PX4HEE3qDG9gvJPJwn68qaOSer+DuzPf3Nd7rKFlbYvK+2SnA+9ee.8UAKuN
NM3hnzq5FjkxJ.St0MaV388H5APK+PfVpaf1ahWNeVfjbnpoE8COQ.MaEb4Z
mzBiYJYs3IqqUUcfctBcLACoYNpSLycwpkKy72roTT1qpfrPUPXVqDTspfHz
IM7rG7E2QZf8zvY00e+llYfhcVeSgBgrVzgK6wFdJVDe77.R1eTkCsBDP65+
9fQVGfonBDlBHbHsNDloNDDVtGDdyJkxivQIK5nPhy+78C8KlsZ930XyZEff
cE9IwKVljd2BG+aalh5d230ISlr6B0fESO41YY3rU.C96nTVdrx8dDmRja4.
Ut0GlbS4f6bqoe.ovSjc9IADAKo4A+.iCoVgCwRmWLgR6fCX06X8ptOJ1dOZ
+RqSzxZcskbiFuE8K4ViTt48KqS4SVgWOgN.0SXCywkEcLrdibm6TMd4tGg2
Ljx8dZfGtbau357GLZQzmhmbd1ulLmJOOZ4x4IYKaBbna6jaTYf3uZ5rKhlZ
SKxcNvN5QDm95xCPEe08JQ2+47hMnPCkAP84+Pd199wLGxO8yQepASKp.XaT
nJDw1SgFFNHYdKG3WlVQqm4szPSiw71qhRRKYehwJqsrH4pz7dLDsJCvYbsZ
cDty5.Uk0rLjQsM6vu71oQe8WCJgbK75awad2NAD3wlSVXW0PHVu6qRg1PeT
ToeKyXVg+e6OWH3PS2tVaVdjOIFUd5Isq99+dDXJrg1ZBEoIzIaLAAjLoPXW
sxqbiIPMr1diITEEILul1jzwzlXQ4ASjnvNkZpzljmtLXYwPx5CO.nnaIlZS
R2N0SCIzltcGNbV5eg11avKXrhTPQr+tnZYmt+tbUsQPA7aAwFdkpUGe0Fgh
gKJCh86JUqGj9XBrMPFhX6tR0gtYycQ5PNCRAOuVu0NpgyfpvmMbFjQsNlpQ
vYPk4Xhyf1QGVD3P4LHlmhmyfdNC54LnmyfdNC54LnmyfdNC54LnmyfdNC54
LnmyfdNC54v1yVNHNX47YmvdimwrkYfxNogJavFrruafx1wAK6RGnr4cnRd5
tfp5dNC124LH2lMalFCmA0jAY9bYTXQgLTIzkNP3LHCh.hFpAo0wYPM6YBmA
YVBJ.4rtFNCp4dNCVMZBLvTwLH3LnVzkbFjQ2ghDsdouFNhPDggXnFkRzkTi
h4HpQI0bXPmBA2nTxiNtQI0VdLnPPNJkZXV5qI1IS0HlLUoG4lZ25YouaV5k
YCARtKH7s1HeMT7iWWbWqajOoSG46lA9ZfyApsoLW4C7oGcC70LquXXNvnTr
A4.eMPTZEEyNuQwG4l5T7Yo+vu8sAYcrKBt+oEWqM9OztAJLXF+KUc43+xJj
yMtA.InO.mGH0LyuTe7Y..pA7RvC4ZL.HGla8NMnvKfZ0bMF.jF2X.PeV5Ol
0oxxMAbVZAAfC9wBpwto+p03EMk.q8FnbUcDiVXd1PLZJENVvjLNBlQKI9po
puZp5YFsmYzdlQ6YFsmYzdlQ2zLiV4YFsmYzdlQ6YFsmYzdlQ6YFsupV5qkp
8Ndn6qtmd9t5qtm8up6oe+g32uB9popuZp1KYFs77eL9yIoSZdlQmsroB+lj
RNFpQKoCxb5Ru6LLWgIotrAB2noTfVlJEEC4nk7mIjilZKkWRnbGVC6nkBO6
nqwFAjzRIbzlWC8nkxtjdzTAvTBZmvTBADUDN2fhoDOeJgbY1d.djCDsuFlR
HndlR3YJgmoDdlR3YJgmoDdlR3YJgmoDdlR3YJgmoDdlR3YJgmoDtloD9Z4k
O2XGy4hbnd9D6qcZdtj3qcZ8OtR445luFx4YJwwFSITbXGgaLXXJgXXV9KnR
NG1r2LDLkPvGJLkPpfvBQzXXJgPzXLkH9WlDM9WqVOrh9gPJzOHW+59kW4yE
lcHg5.nDlDqFlcHTdlcT2QdmMHPTDL6PzUEzD2yWAgovbASfovNHNpJrCRhs
te8jnq.lmhmtBd5J3oqfmtBd5J3oqfmtBUQWA+QdmmtBd5J3oqfmtBd5J3oq
fmtBd5J3SetO849zm6O5wdlm1XOosFbj15nfbHd5JLPSrkApX.LHMp0jXKt4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.HPgT6Wyfal4navs.hVODR05FbSFjCtgy
JQJAyIuKm15Ct+vu7KeM3GlO6xoMY+HCljJjf4PTlI5zQ1T2LxlAlyo5hbiJ
TUOzVdzMzlQraTeNhw1L0fbrssfaSIBDCtY5Vevs37+uYqN+5rk7bdz4eet7
t8wkdq4yNXaioMXbZmn5xQ+DiaF8KXVl6YPLwNUc740tFzI.u2qYzOU21pDs
64PuDZkbiBywPOMrqOF5EFMjHBLmB8TyyjSgdgoXrJmh4PnmQ7GB8UuvFILl
ODyYPOi11F.KaFyr4KC9ex5UBhBJlurIWaC3yGj65Z8IlMHc.R.MqLK3Xb.h
25N.kG0xvyR+tUeLtXQNIaZwsk2OZvdAtHVRjcpyOgtYruJDlBDUHKIriNme
TfmvLTwrjvGlg0fBi7QEzRhn0G4yOOc1xjKSFWjcosW1SCzgRIg1PzFhvXdH
oSGjqbyfbCncSA06pGjanGciwCAiaLAhvaXXC602PI142gc9QMKvwv6502Xf
3PpfvJW85aLhmIKuw.SJa4Ie0KuwH8qtolID3gvhEI0u7FipqVcSt6vpWqOK
05K7h11YXCreKWmguJcF1nGjN9Xf5mJEl9qNGeZ+D579Y4ZimxB9tjO0jSvQ
skXWlThvmGcqms1xZ+rye6MWjDmNNtoc5SXCgAnSWC.n5Vm9bDWTxz5gf7CY
xuZu9zGed8Qs6jbTKsSOzc6iGZodDAgae5N2sOJGFhJARjUsee5mK98kgJPp
XfkvVsieZk2wuZlT.BAfcVwpc7Sq6JG+nmGULo3xwym84IM8Digv5qXTLQCQ
FNHcyip0feOTJB+7Libxr7Nh5JTEj0FZnn9Y4YGeTNkpfMmEClxq5Y4YxA9r
7gDaZqwj8ZFajKVzJ+0hyRe6zkwyWD79U2UYSZs0sRYPt6kXnvhXXRDwr1HL
PlXp2hlP3jb0Qy4XL6rze55Y2dal3FbSzzoAuLxthtfhoud0d684M43cFTen
1l9hhxr2YZ6d+C08W6LVRNhvdx3OWb+UCAihIQD2SpOtm045Gmu0wuTMz5ny
b+8cYWOJcxhlzmf6ZpYMaU0Y4euw8nfPfsrI0u+Cu+CA46biuMZwxf+57nwe
L3k27MQqljL6UMI2dAvPX23J0.GjtBN9SyBrZBMYa2F9WfsXrPUUs8vtpo+s
yleSzxfLDXLf.AIoAK9xkEWtQyLtvVtCzaQ2qRCuPaO0YoktS.ObXs6jsFWJ
zOzUyAjioB2oFbuTIeREtSLOEeg673rvctqMscGI+1auMeY+eC8+XQ9RGllj
MO2hYAKuNyXW7Wtcd1ki+TzzUYM97OOcU1xI1xx2o3JGnGP48qv7GP5cNu1Z
PmtqqDTUgw+TNBGkO2Q9RzryebVJSPxDOcPta4IW90r6HyZ6lOlDjrHuV.F7
9BMifO79ruR90tMZ9xfYWV7YKVlcuQyytc55ae87SPGTvKo4uKnHpNYX7q1y
cZuEP9xtgyR+yYh9565s+z69vGrOskwSV+sdSQiApbXAWlLewx2.UtvwYWNW
MJ+47sIYK3X5WW+nlDOM4ljkwyy44yNcY6rRTJskTpraZLaYmyFSNYEUMxvd
bAFKZ8H2x9+NpvbR2L+L0tTwJF3RE8XHdsUtf0CUIAr.Z1e9c4Zz4Urye252
x17V9l2J17V4l2p17V8l2Ft4slr2buAHOkBv3A1GRAWsjJSskINxgzIZZvNw
mXsodcInTbrWZpqsBUBHA1ZzcyTWpakZCH1hXEseUryxGJMDKognqETDesIp
2UahrA2XSjMx7zGb6aR73rE9L8zlLBGf27TtVhHBGpthFbuK62W1hzVDjmVz
7Loj4w82+SuKvFy3bGZmOa0UWG70rwBAEAJLIuful28E7xIyVksNufwSSF+w
fLU4Da4eYQ7zLfXyc9pVe2TAt7J4VJGoqJ5Z7NixcNpDRX4WA7uOrnwuaTVI
cTd3mNKZxVk+crXxSHmNqwEvgOUkzOwX5pXNBljyFEkML753u3HUFg0XE7uz
pwlvio.OFtoJbSU.CkLR1iKri0+L7AczeZAs+cHXgsHt7Y+RxrPgsvV2yOqf
pHZJyiuJ9K2F7Glm4ezo+muJ3OrX0EYKQXYlK5AmM52PC9GAz.V.OPDHCTA5
fv.SvomMpbbUVIt9l682mXoyesBYA9CrapxHRS5wA1Z6tBxYY+2h+w86Q9Mj
9EtSAfmTKvqz8ef+k+78U+Cj5fdlptzVoMT0ePbXF.PdxCgbUuCxs6Fn5gbw
.v7xKu9gPtr2A4V1XqD0B4zA.je0CgbQuCxAmXv.4rA.je4CgbduCxI76ngd
MPNe..4wODxY8MHWXyuLBsbw..xm7PHm16fb61M.AjKG.P93GB4jdGjaorrc
cQUA4pA.jewCfbgo2A4TzSeNDVJTzCg7v9FjaOPdw.4gC.H+1GB48tkBw0nm
9bHr5yEO.x6clx4B6l0qVRaIGBK9zrKh+y8Kr1tiOpmYq7gfM7vcw5j9EVSj
Xw5gfKJ5cw5q6UXMKjuMEaGpGduqwZ0tX8U8KrFVLOFrdHDFE4tX8k8KrFXD
IkWKWX4CgnDJ1Eqi6WXscqgVudMaH34GeWrdRuBqsUaVLX8PvOD1tX839EVq
syM1RG65NFqo6h0WzuvZI14FYCA+PH6h0Q8KrlYvh0Cg.cmSGhS2Euuseg21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.EVIj8Voxg5UEbRn1dPgisLHP42tykJ
T11uGh19REtfp43YmETzXkKkJTyCxb7LNLb8fNVp3X7ux3XinDTpUbGuvKNl
fe33Xefa5FticDkiy8XGGQMTHkqCRDVfxkNghIN6NdwoRD9u3ZYhiarmiUy4
nbph6Xmp3nrnybrEcFNaBt1QATKMk4XmpXnLUwj8QmpnNFqnnRSB0zakJGNa
CEk8JpimWlQQuDBGhULTKrg5Xu8tGJzSjJBpYmIN1mABpfgRbanzLX7txzAx
DomISJrqU1c1DPwdAia0xMXlT131PqiWl5aw4vwbGBUDEztUlPQZAsnmJStS
IGEgEbL2NzZrQMyg3DFC4NlAEZLonw0r5.y5iYNlcpXrO43kgxv3UGysrWBu
L4v4VPHRgtUj3XVRE+QJSR3rx0t+LT5M+jKj1G4bNVgUAGVqa+SOQgUhTVeD
.KWakNNTz627SOU2CQEIPhiiDHAS2sii3FlfHYb6Z8MnBrkagITAV1073A0t
MomJStj2uXl5zwAuEsL4xcNANdV3XWVQKTGJRk8C+qW7+CvzNx7M
-----------end_max5_patcher-----------

Entos presents IRL: Tracking Audience Cellphones Part 2 / Sending Values to Backdrop

This was our Isadora patch to test user interaction. Basically what's happening is that it's controlling the speed of two videos that represent either a 'Yes' or a 'No'. So in trying to go with a more live interaction feel, the audience would basically see which outcome they were building up to.

This Isadora patch runs on a different computer, our 'Backdrop' computer, therefore it needed to retrieve values from our Max tracking patch which was on another computer. Therefore we ran a smaller max patch on our 'Backdrop' computer to retrieve those tracking values. We had problems with sending OSC values to Isadora from Max, therefore we sent MIDI values instead.

Again this wasn't fully tested or implemented, we just did not have enough time, but it works in a certain sense.

Here is the link to the Isadora patch: IRLinteraction.izz

Here is the compressed form of the Max patch, just OSC in to MIDI out.

----------begin_max5_patcher----------637.3oc2W10aaBCEF9Zxuhi35zf+FX2M0e.6hd
4T0DI30xDXhHlstU0+6CrIoerjfSCEzhhBQ9fA+79liOb3wYd9KKePtwG9D7Uvy6wYddlPsA75F64Wj7vp
7jMlo4qj+pb4O7maOkV9f1DdkNurVCXP.hsmTUWzDKWpMWIpK52KUZURgzbYetJKIe67WmnWcel5tuUIWos
LwwzEn4.Eia+QD2djfVffa6tlrTy8oAoqv6V31kXS1eLKAlr.8LOYps3Pai8zrYsGlOPZmC7AT6LZrU6HGz
Nep0NCXCn1oBgQ6nXGzNap0NEnCn1IwLq1ENnc5Gt1qKVJq1u7HcQsgz+dszp.+Lk1eN3uLQcm+NrOsj+
NcyZkBvQG0DHmhIf+OxDrk8HLrCl.9B0DnLy9.hsZXOl.5B0DHQLqID0uID+g6A6ub3Wt45qpZztDBvP.
ABnP.CB3PvA5HPbH+p0r9muuOiCGZbLbjYKDlEcLmKZpbt0R0Mk0pzqaV2px7SL8Z.rGp0drcacH6I7Rcy
E1lUH38u4RLQoH650f.jgrWCqzoHd+8ZL4sY07Y.kNFEZkNseoeo1kUmGPrcae7LexDk4WmttAXY1OkP
THBAqTEI586T3CVg7rpNFSr0H4Gs0i2q8XtY94Yp29d3FfZi+ZOaSYc0psBaa6uvyLkJ2nyTI5rR0Kmj
3US59rzTo5k6cJxRWW1jQ0AAb6d+GzYlvtvDebYB4BSrQkoXWPhNpH0zDDv6CIxniDqOjviNRz9PBM5H
Q5Ao3QmHbODch0knXwBdiNw12GhDtazYxZnCrFM5tWe0FF28gBGHZbqe5xiYBGUhb4gwmSA8lAOM6uIEKZ
vC-----------end_max5_patcher-----------

Entos presents IRL: Tracking Audience Cellphones Part 1

This is the Max/MSP patch designed to track light from audience cellphones. The patch takes real time video feeds from a Sony DVXR camera that was connected to our macbook running the patch by firewire.

Basically we are trying to find light blobs in the dark studio from the seating section. The main section within this patch for CV would be on the left side of the patch. Based on where your environment is you would either want the mode to turn 'on' or 'off'. Default is set to 'off', we actually ended up turning mode 'on'.

So how these audience decisions worked was basically if you raised your cellphone you voted 'Yes', if 'No' then your cellphone was down. These votes done through polls in between scenes. For this performance we only had 2. The polls would be compared from one to another by how many people participated in the first poll. So say 10 people participated in the first poll, then the second poll would require 10 people to bring a consensus of 100% 'yes', otherwise if only 4 people raised their cellphones in second poll, then it would mean 40% 'yes' but 60% in favor of 'no'. So very basic max patching here, and this the messy portion in the middle, we compare 2 values to find the greatest one, then whatever else is detected from CV is divided by that greatest value.

So you might be thinking why track cellphones right? Even when interfacing them into our performance was so simple. We just thought it was a easy way to bring audience interaction into the performance, and having every audience member participate. Originally the idea was giving out 6 slider controllers, which wasn't practical.

This patch was never fully tested or implemented because we never had the millions of audience members who came to see us. No, just joking, really we only needed a few more than 2, more like 10 to 20. During the performance when the audience members raised their cellphones, all that light emitting from their lcd's caused a very large radiance from all the cellphones together, which the camera and patch would've easily detected. But when just 2 people raised their cellphones during testing it wouldn't quite work, and we had to use flashlights pointed at the camera for the patch to detect us. At one point we were even thinking of handing out flash lights to the audience, but thank god we didn't do that, all those flash lights at the camera would've ruined the lense and sensor of our camera.

A lot of thanks to the Max/MSP community on this.

There are 2 externals we needed to grab, one was the OSC externals from CNMAT, and CV.Jit by Pelletier. I've provided the links here if interested:

http://cnmat.berkeley.edu/downloads

http://jmpelletier.com/cvjit/

So here is the compressed form of the patch:

----------begin_max5_patcher----------
2969.3oc4b01iaiaD9yd+UPXDfdWQ5FQJRI4h9gzKAE28g9BZQu9gjf.YKZa
kJK4JIu6ld39uWRNT1RdsjEkk0JmBjr6Jp2l4gCe3LCGpe4tISmm7DOaJ52i
9.Zxje4tISTMIaXh93IS23+zhH+L0kMcQxlM737ouFNWN+obU64q4nvXwYCi
WgdvOZm3vLTP3CgA7.jeb.ZU3C7Xj751xSWHdF9q3EOlnvX9hjcwpmkstw3c
hGVDOW8hw5F25muXs3c74T9hbPv8Hr6sdMh55J+ElYoNx6dKzmz2TXfRFSl+
kemicw6bYRbdr+Ft5T+wzP+noGdwI6xKdyVkt9rv+q55wj6sjs9q2cm7Gu9B
AOQ6a8SkHW3xOFuGFCy9XrOZUJ2OmmhDR0bdZufXTBQhQ1yXsAwHiPDSbQfU
1TCUcmYJk0l3UR0IV0n53Qnp2I0lQnFn1Viwd7cY4n478CGxW6GiveLNQvnj
9XXFG8HGEjD+axQO5GmiDiixQ4IZJHz7uhr5kwNtdfADyoEicXyFgHYJOiqf
FroVQtXEEKYlcKrhXduf59FdVVo4W1q6mVkIMvW3RAUVO94dlPwqq210TMt.
qglx+5VN7VmNc+yuG.ikQIhWqwc1VpNaMywY5qcJd5hmc3FwKS1cdukgvQQ+
fP5KdHXqCOlmgRBEyWXeilN2Od0H.xX1yTrATuV.YrocDcF8vfC3Illhb1rF
gA5Irbvc1x4FvDAb8hob8xC2H1X+MqIBYFFFhvZwHExM.LDyeTHqOa9F9SaS
Qe2qVhQuA8pkju+2J3yLcJHWK6xw2fsaBrnNiy4fpAeBWBnyePgNxnCik+Eh
GIbnSbBSwJFEhEzRQ5fcbaBqHdiSrpNG29yIBGYy2kFiRhk9usP3B7Jt7ulG
4u3eeR2aIlFZndrHUQSgs.2dn0.fNiP2a+Kp3jQIKQBQTnWhfnWJPifdw6eh
KXeQokfm579mvFgvSFON.Idkn7TgMCOn.kfXkVtjmJtKkoUrXPXu.ZN.kECh
bRSfUa5FXivvFdCA8Ji4hnNXf2FlwGXuqKzAqwIUTs.BtK.BFFt.igZFPnd2
TyisKXqZfEVvax7tmH3GvtyPdt0LcO9rnDyEFs313z8D2wX5L2InS1sUvxjh
jIeQLSk+Vw7VbYRYhE7LNnL9VdpeNWd9SSxPMkY1VEsg9WZlYGxogsWxj.Wm
ET7VAerHnY3eF6PsNZcv+GuFi4x13zZZeVGpO5OFfgbeIL+9v7CYD2PjhRTF
JTmF8ll0aHkDaT+e.fFkVK7A5GhRlmYL+iC3xmxDxi1D7fc6M3Qza94M94og
OIAoZOpVvqr9HrI.HSiYhqNLh+.OMKLItj1OYp+1skZdRoaQBzeIQ8fXudeS
gwPS38MkxeHr39mAMJ59tq3j6WiJHfDpihT2gpyZbIbUzUuJJQ5QVI9lISC3
KM6ojrkGe3NTWQkeT8JCi2JSGbbtetVIJ+l82Ek+4SizUO+R+E7Zu4SZWLY5
pzvfjXoPT4NkMW759.BqWgpxxs5Jh82dhaNOIIZteprKYdDuRWsXfjebnvLh
mGBxCwZ+8EtYaZHLuy913w9hmw5rEoIQQUdTvYd3DmIPXMrf+XXP95JY.8nE
ZsrcV4g3UZ+ng5vHlBzqtAz0Mn1VmoIFLdlU7y8n5wdgezK54SEpNSgG.xaa
ZQyJNL8.gNprU8rnJ4lPT1tSs9EJeEDw9dfjybbwFBvEOqlUz3YNpW9MUu0c
yv1oX9GNjCnRk.31GCiCRdrqfG1TviNxAuKbLFjmNMbb9wX1uriwtLkEaQLR
YIurJqRupUWsZktBoD67pJtdUsLn1jKPUdzWKLohyiGEA2C2KcuNxeNOB81E
q8S2Hy8HF8170B+EVmDEHFneg1NXFDZKw9b7FNcl0kzR.uri4WaVlyi6pozt
etLqkYWHHSzXsk2YAYm++EjuOH0u9oAIsCo0Irw97HsaWQ5Nwe7hhxG3Kdqh
BwB81T+fvcYBDpWYSfETj3cdzmNFsyODdiLKX0DofR6km+zcMYI6RWTHOECo
QUAh.dVdX79n89vd28O55VGFDTM3JH.3fsIh.kzxG5SsxV5pI11cSrwXrrLd
HLs+Zj8GcsTHZa6GX2lcDRFswjbyZqbOxL7olf23Na4igbeZCoIt5QD87W1V
pQE1dWsQE31przwUmjaKkaROJ15FKRs3zL+G3AeFV51O6mKl1Y9tbXZix487
RyQWCm5boGbkv8J+Hc9X2+Lp7jelDcx4IATn+VyfrEgYYIoYBGQRdT3FhH9l
jncahyP1FmpbHaZPU+g8ZrXSLdkDbuvTkazQCR8q3GEIQ7L+7copAKYpMFR1
tEq6kZWQGjitpez4iptZWgRGkaDj3G3oPwXrJ0+qYK7iLtV+wDcjeVsnJso1
ivxsPGgf4UX.yVqrvp+Z0XEFPtsJ4BU3ScoJTJCIrlK5B7sEjbH7QywEaGRI
bwsYbYjVcN4IqVYN+f1h.6tmXngREvyP8SsJZepKyXWY6s09xotrtzLUmsau
UGwRs7pTEwcBDzlxsCDbF+fP89tktZNQ3qleGcTClQr4Jpxt+J59qnKV0wHl
ID.gpmYJaHwSAJNvFWgzDYns0sUUSK7oJO0OK+0kb7T4247zvUqyiEHopDpU
6+VUgwtlihjmB0OU+pK3UJPT4z39Ej7R5TZ2Hebzq.H97bOD6uQIfYT6ViAj
uQw.pAX.dziA0xudfBwbWN0CUfvS8ZL3DxMV8fWPx1kX1.CG.UbaDUvytsPk
Ryvzg.2.mVzVK1MhK2VEKuZ0WSWjj0Q+3vNpwQrFKxY5sfab04yxpT+4yUeB
PhkUrUTXVtwYAxB1akDnx+NSZfvNivz.sHJIia5vFLXV.dxVjY1ZTZ1sEchp
bWMENvNkfiFyxAlNNgCIcQ0JUzvZYWWp+ZeuwkqcqJ5usgDCZ5fdrG9An.h6
vrEdv1r2l3dn6t1N5QZlO2I3B2UH.g47M5UDSAK.GnHjL4Od+O+t+1e+uh9w
2i9NrkmUHy56q8bNm9btDqsMbJB6MUenneVtSl12vO8Su+cn+TXJ+eI9+Qm6
e9O9AnEz6j5l9r6QpSZ7Jwz8K.3Y6lIt.wlUyj58297Q6m8PsAVxQKh39ocX
NO8hWCErYiI5A2etXCB6PrwdR4akayP+sxeYJ7TX7XqbLXlWSnyraqOi.cXe
foQC7Lc060DZ3ca4nvJd9AJSCSDnUI+EbZzeA2aJSDc8HJ8rVLKoEhPMem4B
Ago2tCVMN9w4VH7iZfp+yFddZBhXbDqJ7wEx.TinS+4.Rum4mNtlZ1UIQZXZ
mKcA0TOzpUIJnWGWHSZs6YEvjckxlrlhWBWoJmddkKcbUKwrUkKlFAfMUa4C
zaTDFSdYpCpww41pE3Jk.WMZAkYlV.UOL0BpkXQnSL8QWnvdjbTS0rhMSX6C
.7rlA1CpLQaCLMrhjzMwyCSF10gsvtpwKvmBiYh4RJN5REWbaDWxfBgytBH3
EJRdsPjlMr1YsQjnlIRTfUVWPXXcVApdDrO+0WHsG3km0+5AiAe2MgEWpn99
pdDjeSsdvrtX8fX0+5gCw675Atrdb4S8PZEgf2fZqSHsQlF1wej13UzQFEWc
Ng1HRCpDY6zlQECKJY2Jlygc9E613bEcX66bZgCyXC65vTXCk3.gFqcqQc3.
HsdcTXIkb5BCeintrd61LWgiYBKYFLmG7Iegc3fKTVcuBhJVEUGVs8OJDU7k
CqXR+Kq5dcGG5ghxpxAX3q3PAfe4FxXZ+qEx0vRIdkQbqd.wYWAY0AFmAAUW
Hq3dgfnm8O6Rcgn+AuKMdZqqPpdtTYBOBkIxHTlXsXFP1v5BAqM7CrAdTWab
+iwFVbpMb9JAGObxjcakIqwkLQGXNy1LwByY7YOQcFV6o1vYxF1j0xZkSACr
Mt63iyrMSAyF1o6XswUEhgxD0U8ULfAehonD68GcojDdWAo8nk46te8t+GPW
L6PF
-----------end_max5_patcher-----------

IRL Bodyscape Projections

An idea we had to liven up the 'Profile' scene of our performance was to include a bodyscape projection on our dancers who represented the alter-ego's of Luke and Isabelle. These profile pages would grow out of their bodies and into the backdrop where either Luke or Isabelle would be situated. Equipment wise we had a projector and extra computer, but implementation wise it was difficult, especially since the backdrop portion needed to be triggered manually. We ended up scrapping the idea, but it's something that was close to being included. It was meant to represent that the profile pages were a reflections of the alter-ego's but with a human face.

Link to patch: IRLonbody.izz

Spring 2012 Midterm Presentation

[Download .PDF with Full Resolution]

final deliverables

Poster:

[Download .PDF with Full Resolution]

Final Prototype Video:

Entos Prototype Semester #1 from Entos on Vimeo.

Until next semester!

next steps...

Refining the concept. some suggestions we received:

Why does one dancer have to represent one side? 

What if both have the potential to represent either sides?

Since the project is about illustrating the tension between life and technology, why not use the fact that the backdrop is, in fact a distraction from the performance? 

Or is it the other way around?

experimenting with kinect

Another attempt on making the performance focus on the dancers more rather than on the backdrop, we decided to try out Kinect. If the distortions naturally followed each dancer, how would that look?

Here, you can see that we've programmed the kinect so that the affects follow the performer. We played around with the idea of space - for instance, each performer having their own "space", and so it becomes a battle for territory. We were actually quite happy with the outcome and are definitely considering to use this in the future. We don't have the specifications of how it would be incorporated into the performance - but at least we know how it works! If we wanted to implement it, we have the backbone structure of connecting Kinect with Isadora and with OSC controllers through Max. Pretty exciting.

poor audience feedback. solution: prologue scene for testing?

A major issue with going further in developing our project is that we need to provide the audience with feedback on their interactivity with the controllers. What are the controllers for? How are they affecting the performance? This needs to be made clear to the audience, otherwise the performance as a whole wouldn't make much sense.

A solution we came up with is to start the performance with a prologue. This consists of a scene before the performance begins that shows several segments of some element, merely for the purposes of giving feedback to the audience. Some ideas:

- a grid of 6 videos or just one, each spot showing effects controlled by each user
- grid may be imposed onto another effects driven video, one that shows the shift between tech and human

Research

"a human being goes through all experiences of varying intensity, but these processes do not differ in essence from other process that deploy forces in magnetic fields, acoustic waves or heat waves. Human experience, with all its gradations of temperature, spasms of pain and orgasms, is of essentially the same nature as other physical processes, difficult to represent in language, and only measurable by gradations of the sort indicated by thermometers and barometers, an 'exposition' of anger, a 'wave' of shame, a 'flood' of tears, a 'stream' of pleasure.¹"

"Theatre was no longer conceived as an institution where presentation and interpretation were governed and produced by a series of signs coded and transmitted in a fixed manner... ¹"

Important thought here about physicality or energy of the performer. It can be used to engage the audience in more than one way. Though Entos tries to mimic one performer's relation to technology with the audience's relation to their controller, the performance also needs to rely on communication or energy transmission from performer to audience. Audience can't be allowed to act a spectator but needs direct emotional attachment to the performers. Thus to keep channelling this affect the hero of the narrative is left ambiguous. The audience must decide who is the hero? Will the character fall into a tragedy or comedy?

"We all know, do we not, that this is a major difference between the plots of Greek tragedies and those of most modern dramas: in Greek tragedy the audience knew from the start what was going to happen by the end. And it presumably follows from that that the key events of the plot were fixed in advance and unalterable... ²"

This unalterable narrative seems very machinelike, like it was made to serve it's purpose. When developing Entos, everyone on the team wanted to explore Human to Technology relationship. One of the most common arguments about the topic was the idea that humans lose their identity to technology, and thus the determinant factor for the human was a technological one. There are many more arguments to the relationship, but we wanted to focus on identity. Entos was developed with a twist, situations must work in a certain reverse, there must not be a singular ending, but at the same time necessary to display technology or to give it voice within an argument that is wholly biased towards humans.

"Fundamentally, a human person is a desiring being, a cluster of psychic-energetic processes that produce desire, a desire that continuously produces products, these being biological (like hormones), neurological (like emotions) and subjective reflections (like: 'I feel this?'). Hence the idea of equating human productivity with machines: desire functions as a machine and all partial machines that constitute the human person are interconnected and can at any moment change their interaction.¹"

This is a interesting field to explore, since it allows us to compare humans to technology. This is one reason why there is a human playing a 'Technology'; machine character. It allows the use of 'desire' as a device to not only introduce attraction for human to technology but also explores the idea of 'desire' and whether it is human feeling once technology were to take over human identity. In which case what is still keeping the human attached to technology?

Reference

1. Hall, E., & Harrop, S. (2010). Does a Deleuzean Philosophy of Radical Physicality Lead to the 'Death of Tragedy'? Some Thoughts on the Dismissal of the Climactic Orientation of Greek Tragedy. Theorising performance: Greek drama, cultural history and critical practice (pp. 123-136). London: Duckworth.

2. Sommerstein, A. H. (2010). 'They all knew how it was going to end': tragedy, myth and the spectator. The tangled ways of Zeus: and other studies in and around Greek tragedy(pp. 203-223). Oxford: Oxford University Press.

Use Case Scenario

Use Case 1: Audience Interaction
Primary Actor: Audience
Input: Audience member uses their controller to choose the performer whom they feel deserves more support.
Output Sound: The sound fades from either a more natural composition; means audience preference for human, to a trance heavy sound; meaning audience preference for technology.
Output Light: The lights fade from performer to performer, illuminating the human or technology over the other, or both.
Output Backdrop: The backdrop shifts from either looking natural or digitized depending on who the audience supports.

Use Case 2: Environment Cues
Primary Actor: Audience + Performers representing Human and Technology
Input: System Environment shifts direction between human and technology.
Output: Performers take these environment shift and try to draw support from the audience by being more energetic, pleading to the audience for support.

Use Case 3: Performer Interaction
Primary Actor: Performers representing Human and Technology + Audience
Input: Performer pleads for attention.
Output: Audience sees the shift in performer energy as a calling for more support. The audience is put at a dilemma whether to support the performer or go on with the performance.

reflections on west 149

After watching the choreography/dance performances at Woodwards this week, we noticed that on performances with both powerful backdrops and performers, it was difficult to focus on either one. This made us re-evaluate our own backdrop. How about desaturating the colors? Simplifyng the affects so that it'll be cleaner? We'll be testing this out today.

putting it all together in the blackbox

We have the lights, the audio and the backdrop. We'll be spending time meeting in the blackbox to sync all of these elements together. Mainly - connecting the OSC controllers to the lights, the audio and the backdrop.

Slider on the right: light on the right highlighting "human" agent, symphonic music, natural backdrop
Slider on the left: light position on the left highlighting "tech" agent, electronical music, digitialized/distorted backdrop

iterations on isadora

Some more experimenting with Isadora to see which effects we like and how we can combine different effects to create our own.

first time on isadora

Francesca filmed several videos of herself doing some dance movements. We used them as test videos :)

Here is a screenshot of her videos organized in a grid, with a basic Difference filter from Isadora. We found that using applying affects on Isadora is simple and very experimental - looks like we'll have something to test with in no time!

jamie's advice on audience control

Originally, we were planning on using some sort of eyewear for the audience to interact with the performance. This was to incorporate our idea of scopophilia (pleasure from looking) discussed in our concept. The idea is that the audience members with the eyewear will each have a unique experience with the performance.

After discussing with Jamie, she advised us to take another route in this interaction. To simplify the system, instead of using eyewear, she suggested a controller that moved between left and right. This allows an easy metaphor between choosing one side or the other.

on receiving midterm presentation critique

After our presentation, we realize that since the dancers joining us next semester will play a major role in developing this, the most effective use of our time is to perfect our technical systems and issues. The critique/feedback we received from our midterm presentations consisted of questions mostly regarding the audience interactivity. Hence, our next steps are to set the concept/narrative aside (this may change majorly come next semester) and spend our efforts refining the tech system as best as we can.


On that note, Nicolas delegated roles for each of us in terms of technical implementation and prototype developing.

Nicolas: Audio and controller data interpretation (Max/MSP, Audio Units, Logic, Pro)

Nadya: Lights (Max/MSP)

Amit: Midi controllers for audiences (Processing, Max/MSP) - developing a controller that outputs a midi/OSC signal with a slider. Basic chip with connections.

Francesca, Alannah, Kitty: Visual Backdrop (Isadora) - Isadora patch that receives a numeric signal with specific range. This will be used in the patch to 'distort' the image. Input signal from OSC to control distortions.

Onward!

midterm presentation

403 midterm presentation on Prezi

ἐντός

Our midterm presentation is coming up on Tuesday - we're well on our way in researching about all that we've talked about. The story/concept behind our project is still in its early stages... but generally, we have a clear idea of the direction we'll be going into. In other words, we've got foundation.

Since we have some roots planted (and since our presentation is in two days) we have started the process of designing a logo and deciding on a name for our project. Alannah and I (Kitty here) took this on as our little project. Because we covered so many ideas, it was not an easy task to create a graphic and a word that encompasses them all. We also wanted to keep it simple.

Finally, we decided on the Greek word, ἐντός, (pronounced en-tos) which means within. This is the perfect word to describe our project. As much as we've explored the different aspects of technology and its purposes, our ultimate focus is on the entertwining of one's self image or identity with our outward extensions. In other words, it's about a struggle/relationship that happens within.

On second note, we chose a Greek word because our performance will resemble a tragedy inspired by Greek literature.

Here are some iterations...

In these logos, we explored symbols of infinity, silence, pixels, brush strokes.. etc. As a team, we chose the last iteration. 

It illustrates hand-drawn computer pixels to represent the relationship between human + technology.

tech + concept sketches

Some storyboard sketches (not in order yet):

This is how we envision our stage setup:

And a technical diagram from Amit showing the system of our setup:

storyboard (so far)

Lots of tweaking still to be done but here is the skeleton of our plot:


SCENE I
choreographed.
backdrop: visual representation of nature/untouched by technology
music: symphonic
light: spot on dancer
narrative: human agent dancer alone.


SCENE II
choreographed.
backdrop: visual representation of technology (affects) entering in
music: 80% symphonic, 20% electronic
light: spot on both
narrative: human agent interacting with tech agent as extension of self.


SCENE III
improvised based on audience input.
backdrop: visual representation of technology and human (affects)
music: symphonic + electronic
light: spot on both
narrative: human agent + tech agent interaction.


SCENE IV:
choreographed or improvised?
backdrop: visual representation of technology and human (affects)
music: symphonic + electronic
light: spot on both
narrative: climactic ending...

the story

After looking through each other's research notes, it wasn't easy to determine how we would then come up with the final concept. What we learned, though, is that we must trust the process of conceptualizing as it changes and evolves.. even if we feel like we don't know where we're going ...

---

We decided to start where we all agree upon - that is, we were all interested in creating a performance / installation piece.

After discussing the topics we explored, we discovered elements of a love/hate relationship, similar to that of a dating or marriage relationship between two human beings. In pursuit of illustrating this.. we envisioned a duet between two dancers.

Male - masculine, robust agent representing technology who is confined at first by the female - presentation of creativity and the "human" side...

The human agent uses technology agent, as humans use technology, as a tool, an extension of herself, to enable her to do actions she cannot perform on her own...

Even though the technology agent is able to perform supernaturally, it is the human who empowers him. She is ultimately the creativity, the intelligence, the mind, the source behind his actions...

The more she 'uses' him, the more she becomes attached to abilities that technology is able to give her  ...

Eventually, via her invitations, he is slowly integrated into her identity, becoming fully present in her world ...

A synchronized duet begins between the two - a chaos, a mixture of the sides ...

Is there a point of reconciliation? .. this is determined by the audience.

focussing in + researching

After discussing the many related concepts, we decided to narrow down by everyone choosing a desired concept they'd like to look further into. Our goal is to come together during the next meeting to find a counterpoint concept, a word, an umbrella theme where all of these ideas can fit under.

Nadya: Splitting of Reality, and the point of reconciliation between them.
Nicolas: Silence + Infinity
Kitty: Addiction + Obsession
Alannah: Perception + Scopophilia
Francesca: Addiction + Infinity

Each of us conducted research individually on our chosen topics and posted the information onto our public database (sakai).

Next steps: Meet next week with everyone's research posted; finalize concept.

reel of thoughts

During our initial meetings, we explored different topics of interests and questions. One often lead to another, thus creating a rich cloud of potential concepts ...

we were interested in exploring the question, "what is the relationship between self & technology?"

... technology is meant to be a tool, an extension of our abilities (as a telescope is an extension of our eyes, earphones an extension of our ears) ...

... technology serves us, yet there is an addictive quality - so does it serve us, or do we serve it?...

... we are able to become, to take on a different identity via technology (facebook/games) ...

... we start to develop several identities - identity in reality, identity in the virtual world ...

... a way of escape? suppression of fear, avoidance of confrontation, running from reality ...

... an escape from anxiety, perhaps - to create an identity that is under one's control ...

... technology allows one to be whoever they want to be (superhero, superstar, supermodel)...

... a disconnect from reality ...

... an inner struggle between presence in the real world and the virtual world ...

... perhaps a search of true identity between the two ...

... is it possible to be fully present in both identities, in both worlds? ...

... technology is digital, numerical, finite - reality is analogical, infinite ...

... infinity -- silence ...

... http://suicidemachine.org/ a way of completely removing one's virtual identity/presence ...

... technophilia/technophobia ...

... in the end, it is about an inner struggle ...

... a tension within ...

... (not about me vs. technology) but a search, a battle of identities within the self ...

... is there a point of reconciliation? ...

teams + roles

Before ideating, we begun by sharing our interests and abilities so that we'd know our advantages and limitations. We also determined team management roles this week!

The first circle : skillset we'd like to explore/learn/develop during the course of this project
The second : skillset already in our toolbelts