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Media in performance: Interactive spaces for dance, theater, circus, and museum exhibits By F. Sparacino G. Davenport A. Pentland 2002. 6. 4 표현아 Contents Introduction Interactive systems Proposed new authoring technique “media actor”
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Media in performance:Interactive spaces for dance, theater, circus, and museum exhibits By F. Sparacino G. Davenport A. Pentland 2002. 6. 4 표현아
Contents • Introduction • Interactive systems • Proposed new authoring technique “media actor” • Describe applications in interactive dance, theater and circus • Describe applications in interactive museum exhibit design
Introduction • Future of artistic and expressive communication in the varied forms of film, theater, dance, and narrative blend of real and imaginary worlds • Conjunction with real-time computer-vision-based body tracking and gesture recognition techniques “media actors” software architecture • Applications to traditional performance stages ( dance, theater, and the circus ) • Applications to interactive museum exhibit design
Interactive systems (1/2) • Scripted systems • Central program coordinates the presentation of visual or audio material to an audience • Responsive systems • Control is distributed over the component modules of the system • Behavioral systems • Response of the system is a function of the sensory input as well as its own internal state
Interactive systems (2/2) • Learning systems • to learn new behaviors or to modify the existing ones by dynamically modifying parameters of the original behaviors • Intentional systems • Modeled according to a new way of thinking about authoring interactive media
Media actor (1/2) • New media modeling technique for authoring interactive experiences • images, video, sound, speech, and text objects able to respond to humans in a believable, esthetical, expressive, and entertaining manner • Applications built with media actors intentional systems
Media actor (2/2) • Interprets the external data through its sensory system generates an internal perception filtered by its own personality • Updates its internal state on the basis of the internal perception, the previous states, the expectation generated by the participant’s intention, and its own personality profile • Selects an appropriate action based on a repertoire of expressive actions: show, move, scale, transform, change color, etc.
Interactive spaces • IVE ( Interactive Virtual Environment ) stage • Real-time computer vision input system Pfinder • Artistic and technical details ON • Dance Space • Virtual studio dance stage • Networked digital circus • Improvisational theater space
Pfinder • Person finder : system for body tracking and interpretation of movement of a single performer • Labeling human body : head, torso, legs, hands, and feet
Dance space (1/4) • Different parts of the dancer’s body different musical instruments • Graphical output
Virtual studio dance stage (1/3) • Virtual studio : new forms of TV video productions that combine real foreground images shot in the studio • Instead of blue screen Pfinder
Networked digital circus • Focus on the theme of transformations • appearance or disappearance of objects • scaling the image large or small • Triggering events
Interactive museum exhibit design • Main challenges • Give life to the objects on display by telling their story within the context determined by other objects in the exhibit • Select the right subset of representative objects among the many belonging to the collections available • Two areas of technological intervention • Engage the public • Enrich its experience during a museum visit
