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Immersion and Interaction: Creating Virtual 3D Worlds for Stage Performances

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Immersion and Interaction: Creating Virtual 3D Worlds for Stage Performances Immersion and Interaction: Creating Virtual 3d Worlds for Stage Performances A thesis submitted for the degree of Doctor of Philosophy By Doros Polydorou School of Arts, Brunel University London May 2011 2 Abstract This thesis formulates an approach towards the creation of a gesture activated and body movement controlled real time virtual 3d world in a dance performance context. It investigates immersion and navigation techniques derived from modern video games and methodologies and proposes how they can be used to further involve a performer into a virtual space as well as simultaneously offer a stimulating visual spectacle for an audience. The argument presented develops through practice-based methodology and artistic production strategies in interdisciplinary and collaborative contexts. Two choreographic performance/installations are used as cases studies to demonstrate in practice the proposed methodologies. First, the interactive dance work Suna No Onna, created in collaboration with Birringer/Danjoux and the Dap Lab, investigates the use of interactive pre-rendered animations in a real time setting and in real time by incorporating wearable sensors in the performance. Secondly, the potentials offered by the sensor technology and real time rendering engines led to the “creation scene", a key scene in the choreographic installation UKIYO (Moveable Worlds). This thesis investigates the design, creation and interaction qualities of virtual 3d spaces by exploring the potentialities offered by a shared space, between an intelligent space and a dancer in a hybrid world. The methodology applied uses as a theoretical base the phenomenological approach of Merleau-Ponty and Mark Hansen‟s mixed reality paradigm proposing the concept of the “space schema", a system which replicates and embeds proprioception, perception and motility into the space fabric offering a world which “lives”, functions and interacts with the performer. The outcome of the research is the generation of an interactive, non-linear, randomized 3d virtual space that collaborates with a technologically embedded performer in creating a 3d world which evolves and transforms, driven by the performer‟s intention and agency. This research contributes to the field of interactive performance art by making transparent the methodology, the instruments and the code used, in a non-technical terminology, making it accessible for both team members with less technological expertise as well as artists aspiring to engage interactive 3d media promoting further experimentation and conceptual discussions. 3 Acknowledgements I wish to thank my supervisor Professor Johannes Birringer at Brunel University, London for his valuable advice and support as well as his willingness to involve me in his Dap Lab Research group. The artistic work undertaken throughout this research would not have been possible without the help of the Dap Lab and our collaborators. I would like especially to thank Michèle Danjoux for her inspiring work and the trust he showed to my work as well as Katsura Isobe for her never ending patience and professionalism she showed during our work together. My thanks also to the rest of the team, Helenna Ren, Anne-Laure Misme, Yiorgos Bakalos, and Olu Taiwo, Caroline Wilkins, the sound artists Oded Ben-Tal and Sandy Finlayson and our Japanese collaborators Biyo Kikuchi, Yumi Sagara, Jun Makime, Ruby Rumiko Bessho, and finally to Paul Verity Smith for his insightful advice on both the art work and life. I would like to also thank the Mixed Reality Lab in National University of Singapore for accepting me as a research intern for the last year and a half of my research. Special thanks to Prof. Adrian Cheok as well to Eng Tat Khoo for his help in creating reliable sensors. 4 Table of Contents ABSTRACT .................................................................................................................................................. 2 ACKNOWLEDGEMENTS ......................................................................................................................... 3 INTRODUCTION ....................................................................................................................................... 6 Cyberspace and the body ...................................................................................................................... 10 Software for Artists: Structure and Organisation of the Thesis ............................................................ 13 IMMERSION ............................................................................................................................................. 17 The Bifurcated Body ............................................................................................................................... 18 Future Technologies ................................................................................................................................ 22 Immersion in Dance Performances ......................................................................................................... 26 Immersion: Space .................................................................................................................................... 29 Immersion: Performer ............................................................................................................................. 30 NAVIGATION ........................................................................................................................................... 33 Historical Examples of Navigational Spaces .......................................................................................... 34 The camera as viewed by Tamas Waliczky ............................................................................................ 37 Camera Structures in Interactive Virtual Environments ......................................................................... 39 Total Installation ..................................................................................................................................... 44 Navigation Interfaces in Art Works ........................................................................................................ 48 Building a Navigational Structure for an Interactive Performance ......................................................... 50 MIXED REALITY 3D SPACE ................................................................................................................ 53 The Systematic Universe ....................................................................................................................... 54 Hansen‟s Mixed Reality ......................................................................................................................... 56 Space Schema ........................................................................................................................................ 59 5 PRACTICE WORK ................................................................................................................................... 63 Suna No Onna ......................................................................................................................................... 63 Stage Design and Wearable Interfaces ............................................................................................... 65 Environment and Virtual Agents: Inspiration, Creation, Interaction .................................................. 67 Evaluation ........................................................................................................................................... 71 Reimagining of 3d-Environment ....................................................................................................... 72 UKIYO (Moveable Worlds) ..................................................................................................................... 74 A floating World ................................................................................................................................. 75 Inspiration and Concept Design .......................................................................................................... 78 Implementation ................................................................................................................................... 83 Evaluation ........................................................................................................................................... 86 Theory of Code ....................................................................................................................................... 90 Artists and Software ............................................................................................................................ 91 The UKIYO Space Configuration ....................................................................................................... 95 Interactive Technology ....................................................................................................................... 96 Space Schema ..................................................................................................................................... 99 Conclusion and Evaluation .............................................................................................................. 115 CONCLUSION ........................................................................................................................................
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