The threshold to the new experiment.

Interdisciplinary collaboration encouraged me to test this concept with the public. I planned to create an intervention that enables people to interact with their memories. Moreover, I am trying to identify new ways to interact with the past in the physical space by using interactive media tools rather than creating tangible forms, because I believe that we can combine digital space with the reality and human senses. In this way, I want to create new experiences that the digital space has never done before.

My direct stakeholder, collaborator, for the last intervention is a computational artist. I use this project to implement this technology to the world in a different way. This innovative performance could also contribute something to a stage designer who could blend this technique to their design, film and advertising directors might choose to adaptor generate a related storyline, while the curator might consider it as a new form of experiencing installation art.

My last intervention will take place in the upcoming degree show festival (4th – 5th December 2019). It will be a great opportunity to get feedback from external experts and stakeholders.

We cannot predict the future like we can perceive the past. A slight moment that we call “now” makes us look into the future than thinking of memory. I don’t believe in “now”; I am creating this digital interactive installation to change people’s minds on how they understand the “now”. If I achieve this project, I wish that people could memorialize and understand the past by interacting with it in any particular space. It becomes possible for people to live or relive precious moments in the past. These experiments might become a lifetime project of mine that will not finish this year. My next intervention will most likely provide another direction to explore as the previous ones did. As long as I still have a passion for it, I want to interpret memory in other directions to make a change to this world in the future.

The last reflective thinking in this blog is for me. I have learned many things throughout this year. It is a big moment in my life. Furthermore, I have been encouraged to get out of my comfort zone and exploring the unknown area. Reiterate the idea through intervention to address the new question. Collaborating with an expert to gain new knowledge. The process of applied imagination has cultivated to my practice. I have a chance to take a risk to follow my passion and challenge the failure. The course is ending; however, it is a threshold to another experiment of my life.

“ADITA”

I have decided to call my digital interactive installation as “Adita”.

Adita is a Sanskrit word, which is the root of the word “Adit (อดีต)” in Thai. It means “the past” or “previous moment“. Moreover, it refers to the goddess “Aditi” in Hinduism who is the personification of the sky, space, the past, and the future. This name is related to space and memories which is the core of my project.

My last intervention will take place in the upcoming degree show festival (4th – 5th December 2019). It will be a great opportunity to get feedback from external experts and stakeholders. Our team has decided to arrange at least 3 more worshops+rehearsals before the festival; final decision workshop, final rehearsal, and rehearsal in space.

3rd-Collaborative workshop: final tech & choreography

This workshop takes place at the Central Saint Martins. We divided it into two parts; Final tech and Choreography.

Session 1: Final tech.

Session 1: Final tech.

The first session is the follow-up sequence from the last workshop. After the digital artist adjusts the projection mapping effects and transitions to match the updated storyline. We tested effects in the exact order of the performance. It has only a minor adjustment and some decisions that have to be finalized. I am satisfied with the result that matches an image in my mind.

Session 2: Choreography.

We started the second session after we constructed a digital structure, we to choreographed with digital effects and music. This session is very challenging for me. I have learned and gained understanding from experts from unfamiliar fields. I have been experienced the performance several times but I have never seen performers design their movements before. I feel that performance is a sensitive art, It contains expertise and training and intelligence. Performers have to connect movements to emotions and simultaneously convey the narrative at the same time. I have impressed and amazed at my collaborator’s ability.

Session2: Choreography.

After this workshop, we will have an extra rehearsal because we have to recompose the music again. Then we have final rehearsal and rehearsal in the space. Everything will happen in this coming week before the degree show festival.

2nd collaborative workshop : structure & timing.

Images from Clemence Debaig’s Instagram. (IG: @demzou_art)

A few days before this workshop, we inspected the event space at the CSM and found that we need a backup plan for a projection. The fact that we might have to do the projection mapping from the floor because there is no space to do an overhead projection. We have to solve this problem by doing the projection on the dancer’s body and play with her shadow.

I arranged a workshop at Goldsmith University with the team to solve this issue. Therefore, our concern was resolved. We satisfy with a technical solution on digital effects. Furthermore, we adjust and finalized the storyline and test the transition between each effect. Besides, the emotion of each scene related to the storyline was discussed. This workshop made our team synchronized the image in our minds and ready to run on the same track. All of us have homework to do, We have to adjust some effects and transition by order, choreograph the movement, and compose the music. We agree to arrange another workshop to rehearsal and finalized the choreography in the next coming week.

Project schedule (November-December)

I have decided that I will be introducing my intervention during The Unboxed Festival on 4-5 December. Our team meets up to set the schedule as follows.

13 November                    – Preparation workshop

17 November                    – Workshop-setting storyboard and tech

18-19 November                – Structure and timings

18-19 November                – Final tech

20 November                    – Final choreography

26 November                    – Rehearsal

28 November                    – Rehearsal in space

3-4 December                   – Set up

4-5 December                   – Performance

We set the same goal to achieve this project. It is a good chance to test the idea to the public and my potential stakeholders. The timing is tight but it is challenging us to make it happen on time. We will have four more workshops and rehearsals before the event starts.

The storyboard


Follow the link below to access the full storyboard. This sharing document needs a few steps further to connect your available account to Miro.com.
https://miro.com/welcomeonboard/9qsKzVJbyeEmoe7vOnPXXDVHE7znO27Tzdjv0xoPG3JHatQ3h9xEuY1f5aUDRIbD

From previous stakeholder’s feedback, the suggestion to build an emotional connection to the audience was strongly addressed. By following up on this issue, I had arranged a meeting with the team to discuss the storyline of the show.

After our previous workshop, our team satisfies with technologies and performances. However, we need storytelling to fulfill the missing elements of the performance. Hence, I created a storyboard to communicate with my collaborators. I constructed a plot and separately provided instructions for each scene by category; emotions for the dancer, digital effects for the artist, and initial ideas of music.

I have decided to use a physical object to create an emotional connection among the audience. I believe that we have our own memorable object that can bring back a nostalgic moment. An object that reminds you to somebody or something you love. It has the ability to brings us back into our beautiful moments. In my case, the music box is the impression that I am looking for. I think that each music box has its own character, has a specific song that relates to individual memories (My research reveals that music is the most essential factor that can create a remembrance, more impact than images). Moreover, it represents gentleness and nurturing. It needs recognition, but it has never asked. It has intangible energy that reminds us of unconditional love, without any compensation.

 In addition, emotional connection can works deeply in a specific space. I have selected the illustration of a window to create an imaginary space. It will simultaneously appear nearby a dancer who enjoys listening to her music box to represents our childhood comfort zone. Furthermore, it is a threshold of our adventurous life. The space that once you stepped out, you will never ever come back. You decide to leave a memory behind, and never realize that those fragile memories are components that form you to be yourself.

I wrote this story based on my own experience. I am trying to transfer my melancholy memory through this performance. The story is about the journey of life. A journey to the destination that we have never seen, full of distractions that arouses us to the unknown direction. Begin with the main character playing with her beloved music box at her childhood place. It is the place that she has the most beautiful, peaceful and happiest moment. Suddenly, she starts to grow up and decide to leave everything behind. She departs her delightful space and begins her own path. Her journey has full of distractions that lead her to the illusion of joy and sorrow. By those distractions, she slowly overlooks who and where she belonged. She forgets that every single step of her journey is leaving the past behind. A memory that composes her being is abandoned. Once she realizes, she has come so far from her beginning. A beginning that can not be reversed. She is trying to reach her most beautiful moment before it is too late. She tries so hard to reach a treasured moment that can treat her when she faces failure and lost. Her identity is shaped by her own memory. Nostalgia has mysterious energy that pushes her forward to the future and heals her painful at the end. When she was a child, listening to her music.

Follow the link below to access the full storyboard. This sharing document needs a few steps further to connect your available account to Miro.com.

https://miro.com/welcomeonboard/9qsKzVJbyeEmoe7vOnPXXDVHE7znO27Tzdjv0xoPG3JHatQ3h9xEuY1f5aUDRIbD

1st Collaborative workshop

The workshop takes place in a projection-mapping studio at Goldsmith University. In collaboration with Clemence Debaig; the computational artist, and Konstantina Katsikari; the dancer and choreographer. This workshop aims to synchronize all computational effects with the performer’s movements. Follow the initial idea of bringing back the past and make it be a part of the present.

In our workshop, more than 30 effects were stimulated to find the best fit for a dancing tempo and artistic projection’s composition. Moreover, the emotional connection between music and movements are a priority as well. After 3 hours of experimenting, we gained more understanding of the limitations and possibilities of making the installation-performance-art. We have quite a confidence that this medium is one of the best ways to recreate the past in real-time.

The experiment reveals that movements in the past could become a part of our life. The previous moment of the dancer interacts with her presence; she has learned how to move her body to different positions to generate desirable effects. The curiosities about the technology were solved during a workshop. So far, we learned that we could create a variety of effects through different movements. A wide range of digital effects was stimulated, from realistic one to abstract art forms. We have learned how to combine body-tracking technology with the motion-delay effect in an effective way. Furthermore, we all agree that other elements such as story, music, lighting, etc. are essential to creating an emotional connection to the audience.

From this result, I decided to create a unique performance art as my next intervention. We will have another session without technology to create a storyline that has an emotional connection that relates to people’s memories.

At this stage, the hypothesis that we can create a past-in-physical-form become more realistic. Moreover, there is a possibility to use movements as a device to bring back memories to the present.

Workshop plan

Everything we perceive is the past(Rovelli C, 2018). My next workshop with an external expert has an attempt to connect the past to the present in real-time. The incident that occurred will be traced to the present movements. Based on the hypothesis from the cause and effect theory (Hoffman, 2009) that there is a possibility to make a reverse effect to previous moments, it means that we can loop back to the past and make it relevant again. I will Use body tracking technology and delayed motion effect to create a reverse-live-performance to tell the story in a different way. Our first workshop will focus on the technical issues to find the best choice for this idea. The story and emotion behind it will be explored later. I might need more external experts to choreograph and write the script.

The new research question

“How can performance art transfer memories from digital space to reality and create new real-time experiences that interact with the human senses and the past?”

The key areas of my research revolve around space, nostalgia, and performance. I have developed my project from a personal curiosity about time and space. My primary research was an investigation to solve the questioning of the human’s limited ability in the third-dimensional world rather than the existing fourth-dimensional world (dimension of time).
We can only measure time by the clock but we acknowledge time as an intangible moment (Rovelli, 2018). Memory is the symbol of time in the physical world. The complexity of space identified by the relationship between an object’s interval and changes that occur at a specific time (Le Poidevin & Macbeath, 1993). I use the performer as an object to bond these different dimensions together; they have movements in space, emotions, and memories, which contain all elements of the spacetime philosophy.
The stakeholder’s feedback encourages me to expand my research area to find a connection between digital space and physical space (or reality). I maintain an attempt to use performance as a device to bring back memories because live-performance is quite similar to the nature of time; it is an incident that conveys emotions and ‘unrepetition’, temporality (Hoffmann, 2009). I would like to find a way of preserving memories and play with them before they are lost forever. I have combined digital art and performance art to make the past become a part of the present.

Future collaboration

Clemence Debaig

http://www.clemencedebaig.com/

MA in Computational Arts, at Goldsmiths University

All pictures credit:
http://www.clemencedebaig.com/

Clemence Debaig is a designer, computational artist, choreographer, and performer. She created her interactive algorithms to generate digital effects, motion-tracking, and delay body movements. Her experiment is processed in real-time without post-production. She combines computational art with performance to create a new style of digital interactive installation. I was introduced to her projection mapping art in an event several months ago.

This is her projection mapping art in an event several months ago.

Incorporating Pete’s feedback into my process, I had a productive meeting with Clem. We exchanged our ideas and shared what our past work. Her digital tools and interactive technologies are a great fit for what I aim to do with my project. By using her computational knowledge, we agreed to collaborate to produce interactive installations that will combine movement, the past, and space. The medium of the next interventions will be determined by the experimentation that will take place in this coming September.


She created her interactive algorithms to generate digital effects, motion-tracking, and delay body movements.

My previous interventions have a limitation because they need post-production editing to create diagrams (visual mapping). It means that I cannot impact the audience in real-time. Thus, this collaboration with Clem will allow me to test my idea to the public and allow participants to interact with it. I planned to create an intervention that allows people to interact with the past.