scholarly journals Sending Shivers Down the Spine. VR Productions as Seamed Media

2019 ◽  
Vol 17 (1) ◽  
pp. 143-156
Author(s):  
Ágnes Karolina Bakk
Keyword(s):  
Virtual Reality ◽  
Performance Art ◽  
Live Streaming ◽  
Live Performance ◽  
Performing Artists ◽  
Human Interface ◽  
And Performance

Abstract According to Rebecca Rouse’s concept of “media of attraction” (2016), the mediums of virtual reality have four characteristics: they are participatory, interdisciplinary, unassimilated and seamed. The author’s hypothesis is that even though 360-degree films and virtual reality experiences as seamed mediums are remediating the medium of film, they have the characteristics of the medium of live performance. She points out that the characteristics of performance art based on Fischer-Lichte’s taxonomy (2008), such as liveness and co-presence, are influencing the development of 360-degree films and virtual reality experiences. As an argument, she analyses three virtual reality productions created by performing artists, which operate with the specificity of intermediality and the longing for immersion, the main characteristic of virtual reality. These productions lean on the immediacy characteristics of the medium of film and performance by using cut-scenes, linear narratives, live streaming, but also by including the “human interface,” i.e., the actor, who ensures a higher level of absorption.1

Neural-net tuned PID control of a parallel type mechanism with force feedback for virtual reality applications

Robotica ◽  
2004 ◽  
Vol 22 (3) ◽  
pp. 319-327 ◽  
Author(s):  
M. Karkoub ◽  
M.-G. Her ◽  
K.-S. Hsu ◽  
C.-Y. Chen
Keyword(s):  
Virtual Reality ◽  
Force Feedback ◽  
Robot Manipulator ◽  
Virtual Object ◽  
Neural Net ◽  
Stabilizing Controller ◽  
Human Interface ◽  
Nyquist Stability ◽  
And Performance ◽  
The Stability

This paper explores a new type of a parallel platform human interface manipulator based on virtual reality (VR) for mechanism design applications. A motion control of a six-link robot manipulator actuated by three active joints is presented here. The main components of the system include a user interface, a software simulating the environment, and a VR control system. The model of the VR system is built based on a force feedback behavior that enables the operator to feel the actual force feedback from the virtual environment just as he/she would from the real environment. A primary stabilizing controller is used to develop a haptic interface device where realistic simulations of the dynamic interaction forces between a human operator and the simulated virtual object/mechanism is required. The stability and performance of the system are studied and analyzed based on the Nyquist stability criterion. Experiments on cutting virtual clay are used to validate the theoretical developments. It was shown that the experimental and theoretical results are in good agreement.

scholarly journals Theatre and Performance Go Massively Online During the COVID-19 Pandemic: Implications and Side Effects

2020 ◽  
Vol 3 (2) ◽  
pp. 43
Author(s):  
Eleni Timplalexi
Keyword(s):  
Side Effects ◽  
Performance Art ◽  
Online Content ◽  
Live Performance ◽  
Web Content ◽  
Digital Performance ◽  
Mass Reproduction ◽  
Per Se ◽  
And Performance

During the COVID-19 pandemic, theatre groups and companies started massively providing online (filmed) versions of their productions. Theatre performances, live-streamed or recorded, have been shown online before, but mostly as a supplementary strategy, assisting the promotion of a live performance, not as a cultural trend per se, nor to the massive extend it has been happening during the pandemic. However, the consumption of this sort of online content, as this is literally what becomes anything posted on the web’s hypertextual multimedial selves, cannot occur without consideration of the potential implications and side effects. What exactly is it we are watching on our screens, why is it marketed as theatre and performance, and why do we consume it as such? In the paper, the Phelan/Auslander debate is revisited, as this eradication of the distinction between the live and the mediatized may indicate performance’s crucial shift away from independence towards technological, economical and linguistic dependence from mass reproduction. However, before lightheartedly welcoming this hybridity of massively experiencing online performances, which springs out from the collision between live performance (art) and web content (creativity), it is worth considering welcoming first digital performance hybrids emerging within and in between the medial restrictions imposed by the pandemic. These bold, experimental, participatory, ‘transparent’ intermedial forms of expression may prove out to be a source of strength in times of crisis.

scholarly journals Performing Sacral Spaces – Spatializing Sacral Performance

2021 ◽  
Vol 13 (2) ◽  
pp. 268-285
Author(s):  
Teresa Leonhard
Keyword(s):  
Performance Art ◽  
Phenomenological Approach ◽  
The Body ◽  
Cultural Performance ◽  
Human Beings ◽  
Performing Artists ◽  
And Performance ◽  
Transformation Geometry

Abstract Spaces are closely connected with actions. By implementing an artistic-phenomenological approach, the existing interplay between sacral space and performance (highlighted bodily actions) can be found in the idea of cultural performance, which integrates the interdependance of movement and lively space, the origin of one in another. As space is something in motion, something that is created, in sacral spaces human beings experience an impact of space on the body and vice versa the eThects of movement creating space. Performing „Artists in Church“ encounter a space characterized by actions generating knowledge and "nally intermediate: the idea of transformation, geometry, places, absence, threshold and transcending. Performance Art provokes and leads syntopically and sympathetically to an aesthetic way of understanding space and action.

Augmented Reality--Implications toward Virtual Reality, Human Perception and Performance

2012 ◽  
Author(s):  
R. A. Grier ◽  
H. Thiruvengada ◽  
S. R. Ellis ◽  
P. Havig ◽  
K. S. Hale ◽  
...  
Keyword(s):  
Virtual Reality ◽  
Augmented Reality ◽  
Human Perception ◽  
And Performance

‘Man Is Ill Because He Is Badly Constructed’: Artaud, Klossowski and Deleuze in Search for the Earth Inside

2011 ◽  
Vol 5 (1) ◽  
pp. 18-34 ◽  
Author(s):  
Rick Dolphijn
Keyword(s):  
Performance Art ◽  
Holy Spirit ◽  
The Body ◽  
Deleuze And Guattari ◽  
The Earth ◽  
The Holy Spirit ◽  
Life Itself ◽  
Body Without Organs ◽  
Ways Of Thinking ◽  
And Performance

Starting with Antonin Artaud's radio play To Have Done With The Judgement Of God, this article analyses the ways in which Artaud's idea of the body without organs links up with various of his writings on the body and bodily theatre and with Deleuze and Guattari's later development of his ideas. Using Klossowski (or Klossowski's Nietzsche) to explain how the dominance of dialogue equals the dominance of God, I go on to examine how the Son (the facialised body), the Father (Language) and the Holy Spirit (Subjectification), need to be warded off in order to revitalize the body, reuniting it with ‘the earth’ it has been separated from. Artaud's writings on Balinese dancing and the Tarahumaran people pave the way for the new body to appear. Reconstructing the body through bodily practices, through religion and above all through art, as Deleuze and Guattari suggest, we are introduced not only to new ways of thinking theatre and performance art, but to life itself.

scholarly journals Comparative Analysis of Kinect-Based and Oculus-Based Gaze Region Estimation Methods in a Driving Simulator

Sensors ◽  
2020 ◽  
Vol 21 (1) ◽  
pp. 26
Author(s):  
David González-Ortega ◽  
Francisco Javier Díaz-Pernas ◽  
Mario Martínez-Zarzuela ◽  
Míriam Antón-Rodríguez
Keyword(s):  
Virtual Reality ◽  
Comparative Analysis ◽  
Driving Simulator ◽  
Estimation Method ◽  
Estimation Methods ◽  
Gaze Estimation ◽  
Driving Simulators ◽  
Oculus Rift ◽  
Gaze Patterns ◽  
And Performance

Driver’s gaze information can be crucial in driving research because of its relation to driver attention. Particularly, the inclusion of gaze data in driving simulators broadens the scope of research studies as they can relate drivers’ gaze patterns to their features and performance. In this paper, we present two gaze region estimation modules integrated in a driving simulator. One uses the 3D Kinect device and another uses the virtual reality Oculus Rift device. The modules are able to detect the region, out of seven in which the driving scene was divided, where a driver is gazing at in every route processed frame. Four methods were implemented and compared for gaze estimation, which learn the relation between gaze displacement and head movement. Two are simpler and based on points that try to capture this relation and two are based on classifiers such as MLP and SVM. Experiments were carried out with 12 users that drove on the same scenario twice, each one with a different visualization display, first with a big screen and later with Oculus Rift. On the whole, Oculus Rift outperformed Kinect as the best hardware for gaze estimation. The Oculus-based gaze region estimation method with the highest performance achieved an accuracy of 97.94%. The information provided by the Oculus Rift module enriches the driving simulator data and makes it possible a multimodal driving performance analysis apart from the immersion and realism obtained with the virtual reality experience provided by Oculus.

On self-extraction

2021 ◽  
Vol 12 (1) ◽  
pp. 11-28 ◽  
Author(s):  
Nevarez Encinias
Keyword(s):  
Live Performance ◽  
Art Form ◽  
And Performance ◽  
At Home

Written under a pandemic stay-at-home order, this article conceives of flamenco choreography and performance as an artisanal craft, likening several of the tradition’s practices to the act of making a coffee. Drawing upon historical descriptions of the art form, theoretical debates from the postmodern shift in dance-making and personal anecdote, the article scrutinizes the notion of ‘self-expression’ and confronts flamenco’s enduring reputation as a dance of extravagant emotion, passion, spontaneity and authenticity. The article experiments with experiential and poetic modes of address to ruminate broadly on artisanship as a creative model for dance-makers, and proposes an interdisciplinary frame-of-mind for choreographers, from a time when traditional live performance was on pause.

An Invitation from the Displaced: Refuge Restaged in The Jungle and As Far as My Fingertips Take Me

Modern Drama ◽  
2021 ◽  
Vol 64 (3) ◽  
pp. 350-372
Author(s):  
Jeff Casey
Keyword(s):  
Performance Art ◽  
First Century ◽  
Good Chance ◽  
Twenty First Century ◽  
And Performance ◽  
Remedial Strategies ◽  
Mutual Responsibility

Tania El Khoury’s audience-of-one performance piece As Far as My Fingertips Take Me and Joe Murphy and Joe Robertson’s play The Jungle, produced and developed by Good Chance, are twenty-first-century productions that foreground the medial affordances of performance art and drama to foreground Western audiences’ relationships and responses to refugees. I propose a taxonomy of the strategies used in these two works as a model for analyzing theatre and performance about refugees. These strategies are classified in terms of the responses they seek to elicit from the audience, and my analysis explores some of the tactics used to achieve these goals. Remedial strategies counter harmful stereotypes about refugees; transformative strategies challenge and reshape basic conceptions of self, other, nation, and citizenship; and ethotic strategies reorient the audience to consider their relationship with refugees, particularly with respect to their disparate identity positions, mutual responsibility, and interdependence. Fingertips and The Jungle are substantially different artworks but are able to achieve similar results by utilizing the different affordances of their respective mediums. Thus, the taxonomy of strategies provides a more systematic and precise way of analyzing how refugee drama and performance achieve their goals. It avoids being overly prescriptive in how these goals should be achieved and instead recognizes how exploiting different tactics and medial affordances can advocate for refugees and other migrants.

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