Dance Archive Tianpu Zhou, Xinjin Cai Chair of Architectural Informatics Department of Architecture Technical University of Munich
2 Dance Archive Chair of Architectural Informatics Prof. Dr.-Ing. Frank Petzold Critical Modeling Ivan Bratoev, Nick Förster, Frank Petzold Tianpu Zhou, 03703245 Xinjin Cai, 03757333
3 3430261412864 Chapter 1 Dance performance Chapter 2 VR application in performance Chapter 3 Collaboration with the artist Chapter 4 The initial idea Chapter 5 Concept Development Chapter 6 Representation of the original context Chapter 7 Storyboard Chapter 8 Potential and Outlook Table of Contents
A traditional live dance performance composes of a stage and a group of audience, and it is likely to be a limited experience for the audience that the stage can only be observed from one side because of a limited perspective of seat location. Besides, watching dance performance documentation is always a 2D passive experience, but with Virtual Reality audience would be able to enjoy the performance in an immersive environment. Therefore, we use the dancers‘ works as an example to set out the environmental conditions required for recording dance performance. 1
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In this project we work with the artist Rosalie Wanka. It aims to document her performances, process of choreography and create a prototype of dance archive with the potential of VR environment. In her words, a recording of dance is not just an all-encompassing experience, but a moving Madame Tussauds wax figure to record each person‘s body movement in the unique way.
Chapter
Dance performance
5 Movement Space Performer Focus Lighting openfreelyposition.nomovement.bodyonlypositionchangenotdirections.inofchangingpositiontwomuchofmovinginfourdirectionsonastageupperchangeofonaspace long room with environmentasimplesimplesituationlightingdifferentstageafixedflatopenstagewithabstractpotentialspotsnatural one dancer 54321one twoonemusiciananddanceronedancerdancerstwodancers Atomospheredancers.betweeninteractionmovement,bodyandmovementbetweenrelationshipstorymusiclargescalemovementpartstwo hard lightingambientlightingoverallshadowscreatinglightingsoftkeylightingnaturallightclassificationofdancewithexamplesfromRosalieWanka 51 43 2 Image Source: Screenshot of artist dance video
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Passive audience watch and react activeinteractaudience
VR films are films that can be experienced in 360°. With the help of a VR headset, a viewer can experience the film as if he were there himself. While series and movies are increasingly consumed via streaming and audience behavior is constantly changing, immersive and interactive works are opening up opportunities for the audiovisual industry to go beyond its traditional frame bondaries.
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VR application in performance art
Especially the extended reality technologies add another layer to this phenomenon, which makes the experiences feel even more intense. With these virtual reality installations, the VR productions are offering more as immersive film experiences from all perspective using different technology proximity. technological overlaps between XR and the film, e.g. Animation Techniques Green screen/bluescreen applications (color-based chroma keying) Projection technology including stereo 3D processes
• Motion capturing •
Since there is a lot of movement in dance performance, we looked for ways to understand the recording methods with the help of researching movie-themed VR applications. For example, VR films.
Traditional film making VR film
Several
Chapter 2
7 Animation Techniques Motion Capture Green screen Stero 3D processes Advantages and disadvantages of VR films • Setting change can only be done by moving the camera or changing to a new scene, not by a cut. • Orientation of the viewer limits the film length and the width of content. • Technical problems - blind spot Visual blind spot in the film The Story of One Jester Visual blind spot in the film The Story of One Jester • Enable the audience to experience their surroundings • Augment backgrounds on set for greater flexibility • more realistic environment and more intensive experience Characteristics
Sketches and choreography from Rosalie Wanka
“But if the feeling and emotion are not there, dance is just movement.“
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Collaboration with the artist Rosalie Wanka, an artist and professional dancer, who expertises in tango, contemporary dance and sign language. In the process of communicating and collaborating with the dancer, she showed us the dance moves in person and explained us her thoughts in detail.
"Dance is a andmovementemotionalexpression."
"Dance is poetic."
Emotion MovementUser
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In the eyes of the artist, dance expresses a world of poetry. In the dance archive, emotions and movements are also recorded during the performance in 3D. It is like a Madame Tussaud‘s statue that moves. Even if the artist leaves this world, his&her portrait of the character will remain, because each person has a subset of body movement that is unique.
The audience should focus on the dancers‘ movements and information without too much distractions. Also the audience should be offered the opportunity to learn about and repeat a particular segment specifically. Meanwhile, different sizes of platforms or spaces should be available for different requirement of the dance.
Atmosphere Media Space MovementDancer
What is important for this archive is not only the documentation of a complete dance and the restoration of dance environment, but a process of choreography, speculation of movements, sketches of inspiration, integration of sounds, narration and different types of media. Therefore, a variety of media should be collected to showcase the choreography, such as text, pictures, and videos.
Motion capture makes it possible to use a tracking system to capture and record movements and make them visible with an avatar in virtual space.
VolumetricExplanationrecordings could be used to capture real persons and the recorded movements could be linked to them. Volumetric recordings allow the VR user to walk around the actors and experience the action from all sides.
Possible subdivision into Artistic-interpretative(howmaterialtechnical-pedagogicaltomove)material(whatmovesme).
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Technical elaborationDance
Pictureselaboration VideosModellandchoreographyprocess
Media in the archive Working approaches
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Creation of a prototype tool that enables this kind of documentation in a dance archive in virtual space.
Development of a methodology for dance documentation
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11 Project Goal •
As a database that can be accessed globally and that promotes education and exchange, with social media Long-term goal body parts movement interactive with intense emotion interaction with objects whole body movement Dance expressionemotionalas
Virtual raum space: self-explanatory dancers is supposed to become a poetic world of experience.
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The whole idea starts from a dancing figure in a music box. Once the music box opens, the dancing figure in the box will start to rotate and perform with the music playing along. In this world of dancing, users could walk on bridges and staircases to view the whole open structure and those moving dancing figures will be an orientation for the users to view from a distance and choose which performance they want to know about or for the artists to decide in which area to put their art work. Once the user approaches the dancing statue, it starts to show its content with music.
How to create a space for a world of dance, which expresses the poetic atmosphere of the performance and also has a clear orientation for the users as well as the artists to put their art work in?
The initial idea
Chapter 4
13 Idea opensketch:structure Idea sketch dance square
Three scene settings
• From the sketch to modelling
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Just as it shows in the previous research, there are many forms and styles of dance performance, and the required scene settings are also diverse. Therefore, three examplary scene settings are designed to demonstrate this concept to archive three styles of dance, which are classical performance, contemperory performances and social dances.
As it is showed in the conceptual visualization, three scene settings have different atmosphere due to the themes of dances it contains. They are WATERFALL POND, CONCRETE FOREST and CANDLELIGHT SQUARE respectively. 5
Chapter
Concept development
A clear classfication of all archived performance is required for a clear orientation.
WATERFALL POND contains all classical dance archive, users can approach to arch doors(scene change trigger) using a boat, and the ponds can also move up and down to enable the circulation in between.
15 CONCRETEFOREST CANDLE-LIGHT
----- John
They sought it where the mountain brook Its swift way to the valley took; Along the rugged slope they clomb, Their guide a thread of sound and foam. Greenleaf Whittier, Seeking of the Waterfall>
1878 <The
On the bridge
Trigger for change of the scene is hidden in the arch door, when the user move the boat through the arch door, it will activate the scene change trigger.
Waterfall pond
20 CONCRETE FOREST contains all contemporary dance archive, users can approach to arch doors(scene change trigger) using the moving volums. Through its postmodern form of powerful and massive volumes, it reveals a mysterious and futuristic world where the dance collections are equally intriguing and elusive contemporary. Full of abstract body movements and complex emotions, in modern art, the clear meaning is no longer explained in figurative language, but through abstract expression.
A movable dancing sculpture is hidden in each dislocated space of the volume, suggesting that the column behind it is the space that reveals its secrets. The users can move upwards or downwards through the volume to approach the statue and immerse themselve in the new world behind.
Concrete forest
It provides the possiblity for users to communicate and socialize with other artists as well as watch the social dance archive, with the same principle users can enter the display tower through the arch door which will trigger the scene change and bring the users to another environment.
23 CANDLELIGHTSQUARE
Bridges,settings.staircases, platforms are used as viewing points and circulation in the virtual world. Also, the users can view all of dancing figures from a distance and this helps them to decide which area they want to approach and which performance they would like to learn about.
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Circulation and orientation
In this virtual world, objects are free to move upwards or back and forth without a limitation of gravity. For an experience of a poetic world, we want the audience to enjoy the environment as well as the performance itself. So we keep the whole structure an open structure with further possiblity to extend and add on other scene
In the WATERFALL POND area, the ponds could move freely up and down to enable a smooth circulation for users in the boat.
The whole environment can change from day mode to night mode, so that all dancing figures can be be spotlighted by lighting objects. Users can also enjoy a romantic evening view in this dancing world.
Night mode
Representation of original context
Those triggers are repetitive elements like arch door and boat, which are easy to find. Users approach the arch door to activate the trigger and use the same element to return to the main scene.
Now the question is, how to bring back the original context of the performance as well as multiple media to show the choreography of the permance?
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In this case, all original scenes could be easily extended or added when more choreography needed to be documented. 6
Chapter
Additional scene changers triggiers are necessary to bring back the audience to original scenes. We made the trigger to change the scene settings. So the performance will be showed in the sub-context.
They could return to the main scene by moving the boat to the same arch door, which has brought them to this scene setting.
An example of original scene setting: Mountain brook We have made this additional scene setting for representing the original context of a dance inspired by nature or in the natural environment.
Users enter this scene through the arch door by boat in the waterfall pond. They could watch the performance in this original context and return to the main scene by the same arch door.
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An example original scene: Mountain brook
30 Chapter 7 Storyboard 1 approach the arch door by boat and activate the trigger 3 Read multiple media environment( example, 2 Scene changes to the original context of the dancing performance.
31 • Explanation of a scene change scenario I media in the context example, a stone plate) 4 Choose to watch the performance 5 Once the dance finishes, the user can step into the boat and roll back to the trigger arch door to go back to the main scene.
32 6 Select the sculpture you want to know by the hovering square that appears around you. The sculpture starts to rotate with music after it is selected. 7 User approach the tower under the sculpture. The sculpture at the top of the tower sinks into the tower. 8 User enter the arch and activate the scene The scene switches environment of the dance • Explanation of a scene change scenario II
33 arch door of the tower scene change trigger. switches to the special dance archive.
10 Once the performance finishes, the user can step out of the arch door frame and go back to the main square and choose another new dance profile to watch.
9 The dancer presents the dance archive in the new environment through different media, such as sketches of the choreography , the motivation of a certain dance, and telles the story.
Dancing is movement, which is difficult to document in the same principle. In our project, we made a prototype of how dance performance and its choreograohy process can be archived in a virtual space regardless of its artist, style, stage requirements in a way that the original context will be all linked to a main scene which all dancing figures can be viewed and organized by the artist itself. In this way, we create a poetic world of dance museum which is as enjoyable as the performance itself and will motivate more users to enter and explore the world of Itdancing.alsohas a lot of potential to be extended following the same conceptual principle in the existing area, such as using repetitive elements. In this case, both main scenes and original scenes could be easily extended by add-on or plug-ins when more choreography needed to be documented. We are looking forward to seeing how it develops and more scene settings to be created and the art work to be included. you!
Potential and outlook
Thank
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36 Contact Tianpu 2.03703245ZhouSemesterMaster Architektur Xinjin 2.03757333CaiSemester Master RNB
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