Collaborative distributed performance with the SARC

        A collaborative distributed performance between the Music Technology Program and the Sonic Arts Research Center of Queen´s University in Belfast was held on Wednesday April 24th. Students of Steinhardt School, Performing Arts Professions took part of this artistic performance. One of the pieces was Ellipses which was based on the exploration of movement using technological devices such as motion captures, cameras, sonic software and many others. Maria Piedad danced in this piece.

Our Final Project: Rehearsal and Peformance

          Collaborating interdisciplinary is the key to produce interesting and innovating artistic products. Music, Dance, Design, Technology and others could be together in the same stage. Moreover, remote locations could be connected through internet. In this way, the boundaries between artists around the world are broken. Currently, it is possible to produce artistically without the limitations of space and time. Artists think differently now thanks to technology. This is a performance presented as the final project of the class Collaborative Projects in the Performing Arts, at NYU Steinhardt Music Technology program.

Collaborative projects in the Performing Arts/rehearsal and performance (Part A)

Making decisions together

Learning how to make decisions together is
a process which implies being aware of
everybody´s needs

          In the process of creating artistic works collaboratively, one learns how important team work is. The work inside the class Collaborative Projects in the Performing Arts is beyond learning how to deal with technology artistically. Sometimes, it is not only about choosing the best camera shot, which audio software  or video mixer to use; or who will perform and who will do tech support. The main lesson here is learning how to make decisions together. 

        The best decision implies time efficiency, high quality of audio and video distribution, excellent technological-artistic tools and artists and technicians' welfare. How the audience will receive the new artistic product will be ruled by having made good decisions.   

Determining which is the best way to
measure video delay






Using a new set of cameras, which is also more complicated to operate
than the regular ones, could be beneficial for our next performance?



Sometimes, technological software and devices could be seen as "big monsters" when we are learning how to use them. However, dominating them means to be successful or not  carrying on an internet distributed performance. Most of the time, this "big monster" is only a image that we have created inside our heads. Being patient, paying attention, asking questions and receiving help and feedback from teacher and peers is possible to start understanding technology and not being afraid of using it.  When the fear is overcome, it is when we will be free to work creativity without boundaries. As artists we aspire our pieces without any kind of limitation.

 



Making group decisions is the key of being successful

in a collaborative project



Rehearsals for collaborative performance with SARC, Belfast

Tech set-up for "Disturbance"
 

Rehearsing a collaborative internet distributed performance is really demanding. The process of working with people who are in a remote location could be exhausting. Even though, communications through internet are clear and fast, the face-to-face talking is the best way to establish work and artistic relationships. Sometimes, people´s ideas could be misunderstood by others. In the same way, people´s opinion could be not taken into consideration. Nevertheless, all artistic experiences are valuable and rewarding.

 

         This is an interesting learning process where artistry and technological interaction are challenging. Sometimes the way of setting-up devices of audio and video become really complex, especially when one does not have enough technological background. However, using complex audio and technological devices is important to develop new and  interesting artistic products. This is the case of "Disturbance" an artistic piece where the dancer has to play with the feedback produced between microphones and speakers.



Adjusting position of body microphones

Sometimes, the sound feedback could be annoying for the rest of the team

        Understanding how the sound is crated by the devices used in this piece (two hand microphones, four big speaker, one small body speaker, and other devices located in the distant location, in Belfast) is the first step in order to create music/sound, dance and art. These sound devices have become a fascinating tool which allow dancer to explore different possibilities and quality of movement. At the same time she is creating her own sound/feedback which is an artistic plus.

"Disturbance" rehearsal. Dancer moves while she is creating sound feedback

             Although improvisation is one of the techniques used in this piece, it is important to follow and maintain an organize artistic script. When a dancer has started to explore her body capabilities, new sensations and the like, the kinetic memory begins to codify postures, gestures and dance movement. For this reason, it is core to continue following the primary directions inside the project. In this way, each artistry individuality will be enhanced and supported. However, this premise does not imply that small changes and adjustments could be done in order to "polish" the final artistic product.

 

The artistic exchange between different kind of artist is
a really rewarding moment



              Being time efficient in an internet distributed performance is mandatory since people´s own schedules are divided not only by own agendas but also by hour-time differences. To avoid wasting time  or having trouble communication, organization and discipline are two key words. Overall, exchanging artistically with other artists such as performers, musicians, audio technicians and many others is a valuable way to know and understand one´s own art and other people´s creations. Artistic interaction for exploring new forms of arts is core in modern times when daily life is ruled by technology.

Thoughts About JackTrip

              JackTrip is the audio software which is commonly used to send and receive audio during internet distributed performances. Sometimes, the audio could be distributed through a VoIP software but this is not the best option in terms of sound quality.

              JackTrip is essentially a system for high-quality audio network performance over the internet with very low latency using uncompressed audio signal streaming (internet real time sound or video). Originally, it was developed for GNU/Linux and now it also runs on Mac. This is an advantage since JackTrip can be used between any combination of Linux and Mac OS X. JackTrip supports the number of bidirectional audio signal channels  that the computer or network can handle.
 
Using JackTrip  
 
            JackTrip uses Jack as its audio server. Jack (the Jack Audio Connection Kit) is a low-latency audio server which can connect any number of different application to a single hardware audio device. This has been designed for professional audio work and focuses on synchronous execution and low latency operation. Since JackTrip uses Jack as its audio server, the settings in Jack have to be the same in the local and in remote machine. Two parameters are very important to adjust: frames/period and sample rate. "The lower the frames/period, the lower the latency. The higher the sampling rate, the higher the bandwidth requirements. These two parameters must match in local and remote machines. The internal buffering is also important. In the case the connection is a kind of unstable the buffer number should be increased at the expense of a higher latency. The audio bit resolution can modify (increase or decrease) the bandwidth requirements, at the expense of a lower audio quality.

A basic JackTrip connection has to have one of the nodes as a server: jacktrip -s

And the other as a client: jacktrip -c [SERVER-IP-NUMBER]

 

Therefore, JackTrip will be seen as "client" in Jack. Everything which will be connected into the send ports will be transmitted to the remote location. Then, the receive ports will show what the remote location is sending.

 

 This is a basic information about Jacktrip, a very useful program while working on internet distributed performances
 
Source: www.ccrma.stanford.edu  

A tech-setup dictionary

             When it is the first time working on internet distributed performances, people need to know basic terminology about some technological devices of audio and video. It is mandatory to be accustomed to using them and avoiding misunderstandings or delays when we are setting up a performance. These are some of the most important elements to be used in set-ups.  

 

Firewire wires: The firewire connects external electronic devices to a computer. There are two kinds of firewire cables: 800 and 400





Firewire 400

Firewire connectors

 

VGA wires and connectors: These are the monitor connectors and wires

for computer, laptops, TV's, etc. VGA connectors

and wires have the analog component RGBHV (red, green, blue, horizontal sync, vertical sync)



VGA wire

VGA connector







 






AnyCast: It is a video mixer device which could be fed by several inputs such as cameras, DVD  player, etc.It mixes all of them into one output to be sent to a projector (for example), ore being the video feed for a VoIP software.

AnyCast video mixer

Audio mixer: The audio mixer can mix several audio inputs, select and send them to an output, simultaneously or separately. Our audio mixer has 16 channels. Using it, it is possible to adjust sound quality in different ways such as volume, feedback removal; select stereo, double mono, mono amplifier, etc.; and many other features.



Audio mixer backside

16 channels audio mixer



Canopus: This is an Advanced Digital Video Converter which takes the output of a camera, a DVD, a video mixer, or any other kind of video feed (analog) and converts it to digital. It must be connected to the computer which is running the VoIP software through the firewire.

 

Canopus

MOTU: This is a music-related computer software and hardware supplier. Several electronic music instruments could be connected to it. Then, the Motu could be connected to the audio mixer.



Motu backside



Motu front side

 

 

 

 

 

 

 

 

 

 

Video Distribution Amplifier (VDA): This takes in one input video feed and splits it so it can go to multiple devices simultaneously.

 

Switch: There are different kind of switches. We are using video and VGA switches. A switch takes two inputs and decides which input to feed through to the output; or it takes in one input and decide which of its outputs to send to. 

Video switch

VGA switch





VGA switch

 

 

Our first internet distributed performance

 

Checking tech set-up

            Our first Collaborative Project in the Performing Arts performance was a completely new experience. The set up was previously done in order to have more time to check technical and artistic aspects for each presentation. Although, we prepared our pieces separately, there was a feeling of unity which made the six pieces being a whole artistic product. Each performance had specific characteristics focusing on music exchange mostly. The last piece worked on a choreographic exchange. Each one of the six artistic interactions represented what their creators wanted to share if not deliberated but emotionally.

Daniel´s piece



Jonathan´s piece


 



     

Ezra´s piece





        Some technical issues appeared because we had few time to double check our set-up. Some of them were not possible to resolve during the performance. However, having experienced these troubles gave us knowledge for being able to handle them in the future. It was really good working as a team.  Everybody was ready to help and support their classmates during the entire performance.  It was a great and unique experience to participate in this internet distributed performance interacting and appreciating the artistic work of remote locations such as, other cities in the States, Malaysia and Ecuador.

Sarah´s piece


 

Hari´s piece






           Another rewarding aspect of having been performed in this collaborative project was the personal new experience of working with technology and trying to reach choreographic and artistic objectives as well. Now, the feedback and post-performance analyses are coming; a kind of not comfortable but very necessary part of any artistic presentation.



The frog II-The artistic Odyssey/Panacea

How “the frog” did work during the rehearsal days?

         We had our first VoIP (Voice over internet protocol) meeting in which we set the objectives, artistic concept, structure and timetable of the project. We also checked technological devices that we were going to be able to use during the performance. After setting these general aspects, we had our first choreographic rehearsal. At that moment, we realized about the limitations of the 2D technology internet communication. We lacked effective tools to create the choreography easily. The three of us had been working together at least for four years before this project but we were communicating through a screen now; and feeling powerless to correct our bodies to each other. It was a kind of difficult at the beginning but not hard at all.

          At this rehearsal we tried some phrases and combinations in neo-classical style. Additionally, we improvised movements that we think could work for the screen scenario. In my case, as  a former Paula and Lucia´s  teacher and choreographer, it was a kind of difficult to avoid correcting them. I had to remind myself constantly that this is a collaborative project. The common working is encouraged and the unilateral vision is not allowed anymore.

           We had three more rehearsals immersed in a creative process which followed the old way of creating choreographies: fitting movements inside a song and thinking of aesthetical images for the audience. Personally, I think this was the best way to work in this project since it is the first one and we had to take care of other aspects such as the technological devices. Being comfortable working in a new environment it was the priority rather than coming up with an interesting and innovating artistic concept for the choreography.

            In general, the rehearsing process was smooth in spite of my tendency to give corrections and give artistic directions to improve the aesthetic quality of the dance movements. However, not having the 3D sensations in our bodies when we dance together felt weird. At the fourth and last rehearsal, we were more accustomed to working using the VoIP software. The cold communication that we felt at the beginning of the project—because of the screen—had disappeared. Our brain had understood the new patterns of communication. We felt more comfortable talking about feelings, desires and artistic ideas in a really long distance system.

           Other limitations arise because of the use of technologic devices. For example, I was the only person who rehearsed with the image that I will receive during performance from Ecuador. Paula and Lucia never could see the final image (video) that I will be send to them. We did not have a dress rehearsal because the time limitations of the conference room where the project will be presented. This is the first time for the three of us that we are going to perform without having a dress rehearsal. Hopefully, we will check audio and video settings before the presentation and we will be able to mark once or twice the choreography.

           We do not know what to expect during the performance because it is a completely new experience for the three of us. How will the sensation of having remote audience be? What emotions will the audience have from a 2D performance? How about the feelings and sensations that dancers should feel when they dance together? Certainly, this is a vibrant new experience that we are eager to experiment and live.

            Our project, “The Frog”, will be presented in March 26^th,  4:55 pm NY time 3:55pm Ecuador time. After presenting the project, we will know how our first experience doing internet distributed performances was.

 

The frog

           "The frog" is the first internet distributed performance project that will be done as part of the class “Collaborative projects in the performing arts” taught by Professor Tom Beyer at NYU/Steinhardt, Music Technology Program.

            This project is a collaborative choreography between Maria Piedad, choreographer, Paula Nuñez and Lucía Cortez, students at Danzas Ballet School in the city of Ambato, Ecuador. Additionally, Mario Cortez, musician, will play the keyboard during the performance. The name of this project came up because Ambato is a word derived from the indigenous term “jambatu” which means frog.
.
            We emailed each other several times before starting rehearsals and we established one common objective: to get connected through the internet and explore the use of the screens in order to create our choreography. Furthermore, other ideas also appeared: to show that friendship between ballet classmates is strong; to show it is possible to be connected in spite of the distance. Moreover, the relationship teacher-student could be enhanced through new artistic experiences such as this project. As a personal objective, I wanted to introduce my former students in the field of internet distributed performances which is totally unknown in Ecuador.

            This cross generation collaboration has the advantage that we can have novel ideas from two generations. Paula and Lucia found the location in Ambato and the song that we will use in the performance. Lucia’s brother, Mario was invited by her to play alive. Maria Piedad directed the brain storm in order to define what style we are going to dance and what kind of devices we will be able to work with for choreographing this piece.

          We had our first internet meeting to define the artistic concept, technical requirements, time table and other details about “the frog”. At this meeting, we came up with the following:

What kind of artistic project will be presented?
This is an exchange performance between three dancers and a musician

Time Table
We discussed the time table based on the availability of all performers giving priorities to the Ecuadorian team´s needs since they are majority.

What kind of technological devices will we use?
Ecuador set up:
Computer for the VoIP (Voice over internet protocol) connection for audio and video
Keyboard

New York set up:
Computer for the VoiP connection for audio and video, video camera, anycast, screen projector, audio mixer, canopus

**Other important elements: Conference rooms, tables, chairs costumes, make up


        After defining these important aspects for our project we had our first choreographic rehearsal in which we lived a total new experience.

How to start a collaborative project

When we come up with a new artistic idea, our main concern as artists is how to transform that incredible thought into a tangible artistic product. As a personal opinion, it is possible to say that the easiest way to choreograph is constructing the movements and phrases based on a specific piece of music. However, other people prefer to choreograph the artistic concept by trying different kinds of music. In both cases, it is useful to have a script about what the choreographer wants the dancers to do in order to communicate his/her concept to the audience. Additionally, taking notes about the dance steps that could appear spontaneously during this creative process is a helpful tool. The studio rehearsal gives the opportunity to try these ideas again and again, to discover new movements for the dancers or to change previous set combinations; it is possible to vary primary ideas many times--respecting dancers' work--until obtain the most beautiful dance piece in the choreographer's mind. This way of proceeding is not complicated because the dance creator is working alone. He/she could receive other people's advice but at the end, the final artistic decisions are making by his/herself.

On the other hand, doing a collaborative project in the performing arts (Internet distributed performances) implies a different way to work. In a community environment, artists must come up with ideas that work for all the people involved in the project beyond their personal objectives. Therefore, choosing a common objective is the first step to follow. Why should this project be done? What is the artistic concept of the project? Communications, collaboration, technology development, artistic creativity, remote interaction, marketing, are some of the primary ideas that could be the core objective.  Artists with different backgrounds will be together for a mutual reason, and they will give the best to make their project an unrepeatable artistic creation.

 

After choosing the common objective, the logical second step is to design what kind of artistic creation to produce. How many artists are going to perform? Are musicians, dancers, actors, visual artists the only people on the stage? What kind of technological devices and softwares are going to be used?  Video cameras, projectors, screens, audio and video mixers, lights, speakers, microphones, video and audio convertors are only some options.. How many remote locations are going to be connected? What kinds of audio and video connections are going to be used? How the feed signals are going to be received and sent? This part involves a mixture of artistic ideas and technological tools. Performers could have several interesting ideas which must be supported by the audio and video designers and vice versa. It is imperative to do a brain storm to be sure of taking into account everybody´s thoughts and suggestions.

 

Timing concerns is another core part when artists are creating Internet distributed performances .Where and when the performance is going to be? How long is it? How many performances are going to be? For fulfilling these purposes, it is important to design a time table considering everybody´s time availability. After defining performance times, it is essential to include technical and artistic rehearsals, ensembles of both parts and dress rehearsals on the schedule. To make a script of the performance is required as well as to assign each participant´s specific function inside the project.

 Now it is possible to start physically a collaborative project in the performing arts. Collaboration could sound harder than working alone at the beginning. However, artistic creation involved in a community is incredible easier. One can receive support in the areas that he is weak and he can contribute to the project with his strongest knowledge. Day after day everybody will become aware how wonderful is interacting and collaborating between artists. Finally, to make a collaboration project successful, planning and organization are mandatory. In Picasso´s words: “the best muse is the discipline”

 

How to construct a interactive internet distributed performance

  
           Beyond the fact that dancers and choreographers—who want to create interactive internet performances—must be familiar with the use of new technologies, dance artists have to elaborate an artistic concept before starting a new project. One must be able to set cameras, microphones, internet connections, audio and video softwares and many other useful technologic devices to understand the technical needs and requirements of this kind of dance experiences . However, dominating this technology is not enough especially when the objective is construct an artistic product. New technologies are useful and necessary for creating an interactive internet collaborative project but they are just tools, like dance technique is. Dancers, musicians, photographers, multimedia artists have not only their artistic technique but also the technology as tools which will help them to reach the audience. However, the artistic concept and vision continue being the core aspect of an artistic protect no matter what kind that is.

             Why are we doing this? What is the reason that move our bodies helped by technology? Why is important to establish communication and collaborative networks with artists through telematics performances? Is this a collaborative project where other ideas are welcome or it is just our point of view? Many questions could arise before and when we are constructing an internet distributed performance. Questioning our objectives and work is challenging but this will help us to establish our objectives and how to get them done. We have to work on the artistic concept first. A helpful tool to clarify our doubts and to elaborate a consolidated artistic plan before a collaborative performance is research. Research will help us to accomplish our objectives successfully because it makes us understand other people´s work in the same field. Knowing about what they have done and why will be useful to question our own objectives as artists.

             Surfing on internet is a helpful way to research dance works in this relatively new and interesting field. A web side which explains research work done previously in the theory and praxis of performance telematics is:

http://minuet.dance.ohio-state.edu/jbirringer/Dance_and_Technology/workshops/ipstheory.html

             Other blog which shows interesting pieces of works connected with dance and body movements is:

 http://www.turbulence.org/blog/archives/cat_distributed_performance.html

            After reading several of the articles and summaries of research works in the telematics and
Interactive internet performances, is possible to establish clearly our objectives as artists and to have a strong artistic and visual concept for our collaborative projects in performing arts.

Using internet connections in dance educational projects

        There has been different projects which have used internet to develop educational and performing projects in dance.

The TRIAD project (2001)
       This project used internet to establish communication between dance students (9-18 year-old) from the United States, Portugal and England. They worked with internet communications to cosntruct choreographic pieces and to receive feed back about their dance classes. In this case, the internet was not used to communicate simultaneously. In this way, the students had time to analyze and comment their own and other classmates´in other countries with out the pressure of a real-time connection which tends to improvisation.

                     The TRIAD Project: using Internet communications to challenge students’understandings of choreography

                       SITA POPAT,

                       School of Performance and Cultural Industries, University of Leeds, Bretton Hall Campus, U.K.

                       (e-mail: pcusp@leeds.ac.uk)

                       ABSTRACT

                       The TRIAD Project presents an innovative approach to the use of Information and Communication   

                       Technologies (ICTs) in the teaching of choreography. They formed an Internet dance community, sharing

                       their choreographic ideas via movies and text, and developing an original dance work. The asynchronous

                       method of communication encouraged a re ective attitude that supported the learning situation. Through

                       their efforts to explain their creative processes to peer groups via the dynamic Website, the young dancers

                       developed their personal understandings of choreography. The need to communicate clearly via text and

                       movies led to increases in the students’usage of dance-based critical vocabulary, and encouraged objective

                       appraisal of creative work. Discussion of the work by the other peer groups challenged the students to deal

                       with different dance styles and other choreographic approaches.

 

Back ground for the TRIAD project:

 

                        There are several examples both in performance and education of using real-time or

                        synchronous connections for choreographic work. Laura Knott carried out her experiments

                        with online live connections using Internet videoconferencing in 1998 with her World Simultaneous 

                        Dancce project.

                      As early as 1995, Amanda Steggell was working on a project called M@ggie’s Love Bytes where

                       participants from around the world could join a group of dancers in a theatre with an audience and give

                       input to affect the improvised dance.

 

                      In the education world, artists such as Susan Kozel and Wayne McGregor have used live videoconference

                  connections as part of workshops and courses. However, although these types of synchronous connections

                      reflect the immediacy of performance or the studio situation, they rely on reactive rather than reflective

                      methods of response. To be involved in this way in the making of choreography requires improvisation or

                      quick decision making, whereas work that is carried out asynchronously allows time for re ection and

                      consideration. In the classroom, the teacher will commonly set a task and then allow a period of time for

                      experimentation and discovery before asking for presentation of an outcome. During that period, the teacher

                      might move among the students, offering suggestions or advice on an individual basis and returning after a

                      short time to view progress, in a manner akin to the asynchronous method of working. Although

                      synchronous multimedia technology does not have the ‘high-tech’ excitement of live synchronous

                      connection, this research indicates that it may be the more effective vehicle for the teaching of

                      choreography.

                  Research in Dance Education, Vol. 3, No. 1, 2002

 

            This project set a preceding in the use of internet with educational purposes. Additionally, it took into account previous dance works using internet as a tool to work collaboratively between dance artists.Having an understanding about what have been done in the past in the dance field will be helpful to question those works with the objective to produce new interesting ways of using internet performances not only at a professional or university levels but also in regular schools.