Individuals can post their own ghosted images-a long-ago honeymoon picture, for example, a milestone marathon or college graduation-and share the location of the image with friends and family on Facebook. “You can ghost any digital image and leave the image fixed, in perspective with reality, for others to view with their own mobile devices when they visit that spot.” “Anyone with an iOS device will be able to witness and (or) recall experiences first hand,” Skarulis said. *) a term coined by quantum physicist David Bohm that means “flowing language” and describes “the language of the quantum wave.You may also want to see fisherman fishing off Manhattan Beach Pier in 1920, or the '60s jazz club that once inhabited Hermosa Avenue where the Lighthouse now stands in Hermosa Beach. In summary, the neopoetic system unfolds from the posthuman physical-virtual body and extends the human sensory system into immersive media perceptual hyperspaces. As Aristotle’s Poetics posits six basic components for the construction of drama (plot, character, thought, diction, song, and spectacle), the neopoetic system has six constituent aspects: expanded embodiment, experiential metaphor, technoetic mythos, matrix architecture, perceptual resonance, and the rheomode*). The foundational ground for the neopoetic system is the Poetics of Aristotle and its relation to the ancient Greek theater as a practical systemic ideology for the Greek drama. This paper presents documentation of the performance work, discusses the research objectives underscoring its construction, and introduces the neopoetic immersive media language system that informs its composition. The cumulative instantiation of performative embodiment spans a dynamic spectrum from the animalic to the immaterial. This physical-virtual dance is accompanied by a sound score based upon ravens’ vocalizations abstracted through human imitation and technological processing. Through use of theatrical lighting and projection techniques in conjunction with stereoscopy, the body and animation are perceived to occupy the same 3-dimensional space. Each of the ten segments articulates a densely integrated 3-dimensional kinesthetic-audio-visual composition, which I refer to as somatic media architectures.įormally, the piece explores the relationship between movement of a physical body and animation in a digital stereoscopic 3-dimensional image field. The piece traverses the landscape of the Corpus Corvus through dilations into ten corporeal dimensions: formation, throat, wing, eye, talon, belly, heart, spine, brain, dissolution. The title Corpus Corvus refers to the body of the raven. Corpus Corvus utilizes stereoscopic 3D projection, motion capture animation, an integrated physical/media choreographic vocabulary, and electroacoustic composition to explore the Pacific Northwest Native American myth of the raven as god and thief who steals the sun and creates the universe. The research is a multi-faceted engagement with posthuman embodiment, augmented/mixed reality, digital performance, and immersive media composition. Corpus Corvus: Exploring Contemporary Mythos Through Immersive Media PoeticsĬorpus Corvus is a mixed reality performance artwork that explores contemporary mythos through immersive media technologies.ISEA2011: 17th International Symposium on Electronic Art.
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