>Since a lot of the "action" on the stage, as least as I understand it,
>is visualized by colorful light(beams), we have to make sure that the
>quality of the captured images is high enough; lores black&white wouldn't
>make any sense to the cyber audience.
Part of the difficulty I think we are having is that none of us are sure
what the parameters are and as a result it is hard to understand each
others ideas. Now, I know one of the reasons for this is that we are
developing the parameters as we go. However, there were some ideas that I
thought had been fairly well settled, but this may not be so since we all
seem to be qualifying our statements with "as I understand it." I will
list some of the things involving staging as I understand them to be in the
hopes of finding out if they are correct. They are as follows:
There are a number of real location stages complete with live audiences.
There are internet users who will be part of the play (audience members?)
through their computers.
Actors from one live stage will interact with actors from another live stage.
Actors will be represented by a virtual presence on the stages in which
they are not physically located.
The actors will also be represented by a virtual presence on the internet
for the net audience.
If these preceding statements are all correct, as I believe them to be,
then the logical questions are, what is the nature of these virtual
representations of the actors and how are we going to accomplish them?
Will they be colored lights or recognizable shapes? And, how will the
virtual representations on the net be different from those on the live
stages?
>
>Or did I get your message wrong and you are referring to the symbolic
>visualization of the gods/actors on the web site only ?
Actually, what I had in mind was the manipulation of perspective to further
the theatrical experience for those at the live stages as well as those
participating on the net. I realize that how we approach this will
probably have to be different for the different audiences and that some
aspects of my ideas may be impractical but I think the main thrust is
relevant and could positively influence the performance.
>Nevertheless, I don't think that the intuition behind the oudeis project
>was to set up a whole TV studio with several moving hightech TV cameras
>operated by humans (camera (wo)men), therefore we shouldn't put this to an
>extreme.
These ideas do not depend upon or envision a TV studio complete with high
tech cameras and the humans to operate them. As I understand it, there was
to be a grid or matrix developed which would be composed of sensors. These
sensors would map and monitor the movement of the actors. The data that
these sensors provided would then be used to create, place, and move the
virtual representations that would appear on the other live stages as well
as the Internet.
Now, as we know, any location in the universe can be located by the simple
combination of three numbers. So, it is also true with a three-dimensional
grid composed of sensors. To process the coordinates received by the
sensors and to use that data to calculate the various perspectives I would
not think would be a difficult task for a pentium 100 with 32 megs of RAM
and a 2 gig HD. If this assumption is wrong please let me know.
Again, the question remains, what is the nature of the virtual
representations and how will they differ between the live stages and the
internet? It seems to me that once we answer this question things will
quickly fall into place.
Lee