well I am thinking of finding a new place for our meetings,
but every other place I know would need a special client, and I am not
sure if palace or IRC is more stable, and as quiet as moo
>As usual - I'm starting to get used to that - there still a lot to be
>explained on your last communication, (you must be clearer when you
>stablish products on a deal). For instance:
well yes, I am sure that I was not always the best in explaining and making
everything clear. So thank you for asking, and please keep asking!
>1) Would you mind explaining me or even send to me the terms of
>Agreement of KISPRO and ARS ELETRONICA where you specify what are you
>going to produce in Linz?
I cant send you technical facts, I can send you the artistic idea.
We want to try out and to show how the interaction between virtual and real
actors will look like. The connection between those is established by the
lines of the internet. That's why we fake a long distance connection
between 2 stages that might be placed in the same room (if we have the
Linz/Linz Version)
the "enlarged" version is having one stage in linz, the other in vienna
(distance between those places is not even 2 hours with the car)
This would make possible to have rehearsals with all actors together,
trying out scenes with real contact, and than with virtual contact easily.
and we also will have more time to concentrate on local technical problems
that support the artistic solution of how to make a lightcone really
interact with an actor and stuff, rather than caring about establishing a
"clone" on another part of the world - because this itself will bring other
problems.
all what is shown on these two stages is also sent to a website that can be
seen from everywhere (inclusion of the webstage)
so planned to develop till then is:
the technical realization of a lightcone representing an actor
the (rough) design of the real stage and the screens
the design of the webstage
>
>The infrastructure: 2 real stages? How big they must be?
8x8m - in the worst case we can make them up to 6x6 m but thats the minimum
>How many real actors?
2 scenes are intended, 2actors for each stage. -> 4 actors in whole
gernot and me yesterday talked of engaging 6, but we are not sure yet ...
we plan to have only 2 actors per stage, we might need 3 in some instances
as long as we do not have the final version of the text and do not know how
fast changes are!
>how many lightspots Varilites? Video-beam - what for and how
>many?
rainer? gernot?
>How exactly you are planning the images+performances in
>cyberstage/ webstage?
the webstage should be the one which is closest to its final product of all
parts of the performance! So people accessing to cyberspace will get only 2
scenes (as everybody will) but including the choros and full visualization
>Why should my team here have to give up all our
>efforts up to now to bring the austrian team + stage + lights +
>computers if we all planned before to build the whole stuff here with
>the advisory of the oudeis team?
I am not sure if I understand you here. (communication/language problem, I
am sorry)
could you retell this part.
>2) So you mean that the software produced by TUWIEN will be not able to
>send the data to RIO, but only to 2 stages in Linz/Viena? What Rainer/
>TUWien has to say about that? how can you send the data to Viena and not
>to Rio? The people in the Catholic University and even Santiago - my
>advisors - said you can. Or this socalled Prototyp will not include an
>internet transmition in order not to bring virtual and real actors to
>real stages?
speaking from my point of view (I am not the technician of this team) the
sending is not the problem, data will be send to the cyberstage as well.
problem is to establish a synchronous performance and a "clone" (=2
technically similar looking stages) over this long distance
from the artistic point of view, it will make things clearer to have real
rehearsals with directly after trying it out with virtual partners and on
the next day coming back to real rehearsals as well. (which is also
possible with the distance vienna-linz, because actors and technicians can
easy go from place to place)
>3) What exactly you mean by: "...what can be shown in September 1997 is
>a projection of the webstage for a bigger audience in Rio who will also
>have the opportunity to play the choros of course." I'm sorry folks, but
>do you have an idea of how many videoshows are performed in Rio de
>Janeiro monthly? We even had a daily video transmition of some views of
>the city in the Net during many months while the Olimpic Games Campain.
>Which bigger audience in Rio you have in mind to entertain with an
>isolated videoshow?
First, I am not sure how you think of this being a videoshow. Thing is that
we will perform a theatrical piece and everybody watching the animation on
the website will have the opportunity to react on the play - which is
imperative for a theatrical performance (compared to movies for example)
Second, I do not know what the situation in Rio is, but in Vienna, if I
invite people here, lets say to a performance in ATHEMOO, I have to invite
them to a place with computers, show them how to use them and by this they
have the theatrical experience. It hardly ever happens that someone of
Vienna attends things like this by him- or herself. The access to the
Internet is not that common yet, and the participation in artistic project
like ours are not so popular as well. If I would not do press releases and
gatherings of people, it would not be that inventive here, locally spoken.
Internet is an (inter)active medium, and some people might have to be
guided to be active and do not only consume what they get. Honestly spoken
that is our fear regarding the choros. What if people access that are too
shy to use the opportunity of the choros? So why not use this chance and
"stage-manage" this stage as well, and make it an event itself - because no
doubt it is, this is only a question of more or less publicity.
>
>4) What do you mean by a possibility of a real stage in October? Showing
>what? Why 'till up to now you are still not able to describe in what the
>whole project has been transformed to be sold to the Ars Eletronica
>Festival? This could help us to have a concrete idea from what we are
>dealing with.
This would be a following up of what we learned during ars electronica. But
also with local stages again. A further work in progress.
Another reason that was brought up here for not including international
connections between stages was, that there was the fear that if we try too
much out in the beginning, it would either fail and nobody would watch the
second try. Or it would succeed and nobody would watch the final show
including 7 stages ...
but you are right
the work in progress needs a clear definition of its phases
>
>The point is the following: Are you able to develop the software or not?
>Are you willing to send it to us to help you to make a real event/
>prototyp/demo or whatsoever or not?
Rainer? What help do you need from International crew? What from your local
crew?
>I would appreciate if you could be so kind to answer my questions asap,
>in order to define new steps. Thereafter I will consult my partners here
>and send you further statements.
I hope we clear things up step by step??
>P.S: it seems that Francesco Verdinelli <f.verdinelli@flashnet.it> has a
>similar project in Italy too isn't it? Do you what is it about?
Francesco, you might want to describe what you did?
We only watched a more recent production of yours I think, where you used
CU-seeme software, with only a line from stage to cyberaudience, but no
line back. I think you performed shakespeare at the performance
oudeis-vienna tried to attend.
But tell us more about your project! I think some of your attempts are
really challenging!
Mon
---------------------------------------------------- alles Theater
--------------
Monika Wunderer wunderer@st1hobel.phl.univie.ac.at
++ 43 (1) 892 35 20
http://st1hobel.phl.univie.ac.at/~wunderer/
http://www.oudeis.org
telnet://moo.hawaii.edu:9999