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CIANT Testbed

CIANT Testbed. Michal Masa, Viliam Simko Pavel Smetana CIANT Centre International pour l' Art et les Nouvelles Technologies. CIANT DataSets. Visual ly oriented ( Complementary to audio - IRCAM/INA): The “easy” one: video art archive AMA&NT - video, audio, metadata The 3D one:

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CIANT Testbed

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  1. CIANT Testbed Michal Masa, Viliam SimkoPavel SmetanaCIANTCentre International pour l' Art et les Nouvelles Technologies

  2. CIANT DataSets Visually oriented (Complementary to audio - IRCAM/INA): The “easy” one: video art archive AMA&NT - video, audio, metadata The 3D one: Langweil’s model of Prague - polygons, textures The complex one: V.I.R.U.S. performance - mixture of “new media”

  3. CIANT DataSets The developed one: New Media Performance GOLEM

  4. Testbed goals • Demonstrate that we can document (digitally) and preserve a new media performance in a way that people can re-perform it after a long-term • See Long-term digital preservation of a new media performance: "Can we re-perform it in 100 years?” in May’s issue of International Preservation News published by IFLA Core Activity on Preservation and Conservation (PAC) group accessible online here: • http://www.ifla.org/en/publications/international-preservation-news • http://www.ifla.org/files/pac/IPN_47_web.pdf

  5. ENTERmultimediale 2, Prague, 10 th MAY 2005

  6. full multimedia stage • interdisciplinary interactive performance

  7. two dancers moving in a variable space delimited bylaser rays • motion-capturing system transfers the real into the virtual world

  8. interdisciplinary multimedia content • two dancers • four video projections(three screens + the stage) • laser and lights • music, sound • fog

  9. Video example 3,5’’

  10. ESA testbed Some processing…

  11. UNESCO testbed Photo scan 2D images + lots of metadata(position, angle, calibration, etc.) LEVEL-0 Computer vision algorithms 3D reconstruction – point cloud LEVEL-1 Special tools + lots of manual work 3D reconstruction – polygons LEVEL-2 Simple conversion tools End user product – VRML

  12. Common idea • preserve the final product (image) • preserve the workflow- the processing of the raw data • preserve the raw data coming from satellites and radars and other sources future software/hardware/machines are expected to deliver better, richer, more interesting final products than those we are able to produce now with the current HW/SW

  13. Artistic testbed - simple Artistic testbed - complex Artistic concept (Work) Natural phenomena New Media Performance Documented by author Documented by cams and mics Documented by satellite Instructions (high-level) Raw footage Raw data (level-0) Realization Editing Processing by HW/SW Complex HW/SW/Human system + Instructions (low-level) Final user product: DVD Final user product: GIF Execution

  14. HW/SW develops rapidly • Problem: New media performance is called “new media” since it is based on the latest technology available • Question: How are they going to re-perform the preserved performance in the future? • on the latest hardware available – will look and feel probably rather different • on something to provide the same look and feel we documented and preserved today We do not know. They should be able to do both.

  15. HW/SW develops rapidly Examples: • future LCD screens will probably deliver brighter picture, larger resolution, etc. Who needs a projector then? • future motion capture device will have a smaller latency, greater precision and will be probably based on a completely different medium than today

  16. HW/SW develops rapidly • The artist is limited by the capability of the current HW/SW • He/she probably does not insist on using a particular projector/keyboard/screen/motion capture device/audio device • As long as it shows the image • As long as it captures the movement of the dancer • As long as it produces the sound • As long as it does what it was supposed to do • There are exceptions – concept is important

  17. Importance of the raw data If we Now: focus also on preserving the “raw data” = abstract concepts and ideas, not just their particular expressions given and constrained by the current HW/SW Then in the Future: instead of emulating the expressions (pieces of SW in obsolete programming languages running on obsolete HW, etc.) we will be able to adapt the original ideas to a brand new systems

  18. The need for a score Musical score has proved to work well for musical performances We need something similar for new media performances: • Digital • Short-term Almost no standards comparing to the scientific domain

  19. Similar efforts We turned out to be on the same boat with other projects dealing with preservation of new media art like: • Archiving the Avant-Garde • Variable Media Network • Forging the Future • DOCAM, etc. However, our focus is slightly different: • installation vs. performance Installation: one computer, one piece of code, one tool Performance: plethora of HW/SW plus human actors • Long-term vs. Short-term preservation

  20. Example #1 (before CASPAR)

  21. idea • reflection on the transmission of multiple processesbetween humans themselvesand between humans and machines • interrelations between diverse environmentsand the penetration of man or robotic intelligence into locations where the limits of the body and the perception control are getting blurred

  22. Elements Things Persons form: (physical, analog, digital, etc.) nature: (audio, video, image, light, 3D, text, etc.) Artists Technicians Assets Equipment Instructions elements to preserve

  23. script / scenario

  24. design 3D assets • design stage • design stage lighting • design costumes • compose music • performers(dancers, musicians...) roles of artists • direct the performance • prepare scenario • prepare choreography • prepare video assets • prepare audio assets

  25. stage elements

  26. Examples of used software • Laser: FIESTA • MoCap: Polhemus System, MCspoofer (recorder + player) • VR engine: UT2004 (version) + data • Audio, Video (MAX/MSP, EyesWeb…)

  27. assets • stage properties, requisites (physical, 3D) • audio tapes (analog, audio) • MP3, MIDI files (digital, audio) • DMX files (digital, light) • AVI, MPG files (digital, video, audio) • X3D, VRML, UT2004 (digital, 3D) • JPG, GIF (digital, video)

  28. instructions • scenario in PDF file (digital, text) • scenography in PDF file with illustrations (digital, text, image) • choreography in paper documents (physical, text, image) • musical score (physical or digital, audio) • audio and video software written by the artists – EyesWeb patches, MAX/MSP patches, specific C++ applications (digital, audio) • modifications of game engines – scripts in UnrealScript (digital, video, audio, 3D)

  29. equipment • speakers, microphones, cables (physical, audio) • projection screens, projectors, displays, video cameras, cables (physical, video) • audio mixer (physical, audio) • video mixer (physical, video) • motion capture device (physical, 3D) • computer equipment – hardware (physical) • imaging software tools – Photoshop (digital, image) • audio software tools - MAX/MSP, EyesWeb (digital, audio) • video software tools - EyesWeb, Resolume, vvvv, DirectShow (digital, video)

  30. V.I.R.U.S. UML Deployment Diagram

  31. V.I.R.U.S. CIDOC-CRM model • V.I.R.U.S. model:http://research.ciant.cz/caspar/virus-model/ (start browsing the model from Individuals -> V.I.R.U.S. Performance) • Reworked V.I.R.U.S. model:http://research.ciant.cz/caspar/virus-model2/ (start browsing the model from Individuals -> The V.I.R.U.S. Performance)RDFS: http://research.ciant.cz/caspar/virus-model2.rdfs • Software: Eclipse 3.2.0 + plug-in TopBraid 2.0.6Ontology modelling language: OWL 1.0 DLOntology: CIDOC-CRM 4.2 + Task4301 Extensions + CIANT Extensions (Role, 3D_Model, 3D_Animation, Animation)Technical description of the model and OWL:http://research.ciant.cz/caspar/virus-cidoc-explained.pdf

  32. conclusion • Will be anybody able to re-perform it after 100 years? • Difficult to preserve only after a year after the premiere • Pieces scattered on various media possessed by various people • Reluctance to provide information, materials, etc. • Solution: • New performance + Sheer Curation approach:Cut down version of GOLEM performance

  33. GOLEM Example #2 (during CASPAR)

  34. GOLEM • 30 minutes dance performance telling the story of artificial man • based on the use of advanced audiovisual technologies such as granular sound synthesis, real-time 3D environments and computer systems for capturing movement. • The dancer becomes both on-the-fly choreographer and co-author of the sound composition. He pilots the sound part as well as influences the virtual projected scenography. • Produced as a part of IMMEDIATE (Immersive Media Dance Integrating in Telematic Environments) project supported by EC Culture Programme

  35. GOLEM scenario • First step: document the performance in an OAIS compliant way: RepInfo and PDI toolkit needed • Requirements: • Easy to use – artists and curators • Open source • Free • Multi platform / online • Secure • Flexible • Collaborative • ?

  36. TWiki TWiki (www.twiki.org) • Meets all the requirements • It is a structured wiki: additional means to structure the content • Hierarchical topics • Database-like forms associated with topics • Enables users to create their own wiki applications • Access rights

  37. GOLEM @ TWiki OAIS compliant documentation of GOLEM https://research.ciant.cz/twiki42/bin/view/Immediate/WebHome Second step: automatic export toCIDOC-CRM  SWKM component

  38. Process modelling Possible mapping to CIDOC-CRM: Process  E65 Creation Motivator  E1 CRM Entity Data  E73 Information Object

  39. GOLEM model

  40. RepInfo Validation • Third step: How do we demonstrate that the performance has been preserved? • The proof is the ability to re-perform it • Difficult to demonstrate  Performance Viewer tool

  41. CIANT testbed

  42. obsolescence of SW • Fourth step: • 3D rendering software is based on commercial VRML browser BS Contact, which is no longer available. • Solution: • Preserve the 3D original software including the BS Contact VRML browser • Re-implement the 3D rendering software to keep up with the latest technology and aesthetical requirements: • write a new software based on open source game engine Ogre3D • migrate the VRML 3D model to the new engine

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