Panoscope 360 by Luc Courchesne

http://panoscope360.com/
http://tot.sat.qc.ca/dispositifs_panoscopes.html
http://www.lamic.ulaval.ca/recherche/lieux_de_recherche/laboratoire_de_visualisatio
http://www.pfoac.com/zOLDSITE/artists/lc-english.htm
http://www.pfoac.com/index_FR.html#VIEW
http://www.din.umontreal.ca/courchesne/

Processing

http://processing.org/
Processing is a programming language, development environment, and online community that since 2001 has promoted software literacy within the visual arts. Initially created to serve as a software sketchbook and to teach fundamentals of computer programming within a visual context, Processing quickly developed into a tool for creating finished professional work as well.

Processing is a free, open source alternative to proprietary software tools with expensive licenses, making it accessible to schools and individual students.

120 Feet of Video Art: Final Exams at NYU's Big Screens Class
Dan Shiffman isn't like most professors. Instead of Scantron sheets and bluebooks, Shiffman prefers to give his final exams on a 120-foot video wall that's the equivalent of six 16:9 displays linked end-to-end.
Shiffman, a wizard of the graphical programming language called Processing that many of the students use to fill up the screen (a few others use openFrameworks, another visual language) has taught this class for two years now. Processing has been used in tons of music videos, data visualizations and interactive video art and is popular for its relative simplicity as a way to turn code into amazing visuals.

view more here



Shiffman is the primary author of the "Most Pixels Ever" library for Processing, which allows projects to sync up across multiple displays seamlessly without delays—and not just your dual-head monitor.That hasn’t really been an option thus far in Processing, unless you were to go the hardware multiple-monitor route. Most Pixels Ever is amazing because it can handle the 6 million pixels of IAC's video wall without blinking, and without it, this class would not exist in its current form. All the art-tech nerds thank him as we file out the door.

Read more here

Laurie Simmons's film 'The Music of Regret,'

ACT2:'Excellent Moon'


Cafe Song


from 'The Music of Regret,' by Laurie Simmons, featuring Adam Guettel as The Dummy // music M. Rohatyn, lyrics L. Simmons.

'The Music of Regret' is a mini-musical in three acts. The film is inspired by three distinct periods of Laurie Simmon’s photographic work. Vintage childcraft puppets, ventriloquist dummies and walking objects enact three tales of ambition, disappointment, love and regret. more

Read lyrics of the songs here

'The Music of Regret''s acts I and III also staged and performed live as part of PERFORMA05



Many more wonderful photographs and artworks at the artist's website

You can read also an interview here

dance-techLIVE

http://www.dance-tech.net/page/dancetechlive-beta

The OpenEnded Group

http://www.openendedgroup.com/
The OpenEnded Group is three digital artists — Marc Downie, Shelley Eshkar, and Paul Kaiser — who create works for stage, screen, gallery, page, and public space.
Kaiser and Eshkar have collaborated on numerous projects since the mid-1990s. Interested from the start in creating a new kind of 3D space that did not aspire to photorealism, we thought instead about drawing. Soon we formulated the notions of drawing as performance and hand-drawn space, which we then applied to motion-captured performance in a series of collaborations with choreographers. Of these, perhaps the best known are BIPED, with Merce Cunningham, and Ghostcatching, with Bill T. Jones.
Watch videos like 'Verge (Complete)' (Verge uses volumetric light to explore the idea of “blind 3D” in which black zones of the image may be read as voids or as dark solids) and clips 'Movement Principles' of Robert Wilson's instructions on how to move your body on stage

Augmented Reality

Augmented Reality Page
http://www.se.rit.edu/~jrv/research/ar/index.html
This page is a resource for Augmented Reality information. You will find an introduction to augmented reality and links to some augmented reality work on the web.

Levelhead
http://selectparks.net/
http://julianoliver.com/levelhead
http://selectparks.net/~julian/levelhead/install.html
levelHead is known to build on Ubuntu 7.10/7.04 and Debian Etch systems against the following external dependencies. It's adviseable you adhere to these versions if you want to avoid going spontaneously mad:
· cal3d 0.11 https://gna.org/projects/cal3d/
· osgcal 0.1.44 http://download.gna.org/underware/
· openscenegraph 1.2 http://www.openscenegraph.org/projects/osg/wiki/Downloads/PreviousReleases
· gstreamer (any) http://www.gstreamer.net/
· bakefile (any) http://www.bakefile.org/
· ARToolkit 2.72.1 http://www.hitl.washington.edu/artoolkit/download/
· ARToolkitPlus 2.1.1 http://studierstube.icg.tu-graz.ac.at/handheld_ar/artoolkitplus.php Optional:
· linux-uvc revision 228 http://linux-uvc.berlios.de/
· libwebcam revision 22 http://www.quickcamteam.net/software/libwebcam

HIT Lab
The Human Interface Technology Laboratory New Zealand (HIT Lab NZ) is developing and commercializing technology that improves human computer interaction and by doing so unlocks the power of human intelligence.The HIT Lab NZ conducts research with new emerging technologies such as Augmented Reality, Next Generation Video Conferencing, Immersive Visualization and Perceptual User Interfaces. Interaction Design techniques are used to adapt these technologies to the needs of end users and solve real world problems.

ARToolKit from HIT Lab NZ http://www.hitl.washington.edu/artoolkit/
Development for the ARToolKit library (originally design by Hirokazu Kato and Mark Billinghurst). It's a low-level AR Library for the tracking and the visual integration of real and virtual content. Widely used internationally by the community (GPL Licence), the software is now available commercially from ARToolWorks.

OSGART From HIT Lab NZ http://www.artoolworks.com/community/osgart/index.html
OSGART is a library that simplifies the development of Augmented Reality or Mixed Reality applications by combining the well-known ARToolKit tracking library with OpenSceneGraph. But rather than acting just as a simple nodekit, the library offers 3 main functionalities: high level integration of video input (video object, shaders), spatial registration (marker-based, multiple trackers), and photometric registration (occlusion, shadow).
With OSGART, users gain the benefit of all the features of OpenSceneGraph (high quality renderer, multiple file type loaders, community nodekits like osgAL, etc.) directly in their augmented reality (AR), mixed reality (MR) or mediated reality applications. As with the standard ARToolKit, the user can thus develop and prototype interactive applications that can use tangible interaction (in C++, Python, Lua, Ruby etc.).

AR-media™ Plugin v1.0 for Google SkecthUp™
With ARplug-in, Google Sketch-Up users are allowed to visualize their 3D models directly in the real physical space which sorrounds them. In a very precise sense, through ARplug-in, Sketch-Up 3D models can be visualized out of the digital workspace directly on users' desktop, by connecting a simple webcam and by printing a suitable code. The Plug-in provides users with an advanced visualization functionality which serves two main purposes:
Study and analize scaled virtual prototypes in real environments
Communicate 3D projects immersively and astonishingly
All you need to make ARplug-in work is a personal computer, a webcam and a printed code attached to the software. For optimal functioning, a Dual-core PC with a standard graphic card for 3D videogames are recommended. The price of a one seat License amounts to 99 eur.

Augmented reality on your desktop, thanks to Sketchup



Augmented Reality is a new technology that is starting to spread. Basically, it consists on mixing 3D model with live footage in real time. This concept has been applied to futuristic interfaces, and it can be very helpful for architects as it allows you to take 3D Models a step further, placed on the real world and show it to your clients.
Thanks to the AR-media Plugin for Sketchup, you can start playing with Augmented Reality. This plugin allows you to place the 3D Model over live video from your webcam, and move it around as you can see on the above video. The plugin calculates the planes on the live footage thanks to a sheet you need to print out, which allows the software to calculate the distance and inclination.

Projecting Performance

Interrelationships between performance and technology, dancer and operator

Projecting Performance is a collaboration between performance academics from the School of Performance & Cultural Industries and digital technologists from KMA Creative Technology Ltd. This AHRC-funded project focuses on the choreographic and scenographic exchange between dancers and projected digital images within a theatrical context. It questions processes of performance and perceived boundaries between performers and technologists, and instead it promotes dialogues in an iterative cycle of creative development.....more information
http://www.leeds.ac.uk/paci/projectingperformance/home.html

On Scenography

http://www.sceno.org/
http://www.scenofest.org/index.html

Labyrinth by Misnomer Dance Theatre

http://www.misnomer.org/labyrinth

Tinman by Chris Elman

The piece exemplifies Elam’s pointed use of elongated sculptural shapes to convey emotional states. The angularity draws from Balinese movement and is performed in a manner that is meant to draw an audience into the dancer’s physical experience as he negotiates his own body.

Automatic Projector Calibration

This callibration solution is a collaboration between people from Carnegie-Mellon, Mitsubishi Electric Research Lab and Stanford. Watch the video demonstration.



You can find more here (pdf) and here

Video projection tools v2.1

The videoprojection tool was developed during a workshop that Hc Gilje gave for students of scenography, choreography and directing at KHIO in Norway june 2007, and further developed for the workshop he had at the medialab prado in Madrid may 2008 (including some features from the newly released max 5).
The workshops were an introduction to working with video as a tool for creating and transforming spaces: to thinking of video as light, and how you can mask a projection to project on multiple objects and surfaces within the projector´s projection angle and to exploit the depth of field in video projectors.
You can find more here: http://hcgilje.wordpress.com/resources/video-projection-tools/
http://hcgilje.wordpress.com/
http://hcgilje.com

Immersive Sight Within the Third Space: Augmentation and Spatial Interface in exhibition space

by Jeremy Hight
Our field of vision is a continual, multi-tiered number crunching. Bicameral sight is always being processed , interpreted, reacted to, adjusted for focus, comparisons made. It simply is always running as an immersive, multi layered interaction of information and movement in a space.
http://neme.org/main/645/immersive-sight
http://neme.org/main/880/immersive-event-time
http://www.xcp.bfn.org/hight.html

Digital Performance Archive

http://ahds.ac.uk/ahdscollections/docroot/dpa/authorssearch.jsp

Leandro Erlich

A master of illusion, Argentinean artist Leandro Erlich has amazed audiences with whimsical installations, sculptures, photographs, and videos for the past decade. His video installation Le Trottoir (The Sidewalk) is one of the highlights of the Chanel Mobile Art exhibition, and his celebrated Swimming Pool installation is currently enchanting visitors at P.S.1 Contemporary Art Center in Long Island City. Artkrush editor Paul Laster recently sat down with the globetrotting artist at New York's Gramercy Park Hotel to discuss his past work and his new installation at Prospect.1 New Orleans.

http://www.artkrush.com/mailer/issue96/#interview

http://www.leandroerlich.com/

http://www.galerieperrotin.com/fiche.php?id_pop=100000506&&idart=24&&dossier=Leandro_Erlich&&num=39&&p=2

amber '08

http://08.a-m-b-e-r.net/
special performance section: http://08.a-m-b-e-r.net/index.php?m=works&sm=1&id=3
and New Media in performance: http://08.a-m-b-e-r.net/index.php?m=works&sm=4&id=39

PERFORMING PRESENCE: FROM THE LIVE TO THE SIMULATED

http://presence.stanford.edu/
http://spa.exeter.ac.uk/drama/research/intermedia/conference_announce.shtml
http://spa.exeter.ac.uk/drama/research/intermedia/welcome.shtml
An international conference, Centre for Intermedia, University of Exeter, UK, 26-29 March 2009

CONFIRMED KEYNOTE SPEAKERS*:
• Matt Adams, Blast Theory http://www.blasttheory.co.uk/
• Tim Etchells, Artistic Director, Forced Entertainment http://www.forcedentertainment.com/
• Adrian Heathfield, Professor of Performance ands Visual Culture, Roehampton University http://www.adrianheathfield.com/
• Lynn Hershman-Leeson, media artist http://www.lynnhershman.com/
• Hugo Glendinning, photographer, AHRC Fellow in the Creative and Performing Arts, University of Exeter http://www.hugoglendinning.com/
• Ken Goldberg, artist, Professor, Industrial Engineering and Operations Research (IEOR),, UC Berkeley and Director, Berkeley Centre for New Media http://goldberg.berkeley.edu/index-flash.html
• Mike Pearson, Professor of Performance Studies, University of Wales, Aberystwyth http://www.aber.ac.uk/~psswww/shared/general/pearson.htm and Mike Brookes, artist http://www.mikebrookes.com/
• Paul Sermon, media artist, Professor of Creative Technology, University of Salford http://www.paulsermon.org/
• Michael Shanks, archaeologist, The Omar and Althea Hoskins Professor of Classical Archaeology, Stanford University http://www.stanford.edu/~mshanks/
• Marianne Weems, Artistic Director, The Builders Association http://www.thebuildersassociation.org/
• Krzysztof Wodiczko, Professor of Visual Arts, Massachusetts Institute of Technology http://architecture.mit.edu/people/profiles/prwodicz.html

CALL FOR PAPERS:
The conference will engage with a wide range of disciplines, art and performance practices, technologies of presence, theory and modes and practices of documentation. Key questions may include:
• What are the chief signifiers of presence?
• How is presence achieved through theatrical performance?• What makes a memory come alive and live again?
• How are practices of presence connected with senses of self and identity?• Is presence synonymous with 'being in the moment'?
• What is the nature of the ‘co-presence’ of audience and performer?• Does presence imply distance?
• Where does performance practice end and its documentation begin?
• In what tense does documentation take place?• Can technology produce presence?
• Is presence a form of immersion?
• Is documentation theory or practice?
• What happens when documentation becomes time-based and ephemeral?
• Where does practice end and its documentation begin?
• In what tense does documentation take place?

Compagnie Amoros & Augustin

Watch some video from this amazing theatre company's performances:

on shadow theatre

Sunjata

mixing shadow theatre and film

360° à l'ombre

mixing theatre and film

The Never-Ending Shooting

video and photos of the technique

More videos: http://fr.youtube.com/BrunodeBeaufort
Official site: http://www.amoros-augustin.com/accueil.html

Blog: http://leterneltournage.theatre-contemporain.net/

Marnix De Nijs

MARNIX DE NIJS IS A ROTTERDAM BASED ARTIST WHO EXPLORES THE DYNAMIC CLASH BETWEEN BODIES, MACHINES AND OTHER MEDIA.
As an artist, De Nijs shows how culture acts upon our senses, and he expresses this in a great variety of ways, making use of continually-changing technology. This allows him to emphasise a new role for the artist that seems to have been established by our developing culture of technology. De Nijs describes himself and his work as recognition of the dynamic collision of bodies, machines and other media.
http://www.marnixdenijs.nl/index.htm

Architecture in Metaverse "Archidemo" (Second Life Dance 1)

http://mapping.jp/archi/
"Archidemo" is experimental demonstration and research for the possibility of the architecture and environmental design in Metaverse(=the virtual-world). developed by Hidenori Watanave and project member. All the activities are done on NikkeiBP and NikkeiBP way SIM in Second Life(Aug.01/2007~Jan.09/2008). In addition, "Archidemo" is Pre-event of "Digital design competition 2007" (Nikkei Architecture sponsoring).
To expand the possibility of "Architecture in Metaverse" that was the concept besides "Imitation of the Physical world", various demonstrations that used LSL (Linden Script Language) were developed by a lot of creators.
In "Archidemo", the field crossing collaboration was achieved. Trial of Inworld (=in the virtual-space) photograph exhibition by photographer and metaverse-architect, In-world activity, installation of media art, scientific visualization, trial of realization of world of Sci-Fi novel, chatbot space, workshop by student, and so on.
Contents Oriented Space
"Contents oriented space" is a new concept and design method of space.
In Architecture in Metaverse, the following points are requested - "Contents of architecture" can be recognized visually, and be accessed directly from the outside of architecture. "Wall and ceiling" that obstructs the view and restrains the action is essentially unnecessary.
Instead of wall and ceiling, “Navigation” composes an architectural space. People can do flighting, walking, and teleporting and “landing on the contents”, in Metaverse - Just like in the WEB space.
Translating real space into virtual space
In “Archidemo”, there were a lot of architectural experiments that used photograph and movie of a real-space as a “material” of the construction of a virtual-space.
"Wall and ceiling" is unnecessary in Architecture in Metaverse, as being described in the preceding chapter. In a word, It is not effective reproduction that even if the construction of the real world is reproduced by Realistic 3-D modeling.
As an alternative idea, There is very effective method - composing the space with “Navigation” by using “Material” from the real-world. The program ties the photograph and Movie.
This is a method of reproducing not "Shape" but "Experience". It can be paraphrase of "Translating the real-space into the virtual-space".

Watch the "Dance-Performance in the weightless space"



http://mapping.jp/archi/2008/03/danceperformance_in_the_weight.html
Avant-garde/like "Super-flat"/ Web2.0 media dance performance tool inArchidemo (project page: http://mapping.jp/archi/ ) by "Gekitora Gackt"from "inetdance Japan". Gekitora intends "Dance-performance that can beappreciated from any angle 360 degrees", and does various experiments inArchidemo.Gekitora choreographs both dancers and avators. It is fantastic experiencefor him to choreograph avators, because artist can share only pure movementof motion with many users in Internet. Now, A series of four dances can be tested with the dance-pad.A free body expression act is done in the weightless space. Those expressions reminds users of the space suit of "2001:A SpaceOdyssey".

CREW

CREW is a Belgium-based performance group. Eric Joris being its key figure, this production team has brought together people from different domains depending on the projects that were being made. On the whole, CREW has insisted on making performances at the melting point of live art and technology.

Finding in experimental theatre a laboratory where they can test the progress of their own work, researchers from different universities develop original technologies for CREW to use in the performances. Permanent dialogue with the developments in robotics and computer sciences triggers the theatrical imagination of design and production, text and sound.

The artistic outcome tends to be hybrid; technological live art troubles installed categories of theatricality. CREW wants to explore how these hybridities can be operated, both on a theoretical and on a practical level. What happens when digital technology really merges production and reflection within the context of the stage - insofar as one can still speak of a stage?
http://www.crewonline.org/crew.html