{"id":1770,"date":"2017-10-21T13:18:45","date_gmt":"2017-10-21T13:18:45","guid":{"rendered":"https:\/\/deptford.tv\/?p=1770"},"modified":"2017-10-21T13:18:45","modified_gmt":"2017-10-21T13:18:45","slug":"360o-video-and-interactive-storytelling","status":"publish","type":"post","link":"https:\/\/dorothea.tv\/?p=1770","title":{"rendered":"360\u00ba Video and Interactive Storytelling"},"content":{"rendered":"

During Open Fields<\/a> conference Adnan presented “after.video \u2013 displaying video as theory and reference system”:<\/p>\n

360\u00ba Video and Interactive Storytelling<\/h4>\n

Aigars CEPLITIS \/ Luis BRACAMONTES \/ Adnan HADZI \/ Arnas ANSKAITIS \/ Oksana CHEPELYK <\/strong>
\nVenue: The Art Academy of Latvia<\/p>\n

Moderator: Chris HALES<\/strong><\/p>\n

Aigars CEPLITIS. The Tension of Temporal Focalization and Immersivity in 360 Degree 3D Virtual Space<\/strong><\/p>\n

The fundamental raison d\u2019\u00eatre for the productions of immersive technologies is the attainment of an absolute psychosomatic and physical embodiment. The impasse, however, for audiovisual works shot in 360\u00b0 space, is that their current schemata as well as their visual configuration oppose the very type of an experience it strives to deploy. To crack the code of narrative design that would render 360\u00b0 films to offer a truly immersive experience, a number of 360\u00b0 video prototypes have been created and tested against the backdrop of Seymour Chatman\u2019s narrative as well as Marco Caracciolo\u2019s theories of embodied engagements in order to assess the extent of immersion in a variety of 360\u00b0 narrative setting, zooming in on summary, scene, omission, pause, and stretch. Such prototype simulation is further followed by testing audiovisual plates whose micronarratives are structured in a rhizomatic pattern. Classical films are edited elliptically, although cut and omission are demarcated in cinema, with cut being an elliptical derivative, and in favor of using freeze frames to pause for a pure description. In 360\u00b0 cinema, in turn, omission, cut, and pause, do not operate properly; its cinematic preference for here and now creates an inherent resentment to montage. Singulative narrative representations of an event (describing once what happened once) remains the principal core in spherical cinema, with repetitive representations deployed rarely, merely as special effects, or as a patterning device in flashbacks or thought-forming sequences through the post-digital editing style. The repetitive sequences in 360\u00b0 become particularly disturbing, when their digital content is viewed, using VR optical glasses, instead of desktop computers, and such contrasts answer more fundamental questions as to whether montage is detrimental in 360\u00b0 film, what types of story material and genre are more suitable for 360\u00b0 cinema, and how do we gage the level of embodiment. Finally, the residual analysis of the before mentioned prototype simulation brings to the fore the rhizomatic narrative kinetics (the fusion of the six Deleuzoguattarian principles with the classic narrative canons), that should become, de facto, the language of 360\u00b0, if the embodiment is to be the key.<\/p>\n

Biography.<\/strong>\u00a0Aigars Cepl\u012btis is the Creative Director of Audiovisual Media Arts Department at RISEBA\u00a0University, where he teaches Advanced Film Editing Techniques and Film Narratology. He\u00a0is also a PhD candidate at New Media MPLab, Liepaja University, where he is investigating\u00a0novel storytelling techniques for 360 degree Cinema. Aigars has been working as a film\u00a0editor in feature films \u201cThe Aunts\u201d, \u201cThe Runners\u201d, \u201cA Bit Longer\u201d, \u201cHorizont\u201d, and on 20\u00a0TV miniseries \u201cThe Secrets of Friday Hotel\u201d. He has formerly served as an office manager\u00a0and film editor for Randal Kleiser, an established Hollywood director best renown for hits\u00a0such as \u201cGrease\u201d and \u201cBlue Lagoon\u201d. While in Los Angeles, Aigars headed the program of\u00a0film and video for disadvantageous children of Los Angeles under the auspices of Stenbeck\u00a0Family, the owners of MTG. Aigars holds an M.F.A. in Film Directing from California Institute\u00a0of the Arts and B.A. in Art History from Lawrence University in Wisconsin.<\/p>\n

Luis BRACAMONTES. Teleacting the story: User-centered narratives through navigaze in 360\u00ba video<\/strong><\/p>\n

This research explores the possibilities of a user-centered narrative strategy for 360\u00ba video through a new feature called \u201cnavigaze\u201d. Navigaze is a feature introduced by the swedish Startup \u201cSceneThere\u201d, and it allows a controlled level of agency in the storytelling that borderlines between gaming and film. \u201cTeleaction\u201d here is understood from Manovich\u2019s perspective of \u201cacting over distance in real time\u201d as opposed to \u201ctelepresence\u201d implying only \u201cseeing at a distance\u201d. Immersive storytelling for Virtual Reality and 360\u00ba video presents a new challenge for creators: The dead of the director. At least in the traditional way as seen in other mediums such as theater or film. As its frameless quality and highly active nature demands for a fluid and flexible narrative.
\nNavigaze allows the user to inhabit a story instead of just witnessing it. By including a space-warp feature reminiscing to Google Street View, users can explore the \u201cvirtual worlds\u201d and unravel pieces of the story on their own by gazing at the blue hotspots that transports them to the next location within the same world. Thus, the story constitutes a series of pieces of a puzzle that every person can put together as they want creating a unique narrative experience, similar to Julio Cort\u00e1zar\u2019s game-changing novel \u201cHopscotch\u201d (1963).
\nFocusing on two pieces by SceneThere, \u201cVoices of the Favela\u201d (2016) and \u201cThe Borderland\u201d (2017), this research delves into the evolution of storytelling on VR and 360\u00ba video and the early stages of the creation of their own narrative language.<\/p>\n

Biography.\u00a0<\/strong>Luis Bracamontes is a narrative designer and writer, specializing in Storytelling for VR and AR. He is an intern in the Virtual Reality start-up, \u201cVRish\u201d in Vienna. And he is currently studying an Erasmus Mundus Joint Master Degree in \u201cMedia Arts Cultures\u201d, between Danube University Krems, Aalborg University and the University of \u0141\u00f3d\u017a. He has a B.A. in Communication Sciences with a specialization in Marketing and has worked for over 6 years in performing arts and literature. In 2014, he was awarded the \u201cYouth Achievement Award for Art & Culture\u201d, an honorary award given to the most promising and active youths with an outstanding trajectory in art and culture given by the City Hall of Morelia, for the work of his production company \u201cAla Norte\u201d. Since 2015, he is a member of the Society of Writers of Michoac\u00e1n (SEMICH). In 2016, he worked as an innovation and marketing consultant in the VIP Fellowship by Scope Group and the Ministry of Finance of Malaysia, in Kuala Lumpur. His recent research includes a paper on hybrid VR Narratives supervised by Oliver Grau, and a research project on post-digital archive experiences supervised by Morten Sondergaard, and presented at the NIME (New Interfaces for Musical Expression) International Conference 2017 in Copenhagen.<\/p>\n

Adnan HADZI. after.video \u2013 displaying video as theory and reference system<\/strong><\/p>\n

After video culture rose during the 1960s and 70s with portable devices like the Sony Portapak and other consumer grade video recorders it has subsequently undergone the digital shift. With this evolution the moving image inserted itself into broader, everyday use, but also extended it \u0301s patterns of effect and its aesthetical language. Movie and television alike have transformed into what is now understood as media culture. Video has become pervasive, importing the principles of \u201ctele-\u201d and \u201ccine-\u201d into the human and social realm, thereby also propelling \u201cimage culture\u201d to new heights and intensities. YouTube, emblematic of network-and online-video, marks a second transformational step in this medium\u2019s short evolutionary history. The question remains: what comes after YouTube?
\nThis paper discusses the use of video as theory in the after.video project (http:\/\/www.metamute.org\/shop\/openmute-press\/after.video), reflecting the structural and qualitative re-evaluation it aims at discussing design and organisational level. In accordance with the qualitatively new situation video is set in, the paper discusses a multi-dimensional matrix which constitutes the virtual logical grid of the after.video project: a matrix of nine conceptual atoms is rendered into a multi-referential video-book that breaks with the idea of linear text. read from left to right, top to bottom, diagonal and in \u2018steps\u2019. Unlike previous experiments with hypertext and interactive databases, after.video attempts to translate online modes into physical matter (micro computer), thereby reflecting logics of new formats otherwise unnoticed. These nine conceptual atoms are then re-combined differently throughout the video-book \u2013 by rendering a dynamic, open structure, allowing for access to the after.video book over an \u2018after_video\u2019 WiFi SSID.<\/p>\n

Biography.\u00a0<\/strong>Dr. Adnan Hadzi has been a regular at Deckspace Media Lab, for the last decade, a period over which he has developed his Goldsmiths PhD, based on his work with Deptford.TV. It is a collaborative video editing service hosted in Deckspace\u2019s racks, based on free and open source software, compiled into a unique suite of blog, cvs, film database and compositing tools. Through Deptford TV and Deckspace TV he maintains a strong profile as practice-led researcher. Directing the Deptford TV project requires an advanced knowledge of current developments in new media art practices and the moving image across different platforms. Adnan runs regular workshops at Deckspace. Deptford.TV \/ Deckspace.TV is less TV more film production but has tracked the evolution of media toolkits and editing systems such as those included on the excellent PureDyne linux project.
\nAdnan is co-editing and producing the after.video video book, exploring video as theory, reflecting upon networked video, as it profoundly re-shapes medial patterns (Youtube, citizen journalism, video surveillance etc.). This volume more particularly revolves around a society whose re-assembled image sphere evokes new patterns and politics of visibility, in which networked and digital video produces novel forms of perception, publicity \u2013 and even (co-)presence. A thorough multi-faceted critique of media images that takes up perspectives from practitioners, theoreticians, sociologists, programmers, artists and political activists seems essential, presenting a unique publication which reflects upon video theoretically, but attempts to fuse form and content.\u00a0http:\/\/orcid.org\/0000-0001-6862-6745<\/p>\n

Arnas ANSKAITIS. The Rhetoric of the Alphabet<\/strong><\/p>\n

Through practice and research I aim to reflect on the connections between language, perception, writing and non-writing.
\nJacques Derrida wrote in his seminal book Of Grammatology: \u201cBefore being its object, writing is the condition of the episteme\u201d. I am curious \u2013 to what extent a written text still is (or should be) the condition of knowledge in artistic research? Does artistic research in general belong to and depend on this understanding of science? Would it be possible to do research without writing? How then one could share findings and outcomes of such research with the public and other researchers?
\nWriting interests me not only in the context of language, but also from the position of handwriting. How did letters of the alphabet emerge? It seems they were shaped by a human hand. What would letters look like, if they were written not on a flat sheet of paper, but in simulated three-dimensional space? In an attempt to answer the self-imposed question, I have created 3D models of cursive letters and exhibit them as video projections. In each visualization an imaginary writing implement produces an uninterrupted trace \u2013 a stroke on the writing plane. On this digitally-simulated stroke \u2013 the projection plane \u2013 a stream of texts and images is being projected.
\nI will attempt to combine two sides of artistic research (practice and theory) through writing \u2013 a writing system as an art project. Part of the doctoral thesis could be written and presented using this system.<\/p>\n

Biography.\u00a0<\/strong>Arnas Anskaitis (1988) is a visual artist, a lecturer and a PhD student at the Vilnius Academy of Arts. He employs a variety of media in his work, but always starts from a direct dialogue with the site and context in which he is working. His work has been shown at the Riga Photography Biennial (2016); National Art Museum of Ukraine, Kiev (2016); 10th Kaunas Biennale (2015); Contemporary<\/p>\n

Oksana CHEPELYK. Virtual Reality and 360-degree Video Interactive Narratology: Ukrainian Case Study.<\/strong><\/p>\n

The aim of this thesis is to present some Ukrainian initiatives developing VR and 360-degree Video Interactive filmmaking: SENSORAMA in Kyiv and MMOne in Odesa. SENSORAMA as AN IMMERSIVE MEDIA LAB of VR reality grow VR | AR ecosystem in Ukraine by supporting talents with infrastructure, education, mentorship and investments.
\nAn interactive documentary \u00abChornobyl 360\u00bb, created by the founders of Sensorama Lab, filmed in spherical view of 360 degrees about Chernobyl Nuclear Power Plant, which was the site of Chernobyl disaster in 1986, is now proven to be in demand on the global market. The immersive technologies are used to change human experience in the fields that matter to millions: VR therapy research, healthcare etc. SENSORAMA is based in UNIT.city, a brand new tech park in Kyiv.
\nThe company MMOne from Odesa has created the world\u2019s first three-axis virtual reality simulator, in the form of chair attached to an industrial robot-like arm that moves in response to the action in a video game called Matilda. MMOne hopes the invention takes the global gaming industry in some entirely new directions. The startup debuted Matilda in October 2015 at Paris Game Weeks in France, presenting its device in cooperation with multinational video game developer Ubisoft, which created a racing game especially for Matilda called \u201cTrackmania.\u201d Since the Paris games exhibition, MMOne has had several big companies from the U.S. IT community ask to try out their chair, like Youtube, the Opera Mediaworks, world\u2019s leading mobile advertising platform, Facebook\u2019s Instagram, and Oculus LLC.<\/p>\n

Biography.\u00a0<\/strong>Dr. Oksana Chepelyk is a leading researcher of The New Technologies Department at The Modern Art Research Institute of Ukraine, author of book \u201cThe Interaction of Architectural Spaces, Contemporary Art and New Technologies\u201d (2009) and curator of the IFSS, Kiev. Oksana Chepelyk studied at the Art Institute in Kiev, followed a PhD course, Moscow, Amsterdam University, New Media Study Program at the Banff Centre, Canada, Bauhaus Dessau, Germany, Fulbright Research Program at UCLA, USA. She has widely exhibited internationally and has received ArtsLink1997 Award (USA), FilmVideo99 (Italy), EMAF2003 Werklietz Award 2003 (Germany), ArtsLink2007 Award (USA), Artraker Award2013 (UK). Residencies: CIES, CREDAC and Cite International of Arts in Paris (France), MAP, Baltimore (USA), ARTELEKU, San Sebastian (Spain), FACT, Liverpool (UK), Weimar Bauhaus (Germany), SFAI, Santa Fe, NM, (USA), DEAC, Budva (Montenegro). She was awarded with grants: France, Germany, Spain, USA, Canada, England, Sweden and Montenegro. Work has been shown: MOMA, New York; MMA, Zagreb, Croatia; German Historical Museum, Berlin and Munich, Germany; Museum of the Arts History, Vienna, Austria; MCA, Skopje, Macedonia; MJT, LA, USA; Art Arsenal Museum, Kyiv, Ukraine; \u201cDIGITAL MEDIA Valencia\u201d, Spain; MACZUL, Maracaibo, Venezuela, \u201cThe File\u201d \u2013 Electronic Language International Festival, Sao Paolo, Brazil; XVII LPM 2016 Amsterdam, Netherlands.<\/p>\n

Art Centre, Vilnius (2014); 16th Tallinn Print Triennial (2014); National Gallery of Art, Vilnius (2012); Gallery Vartai, Vilnius (2012), and in other projects and exhibitions.<\/p>\n","protected":false},"excerpt":{"rendered":"

During Open Fields conference Adnan presented “after.video \u2013 displaying video as theory and reference system”: 360\u00ba Video and Interactive Storytelling Aigars CEPLITIS \/ Luis BRACAMONTES \/ Adnan HADZI \/ Arnas ANSKAITIS \/ Oksana CHEPELYK Venue: The Art Academy of Latvia Moderator: Chris HALES Aigars CEPLITIS. The Tension of Temporal Focalization and Immersivity in 360 Degree…Read more 360\u00ba Video and Interactive Storytelling<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[12,14,22],"tags":[],"class_list":["post-1770","post","type-post","status-publish","format-standard","hentry","category-news","category-presentations","category-research"],"_links":{"self":[{"href":"https:\/\/dorothea.tv\/index.php?rest_route=\/wp\/v2\/posts\/1770","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dorothea.tv\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dorothea.tv\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dorothea.tv\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/dorothea.tv\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=1770"}],"version-history":[{"count":0,"href":"https:\/\/dorothea.tv\/index.php?rest_route=\/wp\/v2\/posts\/1770\/revisions"}],"wp:attachment":[{"href":"https:\/\/dorothea.tv\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=1770"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dorothea.tv\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=1770"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dorothea.tv\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=1770"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}