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Dieter Vandoren
Integration.04
A realtime sculpture in spatial light and sound
Integration.04 is a live performance by Dieter Vandoren. His instrument projects light and
sound structures in fog-filled space, immersing both him and the audience in it. He
manipulates the ephemeral audiovisual shapes as if they were tangible materials, taking
cues from the interaction between the human body and acoustical instruments. The abstract
digital processes are thus projected into physical, experiential space and the emergent play
becomes a strong embodied experience - for both performer and audience.
Immersive setup
Wide-angle projectors are set up on stands at eye-height in a circle around the performance
area, aimed inwards to create a fully immersive dynamic light architecture. The performer
stands in the middle of it while the light rays also extend to the outside where the audience
is residing. A quadrophonic sound system is positioned in the corners of the space to create
an immersive sound field.
Physical-digital interaction
The system's interface modalities are: 1) full-body motion tracking provided by depthsensing cameras complemented by hand and 2) finger movement by sensor gloves. The
performer's body is digitally reconstructed in a software 3D environment. 3D geometries are
generated according to the performer's actions and in turn projected, precisely overlaying
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the digital with the physical space. The result is a direct, convincingly tangible manipulation
of the spatial, audiovisual, projected shapes.
Thematic statement
The work connects with the BODY, EMBODY + PERFORM theme of ISEA 2015. It gives a
glimpse of future full-body interaction with digitally augmented environments by immersing
performer and audience in such environment. The digital architecture is actualised by the
interactions of sound, light and fog. While one might say these media only simulate a 'real'
tangible structure it can not be denied that the sensorial effect of them creates very real
perceptual spaces. The common distinction between 'real' and 'virtual' is put into question
by merging the two in physical, sensorial space.
From the start the interactive environment has been developed as a performance instrument.
The interface is developed with intuitive and skilful bodily manipulation as its primary aims.
This is achieved in such a way that, similarly to the physical intertwining of musicians and
their acoustic instruments, the performance of it becomes an amazingly embodied, visceral
process. It opens up the way to what Michel Waisvisz describes as the ideal state of
embodied musical performance 'where a fast closed loop establishes itself between the
musical intention, the muscular effort and actions, the mechanical response and the sonic
feed back and the perception of this whole loop. This happens so fast that one seems to act
immediately in sound and not in 'terms of sound' and not in terms of 'control'. Composition
[and] performance melt into a single state of emerging - timbral - expression.' [Waisvisz in
Round Table: Electronic Controllers in Music Performance and Composition, Trends in
Gestural Control of Music, M.M. Wanderley and M. Battier eds., 2000 Ircam - Centre
Pompidou ]
At the same time the work problematizes the reliance on technology. Being a highly
technological, experimental setup, it happens that parts of the system malfunction, for
example resulting in unreliable, glitchy motion tracking. These events uncover a friction or
discrepancy between idealistic views on technology and operational reality. During
performances they show as breaks in the flow of actions where performer and technology
break out of the seeming harmony. The environment then becomes a temporarily
dysfunctional limb that the performer has to struggle back into shape.
In this sense the piece is by no means a utopian vision of a technologized world. Attentive
and more experienced audiences might also notice the contrast between the superficial
appearance of an immensely empowering, almost magical tool and the limitations imposed
by the technology on the performer. Is it technologically mediated freedom or captivity?
Video documentation
http://vimeo.com/67734335
http://dietervandoren.net/index.php?/project/integration04/
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Spatial setup
3 wide-angle projectors are set up on stands at eye-height in a triangle around the
performance area, aimed inwards to create a fully immersive dynamic light architecture. The
performer stands in the middle the triangle, while the light rays also extend to the outside
where the audience is standing. The 3 projectors define the triangular performance area. This
triangle is also delineated on the floor by RGB-led strips. 3D/depth-sensing cameras are
mounted on 2 of the 3 projector stands to capture the movement of the performer. A
quadrophonic sound system (+ subs) is positioned in the corners of the space to create an
immersive sound field.
Spatial requirements
- enclosed space of minimum 15x15m, larger is better
- completely darkened, no light sources or leakage whatsoever
- preferably black/dark walls, floor, ceiling
- no (or disabled) smoke detectors (hazer/fog machine will set off alarms)
- no chairs, audience is free to move around, but not permitted to enter the performance
triangle
- the performance triangle takes 6x7m in the middle of the space
- curtains on entrance to prevent smoke from escaping while the audience enters
- the hazer fog can set off alarms in adjacent spaces if a door stays open inadvertently
- the space cannot be shared with other acts, setup and calibration is too complex
TECH RIDER - option 1 – rental in Vancouver
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Material to be provided by the presenter
- Sound system:
- 4.1 system: 4 speakers, 1 sub (2 or 4 subs if the space is very large)
- 5 individual audio inputs
- high quality full range (system power dependent on size and capacity of space)
- power cabling
- speaker stands
- no mixer
- Audio cabling: 5 x 1/4" jack (outputs from computer) to sound system inputs, lengths depending
on space dimensions
- Hazer (NOT smoke machine): Look Unique 2.1 or comparable, water based fluid (NOT oil based)
- (optional) LED-strips: 2 x Showtec LED Octostrip or comparable, DMX controlled
- Beamers:
- 4 x BenQ MW621ST or comparable
- short throw lens: minimum 60° horizontal angle (1:1 ratio)
- min. 2500 lumen
- min. 3000:1 contrast
- min. 800x600 resolution
- VGA or DVI inputs
- 4 x VGA or DVI cabling, type depending on beamer inputs, lengths depending on space
dimensions
- 4 x beamer stands + mounts:
- sturdy and stable, should not move after beamer & camera calibration is completed
- beamer lens height 1,75m
- beamer has to project straight forward (not up or down), in case of beamers without lens
shift (like BenQ MW621ST) it means they have to be tilted
- suitable mounts/clamps for the chosen beamer+stand combination
- if BenQ MW621ST beamers and stands with a horizontal 48-51mm diameter pipe are
provided I can bring suitable mounts, see example photos
- 2 x microphone stand:
- round-base
- only vertical pole, telescopic
- 1,5m height
- standard 3/8" microphone male screw thread
- example: http://www.thomann.de/nl/km_2601.htm
- Power cabling:
- 1 x extension from power outlet to installation
- 4 x extension 6m
- 5 x power strip, 5 plugs
- Computer display:
- 1920x1080 resolution
- +/- 21" size
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- flat panel
- black casing
- HDMI input
- cables
- Computer USB keyboard + mouse
Black gaffer tape
1 x 220V 16A power outlet
Material provided by the artist
- 1 computer
- 2 Kinect camera's + mounts
- 2 sensor gloves + electronics
- Matrox Triplehead2go
- MOTU Ultralike mk3
- Enttec UsbDmxPro
(- 3 beamer mounts)
TECH RIDER - option 2 – shipment of equipment from The Netherlands
Material to be provided by the presenter
- soundsystem:
- 4.1 system: 4 high quality full range speakers, 1 sub (2 or 4 subs if the space is very large)
- speaker stands
- 5 individual audio inputs
- cabling (XLR, power)
- 1 x 220V 16A power outlet
Material provided by the artist
3 beamers, beamer stands, hazer, 2 computers, soundcard, 2 cameras, sensors, led-strips etc
Logistic requirements
- build up 1 day before the show (ie. not on the same day as the performance)
- build down time minimum 2 hours
- a host who will give instructions and let the audience in
- no entrance during performance
- no camera's (because of disturbing light pollution)
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Proposed budget
Artist fee:
2 travel days
€150
2 build up days
€150
1 performance day
€500
5 per diem
€100 (includes lodging)
Fee total
€1600
Option 1 - equipment rental in Vancouver estimate(*) €500/day x 3 days = €1500
Option 2 – return shipping of equipment from/to NL estimate(*) €2000
(100kg, 150x100x100cm)
Travel
Total(*)
€1250
€4350 / 4850
(*) 2 options are given, only 1 will apply:
1) ISEA rents most equipment locally, I bring the bare essentials with me on the
plane
2) most equipment is shipped from the Netherlands, ISEA only needs to provide the
sound system
A separate rider is provided for each scenario.
Possible external funding: travel cost subsidy by the Dutch Performing Arts Fund, to be
applied for
Previous presentations
Integration.04 has been presented amongst others at: Electrochoc Festival, Bourgoin-Jallieu
(FR), Centras festival, Kaunas (LT), De Brakke Grond, Amsterdam (NL), TodaysArt festival, Den
Haag (NL), STEIM, Amsterdam (NL), NIMk, Amsterdam (NL), GLOW festival, Eindhoven (NL).
About Dieter Vandoren
Dieter Vandoren (°1981, Belgium) is a media artist, performer and developer. His work
balances on the edge of creative arts and scientific research & development. Drawing from
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his diverse backgrounds in music, informatics and interactive architecture, he is currently
occupied with the development and performance of spatial, immersive audiovisual
instruments with a strong focus on the embodied aspect of performance.
About iii
iii is an artist run platform for the development of self-made media based in The Hague
which supports idiosyncratic research trajectories that zigzag between disciplines and
distribution channels.
At ISEA 2015, iii would like to offer a perspective from independent research centered on
individual art practice. The research conducted within iii concerns expanded notions of
musical performance and engages with new technologies as vehicles to deliver unique
experiences to the audience.
Contact
Matteo Marangoni, iii coordinator:
[email protected], +31 (0)681344602, www.humbug.me, www.iiinitiative.org
Dieter Vandoren:
[email protected], +31 (0)614227143, www.dietervandoren.net
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