AndresColubri MFAthesis Final

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UNIVERSITY OF CALIFORNIA Los Angeles Record of Creative Work A comprehensive exam report submitted in partial satisfaction of the requirements for the degree Master of Fine Arts in the Department of Design | Media Arts by Andrés Colubri September 1, 2009 1 Latent State: a theoretical and practical study of Live Cinema Andrés Colubri 2 Table of Contents Abstract ..............................................................................................................................
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  UNIVERSITY OF CALIFORNIALos AngelesRecord of Creative Work A comprehensive exam report submittedin partial satisfaction of the requirements for the degreeMaster of Fine Arts in the Department of Design | Media Arts byAndrés ColubriSeptember 1, 20091  Latent State: a theoretical and practical study of Live Cinema Andrés Colubri 2  Table of Contents Abstract .....................................................................................................................................................4Introduction................................................................................................................................................5a. Conceptual motivations.....................................................................................................................5 b. Personal motivations.........................................................................................................................6c. Thesis organization............................................................................................................................8Part 1: Theory. Conceptual and historical antecedents..............................................................................91.1 Artists as tool creators, tools as extensions of the artist..................................................................91.2 Open source, open experimentation..............................................................................................121.3 The elements of live laptop-based performance............................................................................151.4 Spacial narrative in Live Cinema..................................................................................................221.5 Open and closed liminality: the contradiction of Live Cinema.....................................................241.6 Live drawing, live process ............................................................................................................261.7 Case studies...................................................................................................................................321.7.1 Sue-C and Laetitia Sonami's Sheepwoman...........................................................................321.7.2 Living Cinema by Pierre Hebert and Bob Ostertag...............................................................361.7.3 Laurie Anderson's The End of the Moon...............................................................................37Part 2: Practice. Latent State Live Cinema piece.....................................................................................392.1 Background...................................................................................................................................392.2 The Challenger accident of January 26th, 1986............................................................................422.3 Psychological effects of the Challenger disaster on Latency Stage children................................482.4 Latent State storyboard..................................................................................................................502.5 Performance at the Experimental Digital Arts space.....................................................................542.6 Performance at the Museum of Jurassic Technology....................................................................56Conclusions..............................................................................................................................................59Appendix: Andiamo. Software tool for Live Cinema performance.........................................................61I. Aims of the software .......................................................................................................................61II. Architecture.....................................................................................................................................63III. Installation.....................................................................................................................................64IV. Interface overview.........................................................................................................................65V. Video layer......................................................................................................................................72VI. Drawing layer................................................................................................................................75VII. Animations...................................................................................................................................79VIII. Filter layer..................................................................................................................................813  Abstract This work explores the practice of live cinema performance, which can be defined as thecreation of audio-visual pieces where the recording, editing and projection/playback of the video andsound material is performed by the artist(s) in real-time in front of a live audience. This explorationwas carried out in three complementary levels: a meta-level concerned with the narrative and audio-visual languages involved in this type of live performances, a technically-centered level that deals withissues of software architectures and interfaces suitable for real-time manipulation of video, audio and post-processing effects, and a more practical level which involves the entire process of creating a livecinema piece from the initial conceptualization to the final performance event.Thematically, this work can be seen as a meditation on the collision of childhood fantasies withthe harsher facts of the “adult” world, such as tragedy and death, within a highly mediatedenvironment. Footage from the accident of the space shuttle Challenger on January 28th, 1986,intertwined with playful fantasies of space travel, supplies the raw visual and emotional substance for these meditations.From a more technical standpoint, this piece has been created using new open source video andimage filtering libraries for the Processing programming language. This libraries and other softwarecomponents I implemented are part of an ongoing research on real-time audiovisual practices, particularly from the standpoint of performer-computer interfaces. The combination of high performance video capabilities with the ease of use and accessibility of Processing leads to an open-source framework where live cinema experiments can be carried out more freely.4
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