We were developing several experiences crossing the Cc-client developed by CIANT and the Motion capture recorder plugin developed by stéphane Kyles to approach hybrid relation between dancers, sensors and 3D/ VRML real time environments.

We developed a kind of study interested, to update the model build in 2001 and to pervert as artists/programmers the original goal of the unreal tournament engine, dedicated to 3D games, using and developing inside that environment all its potential, as graphic, as programmability in terms of physics/Karmas, dynamic lighting, and artificial intelligence implementation dedicated to avatars/3D characters, virtual storytelling and data streaming as Unreal TV.

Several simulations were made using that model of the VITKOV Pamatnik as stage design, video projections, laser and dynamic lightning for performence or future installations presented there during the festival “Inter-multimediale#2”.That model finally becomes a space of experimentation. It was adapted to Unreal engine and becomes a visual actor of the “VIRUS” performance.

MAGMA.ID is a 3D/VRML multi-user environment shared on the Internet. The installation will propose to users / performers an immersive experience that will allow the interconnection of users and machines across the Internet in a METASPACE based on the digital hybridization of 3 geographical spaces that integrate virtual characters animated based on motion capture system, pictures, videos and sounds.

KOMPOZIT

The space of performance, informance and transformance deals with a theme “Actual and Apparent Environments in Scenic Art“. This interactive space results from the sum of analytical thinking about the artistic satellites “Artjom MR“ and “Artjom MM“. These satellites have become substitutes for the bodies of real actors. The installation / performance exposes above all the communication among multiple authors, their languages and stylistic formations. It requires and makes use of interdisciplinary group effort. New technologies and new media do demand such a composite thought, without which there would be no passage into a sphere of weightlessness and unexplored gravities.

Dragan Živadinov, Dunja Zupancic

We graft encumbering organs to our dancers by equipping them with data-processing peripherals as motion capture systems. If this hybridization cuts down their freedom of movement, it enables them in return to contaminate the virtual space and the time of representation. They will reveal perhaps thus, one referent of the other and reciprocally engaged in a process of technological and creative deconstruction, the out of border of the body, mechanical, or formatted by the dictatorship of the illustration.

The goal is to create a crossing between real and virtual stage and not the illustration of this crossing.

V.I.R.U.S. is one of the first performances connecting contemporary dance with game technologies. Whereas the implementation of various (camera, magnetic) motion-capturing systems is rather common in the domain of performing arts, the advanced game technologies are still a novelty. Their use in combination with some of the traditional technologies in the field of dance and theatre becomes a pilot enterprise.