Digital arts march 2012 pdf

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Approximately 2, Grants. Commerce Department. The ACPSA tracks the annual economic impact of arts and cultural production from 35 industries, both commercial and nonprofit. Sylvia Eckermann »n o w h e r e - ein welt raum spiel«. Ken Goldberg »Mori«. Curated by Colin Goldberg and Patrick Lichty. Acevedo will show his print from called: NYC Wright and Kate Crash. The panel was moderated by Michael J.

Some people in the theatre industry don't take kindly to the innovations that Mr Bird and his team at Knifedge are introducing to the stage.

Innovations like a computer-generated avatar sword-fighting an actor live on stage in his most recent show Pippin, transporting the audience to the world of a computer game. Or the sight of a Seurat painting gradually coming to life on stage in Sunday in the Park with George, the show which cemented Knifedge's reputation with an Olivier award for Best Set Design in Impressive feats like these by Mr Bird and others like him have meant that in the last five years the role of "video designer" has become increasingly common in theatrical programme credits - a term hardly known a decade ago.

So who are these "vidiots", and what do they want to do to theatre? No 3D glasses required. Mr Bird says he moved from working in television production to theatre, because TV follows a standard format that has not changed much over the last couple of decades. In a movement that some critics are calling "technodrama" and "mixed reality", shows across the globe have been embracing the latest digital technology.

And as the hardware and software become ever cheaper, the methods are trickling down to fringe theatre too. They are no longer just the preserve of big-budget shows by the likes of Robert Lepage.

The French-Canadian digital pioneer has brought the latest technology to world attention, for example by experimenting with 3D projection at New York's Metropolitan Opera. But what excites Mr Bird are the advances in 2D video projection technology. The real digital revolution, says Mr Bird, is that you can now map your 2D projections onto your particular stage set in a venue - rather than merely project onto a flat surface.

To achieve this, the Knifedge team spend thousands of hours at their desktops in their central London base, using software to map sets. They use modelling software like Vectorworks and 3D animation software like Maya, in tandem with more traditional techniques like card and glue modelling.

When the time comes to transfer these visions to stage, the team often bring sleeping bags to the theatre, working through the night to bring their designs to life.