Performing Mixed Reality
Performing Mixed Reality
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DOI：
10.5860/choice.49-2555
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发表时间：
2011-08
期刊：
影响因子：
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通讯作者：
S. Benford;G. Giannachi
中科院分区：
文献类型：
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作者：
S. Benford;G. Giannachi
在现场表演的前沿工作，新兴一代的艺术家正在利用数字技术创造独特的互动形式，分布式，往往是深刻的主观戏剧表演。这些艺术家的作品不仅从根本上改变了剧院的体验，也重塑了人类与计算机互动的本质。在本书中，Steve Benford和Gabriella Giannachi为理解这些体验提供了一个新的理论框架-他们称之为混合现实表演-并记录了一系列具有里程碑意义的表演和装置，这些表演和装置将真实的与虚拟的，现场表演和互动性相结合。Benford和Giannachi借鉴了诺丁汉大学混合现实实验室开发的一些作品，描述了与艺术家（最著名的是爆炸理论小组）的合作，这些合作逐渐发展出一种独特的跨学科方法，将实践与研究相结合。他们从不同的角度对这些作品进行了详细和扩展的描述，包括对艺术家和混合现实实验室研究人员的采访。作者开发了一个总体理论来指导混合现实性能的研究和设计，该理论基于通过空间，时间，界面和角色的混合结构的交错轨迹方法。规范、参与者和历史轨迹的结合显示了这样的表演如何建立起真实的与虚拟、局部与全局、事实与虚构、个人与社会的复杂结构。
Working at the cutting edge of live performance, an emerging generation of artists is employing digital technologies to create distinctive forms of interactive, distributed, and often deeply subjective theatrical performance. The work of these artists is not only fundamentally transforming the experience of theater, it is also reshaping the nature of human interaction with computers. In this book, Steve Benford and Gabriella Giannachi offer a new theoretical framework for understanding these experiences--which they term mixed reality performances--and document a series of landmark performances and installations that mix the real and the virtual, live performance and interactivity. Benford and Giannachi draw on a number of works that have been developed at the University of Nottingham's Mixed Reality Laboratory, describing collaborations with artists (most notably the group Blast Theory) that have gradually evolved a distinctive interdisciplinary approach to combining practice with research. They offer detailed and extended accounts of these works from different perspectives, including interviews with the artists and Mixed Reality Laboratory researchers. The authors develop an overarching theory to guide the study and design of mixed reality performances based on the approach of interleaved trajectories through hybrid structures of space, time, interfaces, and roles. Combinations of canonical, participant, and historic trajectories show how such performances establish complex configurations of real and virtual, local and global, factual and fictional, and personal and social.