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Space, Place, Sound, and Memory: Immersive Experiences of the Past

空间、地点、声音和记忆：过去的沉浸式体验

基本信息

批准号：
AH/R009228/1
负责人：
James Cook
金额：
$ 7.71万
依托单位：
University of Edinburgh
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2018
资助国家：
英国
起止时间：
2018 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FR009228%2F1
关键词：
Space Place Sound Memory Immersive

项目摘要

Listening to music is an experiential activity that connects listeners to their surroundings and to those around them. In part, the recent growth of the live performance industry is a direct consequence of this need to connect and share musical experiences in a communal space.But the transient nature of live performance presents real challenges. The physical properties and locations of spaces impose constraints on the nature of events and the geographical reach of performances, and, while recordings can capture the sound of performance, they stop short of allowing the listener to feel a sense of presence and participation. This is a challenge that is only amplified when one considers early music performances: even a curated performance in a modern venue loses much of the detail that characterises historic performance.Immersive technologies offer huge potential for modern audiences to experience these transient qualities, and for allowing performers to recreate historic performances as they would originally have been experienced. This project brings together cross-disciplinary expertise from a range of academic, industry and cultural partners to explore the point where performance practice, gaming and VR, technology, and culture and heritage meet.We will use 3D imaging, binaural and surround sound, and room-impulse responses to create a software application that allows users to experience the performance of early music in an accurately-modelled historic space. The development of this application will draw on the development experience of our technical partner, Biome Collective, who have significant experience of using mobile technologies to create immersive augmented reality experiences.We will work with two contrasting spaces and related repertories: St Cecilia's Hall and Rosslyn Chapel. Both sites benefit from pre-existing architectural research, and there are extensive records of historical concerts, which will enable us to recreate particular musical events using instruments from the Russell Collection, and a performance of a sung liturgical service by the renowned Binchois Consort in combination with our software.From an audience perspective we will explore how immersive media technologies might bring us closer to the original experience of early music, while from the perspective of performers and musicologists, it will allow us, for the first time, to explore systematically concepts of space and place within the context of historic performance.Through the process of creating this new technology, we will explore and create an outline taxonomy of the key psycho-physical cues that promote the sense of presence and immersion within a shared simulated performance space, describe how they combine to create convincing spaces, and investigate the methods that allow us to measure their efficacy.By hosting the Binchois Consort's performance in virtual space, we will also have the opportunity to explore a number of questions relating to performance that have the potential to serve as the basis for a much deeper follow-on investigation: To what extent does performing in a virtual space impact upon performance practice? What are the challenges and opportunities involved in bringing together musicians and audiences who are geographically remote to a co-located virtual space? How might immersive media technologies change how we curate physical and digital performance spaces? How might they be used to develop existing audiences and reach new ones, particularly those who are hard-to-reach?This final question is of direct commercial relevance, particularly to our partner organisation, the Royal Scottish National Orchestra, who are committed to using technology as a tool to develop audiences and extend their existing outreach work, suggesting a possible avenue for commercialisation and further development. The RSNO have kindly agreed to assist us in working directly with their audiences for user testing.

听音乐是一种体验活动，它将听众与他们周围的环境和周围的人联系起来。在某种程度上，现场表演行业最近的增长是这种需要在公共空间中联系和分享音乐体验的直接结果。但现场表演的短暂性带来了真正的挑战。空间的物理属性和位置限制了事件的性质和表演的地理范围，虽然录音可以捕捉表演的声音，但它们不能让听众感受到存在和参与感。当我们考虑早期的音乐表演时，这是一个更大的挑战：即使是在现代场地进行的精心策划的表演，也会失去许多具有历史表演特征的细节。沉浸式技术为现代观众提供了巨大的潜力来体验这些短暂的品质，并允许表演者重现他们原本会经历的历史表演。该项目汇集了来自学术、行业和文化合作伙伴的跨学科专业知识，探索表演实践、游戏和VR、技术、文化和遗产的交汇点。我们将使用3D成像、双耳和环绕声以及房间脉冲响应来创建一个软件应用程序，使用户能够在精确建模的历史空间中体验早期音乐的表演。该应用程序的开发将借鉴我们的技术合作伙伴Biome Collective的开发经验，他们在使用移动技术创建沉浸式增强现实体验方面拥有丰富的经验。我们将与两个截然不同的空间和相关的剧目合作：圣塞西莉亚大厅和罗斯林教堂。这两个地点都受益于先前的建筑研究，并且有大量的历史音乐会记录，这将使我们能够使用罗素收藏的乐器来重现特定的音乐事件，并结合我们的软件，由著名的Binchois乐团演唱一场礼拜仪式。从观众的角度来看，我们将探索沉浸式媒体技术如何使我们更接近早期音乐的原始体验，而从表演者和音乐学家的角度来看，它将使我们第一次能够在历史表演的背景下系统地探索空间和地点的概念。通过创造这项新技术的过程，我们将探索并创建一个关键的心理-生理线索的大纲分类，这些线索可以在共享的模拟表演空间中促进存在感和沉浸感，描述它们如何结合起来创造令人信服的空间，并研究使我们能够衡量其功效的方法。通过在虚拟空间中举办Binchois Consort的表演，我们也将有机会探索一些与表演有关的问题，这些问题有可能作为更深入的后续调查的基础：在虚拟空间中表演对表演实践的影响程度有多大？将地理位置遥远的音乐家和观众聚集到一个虚拟空间中有什么挑战和机遇？沉浸式媒体技术会如何改变我们策划实体和数字表演空间的方式？如何利用它们来发展现有的受众并接触到新的受众，特别是那些难以接触到的受众？最后一个问题与商业直接相关，特别是对我们的合作组织苏格兰皇家国家管弦乐团来说，他们致力于利用技术作为一种工具来发展观众，并扩展他们现有的外展工作，这为商业化和进一步发展提供了可能的途径。RSNO已同意协助我们直接与他们的受众合作进行用户测试。