Real-time Visuals for Performance, Gaming, Installation, and Electronic Environments

在各种公认的实践中，实时视觉和可视化的使用现已司空见惯，包括舞蹈俱乐部的主播、在线多人游戏中的游戏设计师、电影制作人将其电影混音为现场电影院，以及设计师为更大的物理产品和环境制作原型。一些在叙事电影等传统媒体工作的艺术家已经进入了现场电影的领域。这其中包括英国电影制作人彼得·格林威和迈克·菲吉斯，他们现在主要在现场电影院工作，将他们的电影混音为表演。越来越多的音乐家在他们的工作中加入现场视觉效果。视觉艺术家正在将声音作为一种媒介与图像一起工作。计算机程序员被用来创建在不同媒体之间创建交互关系的文化内容。这些学科的研究人员需要分享知识。音乐家对时间和现场表演的掌握将使电影制作人受益，因为她创造了一部非线性互动电影。视觉艺术家的构图和色彩感觉将是计算机科学家在开发软件以实现新形式的游戏般的体验时的工具性知识。该网络将致力于建立各种形式和规范的视觉作为一种表演和“活”的媒介。传统上，视觉媒体主要被体验为“回放”媒体，在这种媒体中，视觉材料在时间上是固定的，并且从头到尾被播放。叙事电影和视频等基于时间的媒体的较老的例子可以被认为是简单回放的代表。编辑形式是准备这些形式的工作的核心，但当这些编辑结构最终确定并应用于磁带、电影或DVD时，它们就会运行自己的过程，在回放中没有实时变化。即使是在DVD上有多种播放选项的复杂菜单(带或不带解说)也不能被认为是真正的实时或执行。另一方面，实时视觉需要表演者或用户的干预。对于主播或直播制片人，他或她实时选择视频剪辑，选择效果选项，并决定图像和效果的合成。类似地，在多人游戏中，用户可以在环境中自由移动，迫使游戏实时适应并产生新的环境，以响应用户的可预测和不可预测的行为。在上述两种情况下，都会进行一些自动处理(例如，在主播的情况下对传入声音进行数字信号处理，在多人游戏的情况下用于绘制背景的预测算法)，但有一个现场元素与现场音乐或戏剧表演有一些相似之处。研究网络最终将把工作重点放在视觉媒体正在经历向现场直播、实时和基于性能的媒体的根本转变的方式上。这种媒介从音乐、计算机科学、戏剧和电影和视频中的自然祖先那里获得线索，包括蒙太奇等形式。这种跨学科背景将构成所提出的研究的核心，因此将展示存在于几个学科边界之间的研究人员的工作。

The use of real-time visuals and visualizations are now commonplace in a variety of publicly recognized practises, including by VJs in dance clubs, by game designers in online multi-player games, by filmmakers for remixing their films as live cinema and by designers for the prototyping of larger physical products and environments. Some artists working in traditional mediums such as narrative film, have moved into the realm of live cinema. This includes British filmmakers Peter Greenaway and Mike Figgis who now work primarily in live cinema, remixing their films as performance.Increasingly, musicians are adding live visuals to their work. Visual artists are working with sound as a medium alongside image. Computer programmers are employed to create cultural content that creates interactive relationships between different media. There is a need for researchers from these disciplines to share knowledge. A musician's mastery of time and live performance will benefit the filmmaker as she creates a non-linear interactive film. The visual artist's sense of composition and colour will be instrumental knowledge for a computer scientist as he develops software to allow new forms of game-like experience.The network will be concerned with establishing various forms and norms for visuals as a performed and "live" medium. Traditionally visual mediums have been primarily experienced as "playback" mediums, in which the visual material is fixed in time and is played from beginning to end. Older examples of time-based mediums such as narrative film and video can be considered as representative of simple playback. Editing forms the core of the work that goes into preparing these forms, but when these editing structures have been finalized and applied to tape, film or DVD they run their course and experience no live variation in playback. Even complex menus with multiple options for playback on DVD (with or without commentary) cannot in anyway be considered genuinely real-time or performed. Real-time visuals on the other hand require the intervention of a performer or a user. In the case of the VJ or live filmmaker, he or she chooses the video clips in real-time, selects the options for effects and determines the compositing of images and effects. Similarly in multi-player games the users can move freely in the environment forcing the game to adapt in real-time and produce new environments in response to both the predictable and unpredictable actions of the users. In both of the above cases some automatic processing occurs (i.e. digital signal processing of the incoming sound in the case of the VJ, prediction algorithms for drawing backgrounds in the case of multi-player games), but there is a live element that has some similarities to live music or theatrical performance. The research network will ultimately focus its efforts on the ways in which the visual medium is undergoing a radical shift into a live, real-time and performance-based medium. This medium takes its cues from music, computer science, theatre and natural ancestors in film and video including such forms as montage. This transdisciplinary background will form a core of the research presented and as such will present work from researchers who exist in between the borders of several disciplines.