<nettime-ann> ____interactive digital cinema workshop

[Brunhild Bushoff <sagasnet@sagasnet.de>]

.

Title: ____interactive digital cinema workshop

call for participation

Interactive Digital Cinema Workshop
ZKM, Karlsruhe
October 19 – October 25 2006

Besides effecting production, distribution and projection
technologies and procedures the rollout of digital cinema 
will enable interactive experiences in cinemas even without
further major financial investments.

During this intense 5 day-workshop participants will explore
the potential for new interactive film theatre experiences
starting with a look back at early interactive cinema projects and
building on advances in interactive technologies and media usage.
(keywords: multi-user <–> single location/several networked locations,
live-gaming, VJing, machinima, group-interaction, live cinema, 
databased narratives, ad-hoc customization of content, live audience participation,
expanded cinema, d-cinema-alternate content...)

sagasnet workshops are aiming in the first place at professionals 
(developers, writers, producers, designers, programmers, artists, researchers...)
coming from MEDIA member countries. Applicants coming from other countries
please contact the sagasnet office for details. 


application forms: www.sagas.de
There is a limited budget for scholarships available.
Timetable: see below

Best regards,
Brunhild Bushoff

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 __a non profit initiative to further interactive
 content creation in the frame of the MEDIA
Programme TRAINING ______________________________

____________________________________________

Interactive Digital Cinema Workshop
Preliminary Timetable

Thursday, October 19 2006
Arrival
7.00 p.m. Meet & Greet

Friday, October 20 2006
9.15 a.m. Brunhild Bushoff (sagasnet)
Opening Speech

9.30 a.m. Greg Roach
Introductionary Session Part 1

Identifying the opportunity

How digital projection, next generation platforms and the growing
pervasiveness of interactivity are combining to create a unique,
new opportunity for filmmakers. What separates digital interactive
cinema from games, interactive narrative or other forms of new media.
The overview will then be followed by a detailed examination of Sony's
failed InterFilm project. We'll also look at a brief overview of
interactive cinema in general and examine the range of expectations
audiences are likely to bring to the genre.


11.00 a.m.  Chris Hales
Kinoautomat Rediscovered
This presentation will explain and contextualise the world’s first
interactive film system, ‘Kinoautomat, which ran for several hundred
performances at the Expo’67 in Montreal. Created in Czechoslovakia
as the brainchild of Raduz Cincera, the film’s seminal interaction and
narrative scheme has been much discussed in the academic literature -
despite the fact that it had never been publicly performed since 1974.
Interactive cinema was most certainly kick-started by the Kinoautomat,
even though it predated the use of digital technology
(it was shot on film and shown using synchronised projectors).
Although Mr Cincera himself died a few years ago, I have conducted research
in Prague in collaboration with his eldest daughter to author an interactive DVD
using the original material of the film (which was actually entitled "A Man and his House")
and have edited a book of 120 pages around the subject of Kinoautomat.
Additionally, in February 2006 a ‘live’ screening was produced at the National Film Theatre in London.
The presentation will include a run-through of the DVD.
www.kinoautomat.org

12.30 a.m. LUNCH

2.00 p.m. Greg Roach
Introductionary Session Part 2

Possible Modes of Interaction

Hhow might the audience effect and alter the experience?
Narrative forms, aesthetic variance and different ways
to compute the results of audience choice.
Media forms in interactive cinema: film, video and real-time 3D. The
implications of media choices on both emotion and interaction. A
detailed look at Volumetric Cinematography and it's implications for
interactive cinema.
Playback engines: from high-end PCs to XBox, xServe, HD DVD, Blu-Ray and
PS3 - the choice of platform is more powerful and robust then ever
before. How do you know which to choose?
The problems of group interaction: input forms (gesture, sounds,
buttons, etc), interface constraints, user feedback techniques,
signal-to-noise. The tyranny of the majority.
Basic production overview: how do you go about combining film making and
computer software design?

4.00 p.m. Greg Roach
First Brainstorming Session with assignment for exercise

Saturday, October 21 2006

9.30 a.m. Greg Roach
Presentation and discussion of exercise results

11.00 a.m. Chris Hales

Interactive Film Performance, based on the experience of ‘Cause and Effect’.

Since 2002 I have been creating interactive movies specifically for ‘live’ performance
to large groups, and have taught numerous workshops from which additional films
have been created. This hour-long show will present a variety of these films,
each of which can be affected by the audience in a different way, for example
audio frequency detection or the video-tracking of a bright light.
Most of the films fit into the existing repertoire of ‘Cause and Effect’, a collaboration
between myself and Teijo Pellinen, which has performed almost thirty live shows
at various venues and events in Europe and North America and from which important
experience has been gained.
www.causeandeffect.tk

12.30 a.m. LUNCH

2.00 p.m. . Friedrich Kirschner
Using Realtime Engines and Machinima for Audience Participation
The Session will introduce the machinima approach of creating live
performances with audience interaction - using game engines to
produce realtime content that can react to audience participation
in a wide variety of ways. Examples and demonstrations will illustrate
basic approaches to use this new way of animated filmmaking in a
performative context.

4.00 p.m. Greg Roach/ Tom Klinkowstein
Second Brainstorming Session followed by group work sessions


Sunday, October 22 2006

Horizon Projects Workshop

Horizon Projects are proposals for the future created
to gain fresh perspective on current creative undertakings.
This workshop employs the Horizon Projects premise as a
tool to imagine new forms, locations and themes for
the interactive cinema concepts already created to that
point in the larger workshop.

9.15 a.m. Tom Klinkowstein
Introduction, teams formed, teams work ...
 
12:00 a.m. Tom Klinkowstein
Proposal presentations by teams from the perspective
of the Future Frame of Reference, followed by discussion/
feedback from the other members of the workshop.

1:15 p.m. Lunch
 
2:15 p.m. Tom Klinkowstein
Proposal presentations continued ...

3.15 p.m. Tom Klinkowstein
Team work sessions

5.00 p.m. Tom Klinkowstein
Presentations with iterated proposals based
on morning feedback and suggestions on how
what is being proposed for the future might be
adapted to current conditions. Wrap-up discussion.

Monday, October 23 2006
9.15 a.m. Greg Roach
Final team formation and reconsidering concepts on the basis
of brainstorming and Horizon workshop results,
Assignment for building a (paper) prototype
Mentored group work session

12.30 a.m. LUNCH

1.30 p.m. Greg Roach
Mentored group work session

3.00 p.m. Greg Roach
Testing and feed-back


Tuesday, October 24 2006
9.15 a.m. Greg Roach
Mentored group work session
Preparing for final concept presentation

12.30 a.m. LUNCH

2.00 p.m.  Greg Roach
Final concept presentation, discussion and overall evaluation

Wednesday, October 25 2006
Departure

BIOS

Christopher Hales
Artist and researcher specialising in interactive film and video,
based in the Smartlab? research centre of the University of East London.
Taught many years in art/design with computers, and studied MA Interactive
Multimedia at the Royal College of Art, London. His PhD "Rethinking the
 Interactive Movie" is due for completion in October 2006.
His cdroms were selected at numerous film/multimedia festivals,
and his touch-screen installation (showing a dozen or more films)
was presented in Seoul, Helsinki, Warsaw, Nagoya, San Francisco and
Sydney (amongst other places) and was included in the 2003 "Future Cinema"
exhibition curated by the ZKM. He writes frequently about "interactive moving image",
has taught over 80 short workshop courses on this subject in numerous institutions
in Europe, and is a regular speaker at international events. Recent projects include
 "Cause and Effect", an experimental interactive cinema performance staged
with Finnish colleagues, and a research project in Prague to rediscover the
"Kinoautomat" from 1967 - the world's first interactive
movie.
www.kinoautomat.org
www.causeandeffect.tk
www.smartlab.uk.com




Friedrich Kirschner
Friedrich Kirschner is a filmmaker, visual artist and board member of the Academy of
Machinima Arts and Sciences. He recently worked as a senior researcher at the
Ars Electronica Futurelab in Linz. He re-purposes computer games to create animated
narratives and interactive performances.
His award-winning work has been shown at various international animation festivals
and exhibitions, including the ZKM Karlsruhe, the American Museum of the Moving Image,
the Ottawa international Animation festival and the Künstlerhaus in Vienna.
He also publishes machinimag, an online magazine focussing on the development
of the emerging art form of machinima moviemaking.
www.zeitbrand.net
friedrich.kirschner@zeitbrand.net




Tom Klinkowstein
Tom Klinkowstein is President and Creative Director of Media A, LLC,
an internationally recognized design and consulting group with clients such as NASA,
Reuters, the Ford Foundation, Jazz at Lincoln Center, Nissan and Japan Airlines.
He has spoken to over 100 art, design, business, political and academic groups,
including the United Nations Conference on the Information Society, the Smithsonian
Institute’s Cooper Hewett Museum of Art and Design, the McLuhan Program in Culture
and Technology at the University of Toronto, the Industrial Design Centre at the Indian
Institute of Technology in Mumbai and the Dutch Design Institute’s, Doors of Perception conference.
Klinkowstein previously was a professor at the West Brabant Art and Design College
in the Netherlands and since 2000, an Associate Professor of New Media at Hofstra
University on Long Island. He is also an Adjunct Professor at Pratt Institute of Art and Design in New York City.
His work has been shown in art centers, museums and galleries throughout the world,
including the Centre Pompidou in Paris and the Venice Biennale in Venice, Italy. Mr. Klinkowstein’s
work also can be found in the archive of the Foundation for the Conservation of Contemporary Art in The Netherlands.




Greg Roach
Greg Roach, M.F.A., is the CEO and Artistic Director of HyperBole Studios, which he founded in 1990.
For nearly fifteen years Roach has been recognized as a worldwide leader in the field of interactive film,
video and storytelling. His company, HyperBole Studios, explores interactive multimedia as a new artistic and cinematic form.
In 1990, Roach´s first effort was the creation of an online, interactive digizine - years ahead
of the internet explosion. During the two years he published HyperBole magazine, he designed,
wrote and produced the world's first interactive, multimedia novel. The Madness of Roland, one of the first
non-reference CD-ROM's, which was published to great acclaim. While finishing work on Roland, Greg also wrote,
produced and directed a short interactive film called The Wrong Side of Town, a
work that the American Film Institute considers to be the "first interactive narrative film."
With these two milestones under his belt, Greg began work on Quantum Gate, the industry's first full-length interactive movie,
and the first product to use his newly conceived VirtualCinema technology.
His first six years in business culminated when Fox approached him and asked him to helm the much sought after X-Files game.
Upon its release The X-Files Game exceeded all expectations,
premiering at number one in nearly every territory where it was released, and going on to sell over a million copies worldwide.
Currently he is primarily focused on the DVD and wireless platforms.
The ROM applications which he designed for "The Terminator 2: Extreme" DVD won an IRMA award for best DVD ROM.
He is currently working on several DVD and wireless projects for major publishers.
Recently, he presented a paper entitled "Imagine Places: Distributed Telepresence
Installations for Creating Immersive Historical Reconstructions" at the UNESCO "World Heritage in the Digital Age" conference held in Alexandria, Egypt.
   

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