March 19, 2015 by katie
With the basic game mechanic selected for the re-worked scene, we were able to move onto how to technically realise this.
The task is to build a system that will sense the placement of a playing card onto the table at one of the points of the clock face, and trigger the playing of an appropriate sound file.
To tie in with the game mechanic, we only want the sounds to play when the numbered playing cards are placed in their correct position on the clock face (so a 3 of diamonds at 3 o’clock, for example), rather than just anywhere.
For the playback part of the system we are using QLab, a piece of commercial software used widely by theatre lighting designers for programming and running lighting cues for conventional theatre productions. David Haylock has found this to be a reliable off-the-shelf solution when he’s used it on other projects.
David is writing a bespoke programme to process the inputs from the sensing system and communicate them to QLab.
We haven’t yet finalised what kind of technology we will build the sensing part of the system with, but here are the two options we have explored so far.
From some preliminary research David suggested using RFID tags and readers to build the system. RFID (Radio Frequency Identification) is commonly used in the retail sector for theft prevention, and so the components are cheap and easily available. You’ll also be familiar with RFID if you use an Oyster Card on London’s transport system. Our plan is to put tags inside the playing cards, and mount small readers under the surface of our card table.
We bought a few tags and readers, and David built a small test system. In its favour, RFID is quite stable and reliable. This is an important consideration if you’re relying on it to work, because it would spoil the immersive fiction if a technician had to come and help fix something during the scene. There is one major drawback though, in terms of it working with card games. Most card games (including our collaborative solitaire) involve stacking or creating piles of playing cards as part of the game play. RFID can’t really understand stacking (there are some complex workarounds, but basically stacking is out for our purposes). The RFID reader can only read the tag that is placed immediately on top of it. All tags piled on top of the first tag are blocked from being read, and so have no effect.
We think that this is a deal-breaker, so have looked around for other solutions.
David’s current avenue of investigation is image recognition, using a camera. David has recent experience of developing this kind of system from his work on the Playable City winning project ‘Shadowing’. He proposes using a PlayStation3 camera, which we will need to mount above the table looking down (with a birds-eye view of the card table). This part is relatively easy, we will just need to design our bespoke card table with a suitable structure above it to hold the camera. It is the recognition and processing of the images where the real work comes in.
A google search turned up several Open Source projects exploring this area, but after some investigation David has begun to write his own recognition programme. The recognition is a 2-stage process: 1 – the computer needs to recognise that it is seeing a playing card (markerless object detection); 2 – once it knows its a playing card, it needs to work out what number and suit the card is, by comparing the image it can see with the ones it has in its library and finding a match (Template Matching).
The potential down-sides of image recognition is that the system is very sensitive to differing light levels, but we propose to create a reliable lighting state by mounting a downward pointing lamp next to the camera above the card table to eliminate this issue.
The positives for our purposes are that the camera and system together behave more like the human eye – the camera sees the card on the top of the pile, and will be programmed to respond to that by triggering a sound. We will also be able to use a standard cheap card deck, rather than having to make or have manufactured a special card deck with RFID tags inserted.
There’s a lot more still to discover and test before we build the final system. Then there will be lots more testing! We’ll then build all of this into a specially constructed card table, which will conceal all the technology hardware, keeping the interface as close to the experience of a ‘normal’ card game as possible.
March 18, 2015 by katie
Some discussions with the show’s writer Clare Duffy helped to clarify our intentions for this re-worked scene: how we want the characters to be read; how we want the audience to feel; where the scene needs to get us to by the end.
Now we needed to find or create a suitable game mechanic to shape the audience’s interaction with the soundscape. I called on the services of games designer, and general genius, Holly Gramazio, to help us work out an elegant solution.
I was keen, if we could achieve it, that the interaction was actually the playing of a game, rather than an interaction that was essentially like pressing some buttons in a pre-defined or random sequence, which would likely be less satisfying.
Holly, David Haylock and myself spent an intense day of card-game-playing at the Pervasive Media Studio (its a tough job, but someone’s go to do it), trying out multiple types of existing and newly made-up card games. Holly’s inventive powers were put to good effect, and we came out of the day with the rough outlines of three possible options for games – each with a very different game mechanic. All three games were themed around the shape of a clock face (to tie in with our body clock theme), the first: a type of snap, the second: a simple betting game, and the third: a collaborative solitaire.
After some play-testing with friends and colleagues to test how enjoyable and easy to play each game was, and discussions with Clare the writer about which game type would fit best with the scene’s dramaturgy, I chose the collaborative solitaire.
It wasn’t the most enjoyable of the games, but game-play got easier as the game went on allowing players more ‘brain-space’ to listen to the soundscape that playing the game will trigger. It was also collaborative, rather than competitive, which seemed right as the two pairs who have been experiencing the show separately until this point, and may be strangers to each other, will join up in this scene and remain together until the end of the show. So building something together seemed preferable than potentially introducing friction that wasn’t helpful in terms of watching the rest of the show. It also fitted dramaturgically, as the players would be piecing together a picture of a clock face, card by card, whilst listening to sounds and snippets of overheard conversation that will piece together and illuminate previously concealed elements of the narrative.
I’ve been working towards bringing Black Tonic back almost since we finished the first run of shows back in 2009. That’s one of the reasons I’m so excited that we’ve finally made that happen in 2015.
As the years ticked by, and I gained some critical distance from the original production, something became clear to me. In our haste to get the show ready during the initial devising and rehearsal period, coupled with a lack of technical knowledge and very limited resources, we had failed to do justice to our original concept for the pivotal scene in the show – known to us as ‘Jo’s Room’.
The ‘Jo’s Room’ scene is where we take the audience to the dark (literally) heart of the show. We introduce them to ‘Jo’, a blind, card-playing criminal. In the original production ‘Jo’ was ably personified by an older male actor, and the scene was engaging, weird, and atmospheric. But I felt that we’d lost the metaphysical aspect of the character by having him physically there. He is our ‘Wizard of Oz’, and pulling back the curtain to reveal him there in his human size felt like a bit of an anticlimax.
You see, for us, ‘Jo’ is a blind-seer (in the manner of Tiresias from Greek myth), he ‘sees’ everything that happens in the hotel. He is profoundly blind and perceives no light, and therefore suffers from a genuine medical condition known as ‘free-running’ where his body clock drifts out of sync with the 24 hour clock by a few minutes every day until midday feels like midnight, and continues like this in an eternal loop. He also represents for us the ‘anti-hotel’: chaos, disorder, timelessness. Where the hotel is ordered, timetabled, obsessive-compulsive.
For the remount of Black Tonic in 2015 I wanted to re-design this scene to better communicate our character ‘Jo’. The way we’ve chosen to do this is to remove the live actor from the scene, and to invite our audience to inhabit Jo’s room in a way that allows them to almost ‘become’ Jo for the duration of the scene.
We are inviting the four audience members to play a game of cards together on a magic card table, where the laying down of a card allows us to listen in on a bedroom in the hotel and what is currently happening in there. As the game unfolds the audience members build a (sound) picture of the hotel, putting them in Jo’s shoes, so to speak.
We are lucky enough to be collaborating with Watershed in Bristol on the re-development of this scene, and are working with their Creative Technologist David Haylock to make this idea a reality.
Ahead of our 2015 re-tour of Black Tonic, we are taking the opportunity to polish, improve, and even completely re-make parts of the show to make it the best it can be for this new tour.
This blog series will chart the creative development process, and hopefully provide an insight into how a show like this gets made.
You can find all the blogs in this series here: Play Your Cards
July 17, 2014 by katie
Monnington House, Herefordshire February 2014
In February 2014 we brought together a small group of artists to develop ideas for a new project ‘Afterlife’ during a residential R&D week in rural Herefordshire.
‘Afterlife’ will be a 3 night residential retreat for 12 participants, where they are supported to select ONE memory from their life so far that would like to live in for eternity, and to receive artistic interpretations of the memory to take home that will act as memory triggers.
Our aim for the R&D week was to creatively interrogate the idea, and explore ways in which we could create this kind of experience for our participantaudience.
The artists all kept a journal during the week to note reflections and insights. Extracts from these are quoted below to help tell the story of the week.
We arrived at night, so none of us had a real sense of where we were, the look of the land nearby, if there were any houses, animals, etc… All this was unveiled the next morning. Having a secret location where participants arrive by cabs at night, might help with the sense of being retreated or in another dimension.
MONDAY : INTRODUCTORY EXERCISE: MAKING & WALKING A LABYRINTH
Every Monday should be labyrinth day! This was our first activity and one that I’ll keep in my mind forever.
The Labyrinth for me was a very apt introduction to what we are exploring. The group got together pretty fast and devised a way to make the shape of the Labyrinth collectively. The way these group dynamics worked contributed, I found, to the overall experience. The participation of everyone in the making of a common “game” with specific rules, and then the experience of walking the Labyrinth, helped me enter the right state of mind for thinking about the memories I would visit, and for sharing the space with the rest of the group.
TUESDAY & WEDNESDAY: CREATIVE EXERCISES TO SURFACE & REFINE MEMORIES
We tried out a variety of creative techniques to find ways to unlock our memories, using smells, music, meditation, writing exercises, and visual prompt cards.
I like the more tangential sessions, approaching memory less directly: so, meditation and images are good and fruitful, the ‘think of a happy memory’ questions less so.
One writing exercise was based on our five senses: smell, taste, touch, sound and sight. What I found surprising was that every single sense brought completely different memories to the ones I had over the week. Five brand new memories.
Next we experimented with ways to get inside the memory and flesh it out, using drawing and writing exercises, and describing the environment of the memory to camera, then watching the films back.
Feelings and emotions are a key to this retreat. As a participant I was asked to delve into my past memories and pick one. This process, apart from bringing back these memories as images, brought up feelings and emotions. In some cases more intense than others.
THURSDAY: CREATION OF IMMERSIVE MEMORY EXPERIENCES & CREATIVE MEMORY TRIGGERS
We created immersive re-enactments of two artists’ selected memories, and sought theirs and each others’ feedback on these.
Members of the team also created artistic interpretations of the two memories that would act as memory triggers: a haiku, a short piece of prose, a design for a trinket, a short film, an audio clip.
What worked for me was the interaction with other people’s memories.
The act of making the memory is a form of mythmaking. This has the power to make the participants feel like they really are the heroes of their stories if only momentarily.
We learned that the immersive experience is a powerful thing and valuable. It creates a new memory, linked to the original one.
Seeing her reaction [to the immersive reenactment of her memory] made me a little emotional, but in a very positive way as I felt we’d nailed her memory recall experience. I felt proud of our work as a team and could imagine the sense of achievement we’d get from helping other people to relive their memories and experiences.
Presentation to each other of artistic interpretations of our memories: micro films, creative writing, and designs for trinkets.
Creating something symbolic/impressionistic is more effective than something realistic. Also fragments are more successful as they allow room for the imagination. A sequence of fragments works well.
The team produced some beautiful things and experiences: films, immersive sensory experiences, poems, creative prose, designs for bespoke objects (drawings), tastes etc.
We found that the ‘metaphor’ of the memory is really helpful for creating the artistic memory triggers.
FRIDAY: A FINAL WALK & DEPARTURE
The difference with the sort of performance approach we have is that it puts the audience at the centre of the performance experience. The participants become directors of their own memories.
Katie Day | Mark Day | Chris Keenan | Jorge Lizalde | Katherine MaxwellCook | Xristina Penna | Louise Platt
Producer: Thomas Wildish
Director: Katie Day
Supported by the National Lottery through Arts Council England
A design fiction film providing an example of what could be created by our automated ‘Protagonist’ service.
Katie Day is Artistic Director of The Other Way Works, a theatre company based in Birmingham.
Dr John Troyer is Deputy Director of the Centre for Death and Society at the University of Bath.
Concept & Content Selection: Katie Day
Example User: Hannah Nicklin
Animation & Video Production: Hazel O’Brien
Music: Mark Day
A software engine to automatically create a video life story from an individual’s social media content, ‘This is You’ is a practical attempt to make sense of our vast stashes of personal data in a human, emotional and narrative way.
‘Protagonist’ is a REACT Strategic Projects Feasibility Study
Funded by the Arts and Humanities Research Council (AHRC), REACT (Research and Enterprise in Arts and Creative Technology) is one of four UK Knowledge Exchange Hubs for the Creative Economy and is a collaboration between UWE Bristol (the University of the West of England), Watershed and the Universities of Bath, Bristol, Cardiff and Exeter.
About the team:
Katie Day is Artistic Director of The Other Way Works, who create daring and remarkable theatre drawing the audience into the very heart of the experience. We recently produced Bandstand, a collection of audio performances for Bandstands delivered via a location-aware smartphone app. Katie Day produced Theatre Sandbox for Watershed in 2010, and brings that experience of developing theatre and technology projects to her own work on this project. “The Other Way Works is a dynamic young company that is successfully exploring the possibilities of what theatre can and might be” Lyn Gardner, The Guardian
Dr John Troyer is Deputy Director of the Centre for Death and Society at the University of Bath. His interdisciplinary research focuses on contemporary memorialisation practices, concepts of space and place, and the dead body’s relationship with technology. Dr. Troyer is also a theatre director and installation artist with extensive experience in site-specific performance across the United States and Europe.