Erik Geelhoed

Sensing a live audience

Psychophysiological measurement has the potential to play an important role in audience research. Currently, such research is still in its infancy and it usually involves collecting data in the laboratory, where during each experimental session one individual watches a video recording of a performance. We extend the experimental paradigm by simultaneously measuring Galvanic Skin Response (GSR) of a group of participants during a live performance. GSR data were synchronized with video footage of performers and audience. In conjunction with questionnaire data, this enabled us to identify a strongly correlated main group of participants, describe the nature of their theatre experience and map out a minute-by-minute unfolding of the performance in terms of psycho-physiological engagement. The benefits of our approach are twofold. It provides a robust and accurate mechanism for assessing a performance. Moreover, our infrastructure can enable, in the future, real-time feedback from remote audiences for online performances.

A Distributed Theatre Experiment with Shakespeare

This paper reports on an experimental production of The Tempest that was developed in collaboration with Miracle Theatre Company realised as a distributed performance from two separate stages through a dynamically configured telepresence system. The production allowed an exploration of the way a range of technologies, including consumer grade broadband, cameras and projection technologies could affect the development and delivery of live theatre by regional touring company. The architecture of the communication platform used to deliver the performance is introduced as are two novel software tools that are used to describe and control the way the play should be captured and represented. The experimental production was thoroughly evaluated and the feedback from audience and theatre professionals is presented in some detail. A considered observation of the process and the way it differs from film, TV and theatre suggest that distributed theatre can be treated as a new genre of storytelling.

Experiments with Distributed Theatre

The Tempest was probably the last play that Shakespeare wrote alone. It is unlikely that he would contemplate it being performed 400 years later, and even more unlikely that he could imagine an adaptation that allowed it to be performed as single play in two venues: providing two completely different yet shared experiences of one story. This achievement, enabling this distributed performance using consumer-grade technologies, was the result of a close collaboration between the Miracle Theatre Company and the EU co-funded Vconect project. It highlights the importance of close collaboration between artists and technologists in achieving significant progress in multimedia with mass appeal.

Co-present and remote audience experiences: intensity and cohesion

This article presents the results of modelling audience response to new types of networked theatre plays. As the main contribution of the work we introduce two types of metrics: intensity, relating to how intensively co-present and remote aspects of a performance are rated, and cohesion, relating to how a performance as a whole, the combination of co-present and remote aspects, affects an audience. In particular, we model audience response based on two in the wild evaluations, staged by a low budget theatre company, a streamed and a distributed performance. The streamed performance is similar to NT Live, where a theatre play is delivered to other theatres with an audience. The distributed performance, on the other hand, connects actors in two different theatres (with audiences) creating one single play. The streamed performance was experienced as less intense as well as less cohesive by the remote audience, whilst the distributed performance integrated co-present and remote aspects tightly. Remote aspects of the distributed performance were still experienced as less intense, but the performance as a whole was highly cohesive. Apart from the identification of these two new metrics (intensity and cohesion), based on our experiences we argue that an innovative way of bundling relevant emerging technologies is needed to give a voice to the, as yet silent, remote audience.

How Are We Connected? Measuring Audience Galvanic Skin Response of Connected Performances."

Accurately measuring the audience response during a performance is a difficult task. This is particularly the case for connected performances. In this paper, we staged a connected performance in which a remote audience enjoyed the performance in real-time. Both objective (galvanic skin response and behaviours) and subjective (interviews) responses from the live and remote audience members were recorded. To capture galvanic skin response, a group of self-built sensors was used to record the electrical conductance of the skin. The results of the measurements showed that both the live and the remote audience members had a similar response to the connected performance even though more vivid artistic artefacts had a stronger effect on the live audience. Some technical issues also influenced the experience of the remote audience. In conclusion we found that the remoteness had little influence on the connected performance.

Composing for a Latency-Rich Environment

Three new works were commissioned for the pilot performance of Online Orchestra: In Sea-Cold Lyonesse by John Pickard, Spiritus Telecommunitas by Federico Reuben and Re-Tracing by Jim Aitchison. This article brings together post-project interviews with composers and detailed analyses of the final compositions in order to document how composers approached the challenge of writing music for a latency-rich environment. Solutions include the use of distributed textures, polyrhythm and ostinati, blurred transitions, slow rates of harmonic change, layered textures and semi-improvised rhythmic notation. This leads to consideration of the medium of Online Orchestra – a telematic performance environment for distributed young and amateur musicians to make music together – and the conclusion that latency-rich environments hold significant potential for composers.

Experiencing Online Orchestra - Communities, Connections and Music-Making through Telematic Performance

Telematic performance offers significant potential for musicians in remote communities to perform together, increasing access to the type of ensemble music-making that is commonplace in urban areas. This article presents a range of perspectives taken from interviews with participants in the Online Orchestra pilot performance. Participants highlight the significant potential of telematic performance to overcome the challenge of music-making in geographically remote communities. The feasibility of making music in latency-rich environments is corroborated, as is the importance of the conductor in telematic performance. Suggestions are given for the fine tuning of peripheral equipment, and a preference emerges for the more traditional and simple music commissioned by the project.

Exploring the complexity of understanding, managing and marketing codes for sustainability in the current economic climate – issues for the small builder

In the UK the Code for Sustainable Homes (CSH) is set to become mandatory in 2016. However current attitudinal research highlights unwillingness within the major construction industry although there is some promising research regarding occupier awareness. Little is known about attitudes of Small to Medium Building Enterprises regarding the CSH. We conducted an in-depth interview study with builders and found that by and large they have a good understanding of the CSH and value a good relationship with building inspectors. In addition they are not computer illiterate and have been using technology for decades. Their use of “estimating” software allows them to gain intricate knowledge of all the different stages of the building process and as such presents itself as a promising vehicle to also educate them about the CSH.