Semester B: Week 31
Student: Tai Ser Yeet (22064351)
Programme: BA (Hons)(SW) Digital Media Design
WEEK 31
Evaluation of the Sixth Sense Performative Installation by Ser Yeet Tai
This evaluation observes the mechanical and creative aspects of Sixth Sense, an interactive performative installation that embodies the concept of proprioception, which is the body’s ability to feel its own movement and position in space. As the digital landscape evolves with social media being the main medium of communication, a prevalent shift where dancers prioritise looking good for social media has triumphed over deep introspection. This screen-obsessive culture, reinforced by mobile phone addiction and a dependency on online validation, often leads to emotional detachment. Hence, the installation acts as a live mirror that resembles the participant’s internal state and pulls the focus away from external aesthetics. Furthermore, the idea pulls influences from the immersive exhibition seen at Tate Modern, such as the shadow-play of Nalini Malani which explores how the use of projection mapping can convey deep, introspective stories.
A key component of this project is a live performance taking place at set times during the Degree Show, in which I will carry out a choreographed routine designed to work in sync with the motion graphics. The performance aims to bring the concept of somatic awareness to life and create an immersive, multisensory experience that intensifies the audience's emotional engagement, countering the reality disconnection caused by the digital culture. To achieve the real-time performance, the core mechanics run on data fed from the Kinect V2 motion sensor using the player index, which obtains the live performer’s silhouette and produces velocity points, reflecting the four components of the Laban Movement, including Direction, Weight, Speed, and Flow.
The visual elements of the generative projections facilitated by Touch Designer are organised into five components containing networks that are composited together to form the final visual. Each of these elements exists to symbolise the different internal states of the body in motion. Firstly, yellow streaks over a blue background form the base layer that provides an environmental fill which fades away when in contact with an object, creating a negative space effect. Secondly, the pink streaks provide contrasting colour accents and are made to simulate a vortex that also highlights the high energy of the performance. Thirdly, a pre-recorded video adds a cinematic dimension to the overall visual as it simulates a digital duet performance between the live performer and the recorded performer, which also brings a touch of humanity and a truly immersive, alive presence to the space. The fourth layer is a gradient fluid which converts the performer's momentum from body movements into liquid diffusion that spreads across the entire screen. The final layer is a crisp body outline generated from live Kinect data, positioned on top of all other elements so that it acts as a point of focus even when the background is cluttered with noise. The outcome is projected onto a 12 x 9-foot front projection screen, creating an immersive, large-scale environment for the performance.
The installation is disseminated in two ways: a live performance and a participatory activity. The structure of the real-time performance consists of a choreographed conversation between a real-time performer and the system and encompasses three acts playing concurrently. About the live execution, it starts off with the performer moving through the yellow and pink streaks accompanied by the fluid simulation to introduce the idea of kinesthetic awareness. Subsequently, the outline of a pre-recorded dancer enters the picture along with the white body outline of the live performer, effectively shifting the dynamics and creating a duet performance. As the performance comes to an end, the system congregates all layers to fully illustrate the climactic moment where tension and rawness are felt. Digital distribution of the project is conducted through an Instagram account (@sixthsensedance) and through promotional posters printed and hung around the university campus. Ironically, despite criticising social media's impact on dance, the piece makes use of the platform as a digital archive to connect with a worldwide community of dancers and creative technologists.
Outside of the scheduled performances, the project transitions into a participatory event where the public has full liberty to direct the space and explore freely in front of the Kinect motion sensor. As a result, this enables them to deviate from being passive viewers to active contributors who shape their own somatic experience. For context, the participant discovers the A238 studio through either promotional material or by chance. After watching the promotional material displayed on the monitor and reading the related signage, they understand the concept of this installation and step into the dedicated playing area one at a time. The Kinect detects the participant’s presence and provides immediate visual feedback, activated by the velocity of their movements. Over time, the user's focus changes from how they seem on screen to how it physically feels to generate the visuals.
The primary audience of the installation would be intended for young adults ranging from 18 to 24-year-olds, as it is located on university grounds. Not only that, but they are also more familiar with digital technology, including the pressures of social media and are open to trying new things. Additionally, the project's larger goal of making movement and self-awareness accessible across generations and disciplines is reflected in the survey's insights into popular dance styles and the inclusion of a secondary audience, which further amplifies the challenges Sixth Sense aims to address. Overall, the final artefact successfully addresses the gap between high-performance computing and somatic expression.
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