INFINITE
CEMETERY:
Virtual Reality
+ Generative Sound *
Prof. Semi Ryu
sryu2@vcu.edu
Department of Kinetic Imaging, Virginia Commonwealth
University, USA
M° Claudio
Scozzafava
Dr. Stefano
Faralli
Department of
Computer Science, University of Rome “La Sapienza”, Italy
Abstract
Infinite Cemetery is a poetic,
virtual-sound-generation space, driven by the performer’s interaction data. A
dancer’s movement, hand gestures in front of a webcam, or user’s mouse
interaction will motivate the
events in virtual space and generate the real-time spatial sound, which will explore
cognitive aspects of memory and perception in a spatial environment.
Eventually, this project will be incorporated with a dance performance,
which will explore the relationship of the physical and mental body in real and
virtual space. Infinite Cemetery is a symbolic cemetery exploring new
relationships and consciousness between image, sound and the performer. It is a
trans-disciplinary collaboration
project under the same idea of generation, in both a conceptual and a technical
means.
MAX/MSP and VIRTOOLS will receive data from CHAMBRE created by University
of Rome, Computer Sceince department, which will allow interesting interaction
and cooperation between differnt systems which will constantly generate a new
connection between performer, sound and 3D graphics.
Credits:
Original concept & 3D virtual space:
Semi Ryu, Kinetic Imaging, Virginia Commonwealth
University, USA
Generative sound composition: Claudio
Scozzafava
CHAMBRE: Department of Computer Science, University of Rome “La Sapienza”, Italy
Paolo G. Bottoni, Stefano Faralli, Anna Labella, Claudio
Scozzafava
Plug-In to connect VIRTOOLS with
CHAMBRE: Stefano Faralli
Ritual: Loveletter readings to
objects
Infinite Cemetery illustrates an ironical concept of life, bringing spirit
to daily objects represented by virtually-rendered objects. Infinite Cemetery
is filled with the voice of love letters written to each writer’s favorite
object, which should illuminate the personal relationship with and memory of our daily objects. The constant reading of love letters evokes life in objects conventionally
known as inanimate, in this symbolic cemetery.
Love letter
example:
Dear, dear, Gyroscope,
You, my little master of the forces, are
my most favorite object! Many days
since your arrival have I spent in admiration of the strange dance that you do
on your red pedestal. Your spinning
could defy the balance of a thousand drunken sailors! The string that came as companion is now old and tethered, but
once tense, springs you back from the inanimate. I am illuminated by the reflected colors as they bounce off your
steel shimmer. I feel strange sway as I
might swing you from side to side; I am pulled back the opposite way. An even balance is made by your own order,
uniquely so. I seek many more years of
watching your dance, dear gyroscope, and I hope you shall not tire as the
master of the forces…
Sincerely,
Jason
A similar process can be shown in Korean shaman rituals where
objects are transformed into a special meaning, acquiring a spiritual power
from the ritural process. At the beginning of the ritual, Shaman begins to
build her relationship with objects called “Mu-Gu” (shaman’s object), in order
to obtain her trans-state of shaman. Puppet, fan, knife and bells often appear
as Mu-Gu that are usually buried underground and found by the shaman. The
Shaman shakes it or dances with it, making Mu-Gu’s spirit come alive and
activating a trans-state of shaman. Objects appear as mediator between the dead
and the spirit in shaman ritual.
In Infinite Cemetery, all the objects in the virtual space could be read as
shaman’s objects that will act as a transparent membrane between life/death and
real/virtual. It raises
questions about our notion of “life”, focusing on the process of life-giving,
rather than the status of life-given. Life is not only the physical status of
being, but also something emerging from a relationship and spiritual connection
in process. In virtual space, virtual objects are gaining life by being
interested or loved by users. Infinite Cemetery is a symbolic space to bring a
new romance and life, which plays out an infinite paradox between life/death
and real/virtual.
Figure 1: Screenshots
from Infinite Cemetery
How VIRTOOLS, MAX-MSP and CHAMBRE can cooperate?
Figure 2 shows the main architecture of our system.
Our equipment is a distributed interactive system composed of three subsystems:
CHAMBRE [BFLS04], MAX/MSP, VIRTOOLS. CHAMBRE is used to build a system of
virtual sensors, (a virtual sensor derives from the transposition of a real
stimulus into a virtual environment). All the stimuli carried by the apparatus
of virtual sensor, are sent to MAX/MSP and VIRTOOLS in the form of messages.
Finally MAX/MSP and VIRTOOLS map this information into multimedia objects.
All
the messages are transmitted from CHAMBRE and received by MAX/MSP and VIRTOOLS
using two TCP/IP connections. We use the embedded communication sub-system of
CHAMBRE, coupled with the MAX/MSP object “netreceive” and with a special
plug-in created by Stefano
Faralli, for the communication with VIRTOOLS.
Figure 2: Architecture
of Infinite Cemetery
MAX-MSP receives from CHAMBRE a
formatted string that is the result of one (or more) user's position in front
of the webcam. MAX-MSP translates CHAMBRE's string and uses it to control some
audio processing algorithms. The audio samples, containing some "love
letters", are subject to various audio processing algorithms in
respect to the interaction of the user (proximity, position, etc.). The user
chooses an object and, through his or her position in the mapped space, interacts
with the multimedia system. More information about CHAMBRE was described in GA 2004 Proceedings.
* work in collaboration with Prof. Paolo G.
Bottoni, PhD (bottoni@di.uniroma1.it) and Prof. Anna Labella (labella@di.uniroma1.it)
Department of Computer Science, University of Rome “La Sapienza”, Italy