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Project Type: Theatre
Category: Artwork
Client: Quanta Arts Foundation
Year: 2015

#Performing Art
#Real-time 360° Projection Mapping
#Kinect v2

Second Body

After 'Seventh Sense', we continued to work with Anarchy Dance Theatre. The concept for this production, according to the piece's choreographer Jeff Hsieh, began with the perception that, while driving through lanes and alleys, he relied on his innate sense of the vehicle itself—its size, movement, and position—as if it were his own body moving through space. Body movements are primarily subconscious acts honed by knowledge, the senses, and practice, and when our body is able to utilize machines, a "Second Body" is made possible through practice.

The work "Second Body" focuses on concepts of the body, exploring how its existence and very definition may change in face of an increasingly technological world, where the external environment and physical space in which we live are themselves changing.

編舞家謝杰樺表示,此作概念起始於駕駛車輛的經驗。我們透過感知車體大小穿梭巷弄之間,是不需經過思考的反射動作。如同我們運動過程中,能夠自然擺動四肢一樣。這樣無意識使用身體的方式,是透過知識、觀念及訓練的。身體能因機器的使用,訓練出 Second Body。


Service / Idea

With "body" as the thematic core of this piece, we wanted to create a system that could randomly alter the body's form and appearance. To this end we constructed an auditorium with an 8mX8m stage surrounded by the audience, wherein the dancer in the performance space are covered by 360° projection, and the floor's interactive projection becomes an extension of the dancer's own body.

設計服務 / 主要靈感

「身體」作為本作品的核心,需要建立可以任意改變身體樣態的一個系統。於是我們打造了一個八米見方的舞台,四個面皆為觀眾席,在表演區域內的舞者,身體會 360° 覆蓋投影。而地面的互動投影,則作為舞者身體的延伸。

Workflow / Detail

Before development began on this project—because the visuals and technological technical solution had not yet been decided upon—there was much in the way unknowing. To ensure the balance between technology and aesthetics, we extended the production to comprise three distinct stages.

製作流程 / 細節


Phase One: Technical Development

At this stage our aim was to experiment with visuals at a definite scale to both develop and understand the performance capabilities of our system. Our goal was to create projected images that perfectly adhered to the body of the performer.

The first problem we faced was how to create seamless projections on the dancer in real time. At that time, the most accessible advanced sensor was Microsoft's Kinect v2, and our detection system was thus developed using this sensor as its basis. After some trials and testing, we had decided to install four sets of Kinects around the 8mX8m stage, thus generating a 360°, seamless point cloud of the dancer for model creation.

The next issue was how to project images onto the body of the performer, the resolution of which comprised both linking the positional relationship of the projectors and sensors, as well as adhering the images to the model obtained by the detection system. The former required establishing a checkerboard grid that acted as the projector's utilization plane. The sensor could then determine its positional relationship with the projector by assessing positions on this plane. For the latter we used common environment mapping technology via 3D software, rendering the model's appearance into a mirror image, which the Skybox could then successfully reflect onto the body of the performer.

After establishing the basic system, we further classified the visual stimuli into two categories to test and develop their potential: the first type, pre-render videos, was established after many trials; the second type was generative visual during performance.



我們遇到的第一個問題是,如何即時建立舞者的 3D 模型。當時最易取得的深度感應器為微軟的產品 Kinect v2,而後整個系統也以 Kinect v2 作為偵測系統的基礎進行開發。多方測試後,我們規劃出最適的架設方式:四組 Kinect 架構的八米見方舞台,並形 360° 無縫的舞者點雲,進而處理成模型。

下一個問題,我們要如何將影像投影於舞者身上。這個問題需要兩點,一是綁定投影機與感應器的位置關係,二是要將影像貼合於偵測系統所獲得的模型上。前者我們建立了四個角為一個棋盤格,中間空白作為投影機使用的平面,感應器透過觀看這個平面,即可計算出自己與投影機間的位置與鏡頭方向的關係。後者我們使用了 3D 軟體常用的環境貼圖技術,把模型表面當作鏡面,影像作為 Skybox 使之反射,透過這個方式,製作的影像可以無縫合於舞者身上。


Phase Two: Content Creation

After completing the first stage, members of the production team better understood the qualities and limitations of the detection system, and were able to flesh out the finer details regarding script and performance structure. The creation team switched focus to content creation and the development of a more user-friendly editing system. To better grasp the relationship between the dancer and the on-stage visuals, the team spent an entire month staying in the performance space rehearsing, honing, and refining movements.



Phase Three: Establishing an edition suitable for touring

Because of the piece's unique presentation and large-scale technical requirements, we specifically designed a hardware installation, logistics method, and calibration process for touring.




2016.10.22 One Dance Week, Bulgaria
2016.06.17-18 Les Rencontres Chorégraphiques Internationales de Seine-Saint-Denis, France
2016.05.21-22 The Polytech Festival, Russia
2016.5.13-14 Centrum Sztuki WRO / WRO Art Center, Poland
2015.09.4-5 Ars Electronica, Austria
2014.10.31-11.2 Performing Arts School 36, Taipei

2016.10.22 保加利亞-One Dance Week
2016.06.17-18 巴黎-塞納河-聖德尼國際舞蹈節
2016.05.21-22 俄羅斯-國際科技藝術節
2016.05.13-14 波蘭-弗羅茨瓦夫新媒體藝術中心
2015.09.4-5 奧地利-林茲科技藝術節
2014.10.31-11.2 臺北-表演36房

Second Body

Concept / Choreography: Chieh-hua Hsieh
Software Development / Visual Design: Ultra Combos
Sound Design: Yannick Dauby, Ultra Combos
Lighting Design: We Do Group
Custom Design: Yu-teh Yang
Visual Operator: Hsiang-ting Teng
Soloist: Kuan-ling Tsai
Dramaturgy: River Lin
Tour Management: AxE
Arts Management Project Mentor: Justine Beaujouan
Project Consultant: Kevin Cunningham
Commissioned by Quanta Arts Foundation / QAring
Supported by Ministry of Culture of the Republic of China

Second Body

概念 / 編舞:謝杰樺
系統開發 / 視覺設計:叁式
聲音設計:Yannick Dauby, 叁式
舞者:洪紹晴, 蔡冠伶
巡演管理:AxE Arts Management
策畫響導:Justine Beaujouan
策畫顧問:Kevin Cunningham
委託製作:廣達藝術基金會 / QAring

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