Frankenstein AI: A monster made by many (Brandon Powers)
Executive Creative Direction: Lance Weiler
Creative Strategy: Rachel Ginsberg
Interactive Narrative Design: Nick Fortugno
Key Collaborator/Choreographer/Producer: Brandon Powers
AI Visualization: Klip Collective / Ricardo Rivera / Florian Mosleh
Score/Sound/Instrument Design: Peter English & Jeff Gregorio
Machine Learning Engineer: Hunter Owens
Data Designer: Sarah Henry
Creative Technologists: Ramsey Nassar & Kaho Abe
Production Designer: Jennifer Nasal
Dancer: Jacinda Ratcliffe
Official Selection to New Frontier at Sundance Film Festival 2018
Inspired by the 200th anniversary of Shelley’s seminal text, this participatory installation explores our relationship to the ubiquitous and emerging technology of artificial intelligence. Participants are prompted to reveal their memories, emotions, fears, and hopes to an AI while it attempts to learn about humanity from those who participate.
Beyond working as a collaborator on the main installation, I crafted a performance which expressed our AI inhabiting a human body to communicate with the audience. The human dancer performed choreography which was created using a new choreographic notation I invented for the project which allowed me to take a simple movement phrase and deconstruct it to mirror the machine learning process. During the performance, this choreography was manipulated by an AI in real time based on how the audience responded to the AI's prompted questions. The dancer, wearing a earpiece, was prompted by the AI to alter her performance, creating a unique live experience.
Elsewhere in the wood (Christina Elizabeth Hall)
Elsewhere in the Wood is a live-action, installation in miniatures that invites the audience to watch and interact with a world much smaller than our own. Inspired by Théâtre Optique d’Émile Reynaud, Elsewhere in the Wood takes place in three small physical boxes, occupied by Autumn, a 14-year-old girl, and the monsters she encounters. The project consists of Unreal Engine projections, the technique of pepper’s ghost, two motion captured actors, and physical interactive elements. Join us as Autumn finds herself lost in a unique wood, materialized through the combination of projected and real elements of the forest world. As creators interested in breaking the fourth wall, Elsewhere in the Wood directly addresses the audience members in an effort to influence the narrative and help Autumn complete her journey home.”
customizing reality (richard Lapham)
Customizing Reality: Immersive Painting, explores speculative environments in AR through the lens of digital, immersive painting. I used softwares like Quill and Tilt Brush to prototype possible future scenarios in AR/MR that answer the question:
How would you customize your reality? In a world where mixed reality eyewear is integrated into our lives, how would you augment the space around you and why would you want to?
As my thesis research project for ITP, I dedicated the first half of my research to developing a workflow that allowed me to rapidly prototype AR environments as handheld applications and fully immersive VR environments. The second stage of my research narrowed my focus to explore three categories of customization: environment, people, and narrative.
For more about this project: https://www.richardlapham.com/customizing-reality/
And It Felt Like a Kiss (Brandon Powers)
Conceived by Brandon Powers & Visager
Directed + Choreographed by Brandon Powers
Original Music by Visager
Featuring: Annelise Baker, Gina Montalto, Nick Rodrigues & Sam Skalbeck
Environmental Design by Emmie Finckel
Video Design by Ian McClain
Light Design by Jason Fok
Performed at HERE Arts in NYC.
An immersive dance experience investigating online identity and it's fracturing effect on our offline lives and intimate relationships. Like the experience of navigating social media, audiences move through the web of distorted multimedia and athletic choreography on their own accord, following four interweaving tracks, crafting a personal experience.