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Digital Futures 2017 Performance - The Bridge: Remix Digital Futures 2017 Performance - The Bridge: Remix Photo by

Digital Futures 2017 - The Project & Creation Featured

During the first 2 days of the program the focus was on developing the team and finding out about the project brief.  The recording of the performance was played, the music explored and questions answered.

Teambuilding - Time Bomb

This was then followed by an introduction to the tech available and how to program it.  Participants learnt about computational thinking and the core fundamentals of programming. Then, having developed some understanding of the tech, collaborated with the dancers to brainstorm ideas of how the tech could be used within the performance.  These groups also considered how they could manipulate sounds to create the live-coded soundscape that would be programmed and delivered through Sonic Pi.

Digital Futures 17 - Crumble Controller with distance sensor and lights

As choreographer (and Artistic Director) Rebecca poured over the assemblage of ideas, gathered during brainstorming, and weaved these into the choreography in a way that would give meaning. This then provided the detailed brief for the audible and physical elements of the performance, which the Digital Futures participants then work to deliver. 

The result was incredibly effective.

The performance was broken down into 3 distinct sections that told the story of the women who rebuilt the bridge of Waterloo through a high-spirited, pre-war section, a functional, hardworking and industrious wartime section and a post-war section, which saw mixed emotions as news of loved ones came home, alongside the paradoxes of the country beginning to rebuild, while the women lost their new-found talents and independence. 

Each of these 3 sections transitioned from one to the next through a mix of radio announcements and sirens, all sound programmed and controlled using Sonic Pi. 

Sonic Pi screenshot

Wiring the LEDs for the Balls of light. Photo by Su Adams

 The first transition marking the beginning of the war, whilst the second transition marked the end.    

 

In addition to these transitions, each section had its own distinct soundtrack, and its own distinct onstage lighting with which the dancers or coders interacted with and triggered.  Accompanying the audible sirens, participants were challenged to program the lights to visually represent the sirens and the dangers of the time.  The solution was spinning red lights attached to motors which span part-way then back again constantly as long as a button was pressed, controlled by coders who would be present on the stage.

Audio for the first section was comprised of the various sounds of everyday life, these gradually built, through the layering of tracks included additional sound files aimed at developing the atmosphere before a section of Swing arrived, to represent the carefree sense that preceded the war.  The lights for this section were used to introduce the audience to the control which the dancers would have over lights throughout the performance.  The lights consisted of LED strips formed into balls, which were then mounted on tall stands.  Also mounted on the stands were distance sensors which would enable the dancers to control the light output through their movement; dependant on their position the dancers could affect the shade and luminosity of the lights.  These lights were used in each of the other 3 sections, with different distance ranges.  To allow these changes in state, a button was mounted, on the stand, which was programmed to initiate a different output when pressed.

Balls of light were mounted on stands with the distance sensor and button.  Photo by Su Adams  Interactive light balls in action, triggered by distance sensors. Image by Monty Wilcox Ball of light in the darkness. Photo by Su Adams 

The music of the second section, wartime, was heavily live coded, a real accomplishment by a very talented participant who really rose to the challenge of live coding.  Live coding allows for the coder to continuously deliver audio, whilst manipulating it by adding and removing sounds or applying effects to distort them. This section developed beginning with the bells of Big Ben chiming whilst the women awoke to the realisation of this new tragic era, the dancers moved from the safety and brightness of the balls of lights, into the sounds of industry represented by audio samples of anvils, hammers and machines.  Each of the sounds that were used in this portion of the section (and in the next portion also), were assigned to a specific dancer.  In total there were 6 different industry related sound, 2 for each of the 3 dancers and for each of these sounds the dancer had a different choreographed response. The coder was in control, the dancer had to respond every time they heard either of their sounds and had other responses, if their sound hadn’t played for a period of time.  Effectively the coders were not just live-coding the music, but also the dancers! At a time decided by the coder, this portion of industry was immediately followed by women’s voices recounting their experiences of wartime and how they felt. Again, dancers had specific audio files associated to them, which resulted in a specific response and the coder was in complete control.  The coder took the live-coding a stage further this time, incorporating functions to simplify, as these voice recordings were played back in pieces, repeated and looped played in part or in full.  A function is a procedure within a program which can be run by simply calling it’s name.  So, section of a program which might require 15 lines, could be run with just 1 line, whenever needed.  This is one way to create efficient programs.  The speed at which these functions needed to be run made this a very complex part of the performance for the coder; in particular it was a challenge to avoid becoming entirely immersed in the code and losing place in the performance.  Again, the coder had complete control about the transition into the next part of this section and which sound would play next… the dancers could only await their instructions. 

. Large "buttons" used to complete circuit and trigger illumination of lights. Image by Monty Wilcox The "bridge" of lights that illuminated when the button circuits were completed. Image by Monty Wilcox Maing the bridge. Photo by Monty Wilcox

 The final portion of the wartime section, building the bridge of light.  This was the crescendo, of the second section, during which the dancers worked to complete circuits by pressing large foil touchpads, some of which were meters apart on the stage.  This was such a simple but effective input, using the bodies of all 3 dancers to complete each circuit.  Upon completion, a strip of 30 individually addressable LED lights would illuminate.  Because each of these LEDs were individually addressable, each could be lit at a different time in a different colour.  For effect, all light outputs were kept to a white or off-white colour, but the sequence in which they would light differed hugely.  There were 6 sets of these 30 LEDs, made up in pairs of 15 LEDs.  When all 6 sets had completely illuminated, they would stay on, their illuminated position represented the completed bridge of Waterloo. The transition was then made into the final section.

Red lights mounted on a motor to create sirens. Image by Monty WilcoxThe war was over, sirens screamed, lights flashed and radio announcements broke the tension of the previous scene.  During the final section, we heard cheering and birds singing, harmony began to return, and music once again played, but this time, an eerie version of Don’t Fence Me In demonstrates the slower pace alongside a feeling of helplessness as these courageous, strong and effective women downed tools and abandoned their newfound talents.  Some men returned, some didn’t; some relationships rekindled, whilst for others each half of the partnership had changed too much from their experiences to be able to recover what they had once had.  The dancers wore lights and tilt sensors during this section. A tilt sensor was place on the wrist of each dancer, when the arm was lifted the light would illuminate, when down the light would be off.  The dancers used exaggerated movements to clarify this control for the audience.  Throughout the audio Don’t Fence Me In was broken into sections, each of which was played at a slightly different pace, marking the uncertainty of what lay ahead, slowing down to represent the more sedentary pace of life. The section ended with peaceful swaying amongst the static lights of the LED balls once again amongst the simple background sounds of everyday life.

The set for The Bridge Remix. Photo by Su Adams

The performance and project were both a great success, in addition to the programming skills which the participants developed, they advanced a wide range of soft skills, including communication, time management, team work, leadership and due to the project management responsibilities assigned participants also developed skills such as design, marketing, social media promotion and contingency planning. 

 

 - The planning and prelude to Digital Futures.

 

 

 

Su Adams

Su Adams has been working with schools for over 10 years and is passionate about computing in education.

Website: www.ucantoo.org.uk
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