Tag Archives: digital

‘Reveal’ – the first ever active reality project #RevealKL

27 Jan

Here is the video of the Reveal project that I worked on last year as Director and Producer.

REVEAL was a Collusion project developed and devised in King’s Lynn, Norfolk, UK in 2018. Directed and Produced by Simon Poulter and Marcus Romer, this is the first ‘active reality’ project of its kind. It encompassed live performances, large scale projections, an interactive game engine, augmented reality and geo-located story elements, that occurred throughout November and December. With new ‘reveals’ every day it became a multi-episodic box set adventure for mobile that unfolded over a period of time, with video clips, augmented reality codes and clues, video projection, and live interventions that happened across the whole town and beyond.

The project was Executive Produced by Simon Poulter and Rachel Drury, with a team of 36 artists working across disciplines. The legacy site for the project can be found at revealkl.com – supported by Arts Council England, Borough of West Norfolk and King’s Lynn, Discover King’s Lynn, Norfolk County Council and the Combined Authority for Cambridgeshire and Peterborough.

Music was specially composed by Sandy Nuttgens, Matmos and Carter/Tutti. Game engine and coding by Richard Hall, Chris Tyler and Simon Poulter. Projections by Joe Magee, Karen Eng, Pete Cleary, Dominic Manning, Pete Cleary, Issam Kourbaj and Yael Biran. The story was devised and written by James McDermott and Marcus Romer, with a new Syrian poem written by Liwaa Yazji.

The Reveal project uses a Creative Commons license – Attribution-NonCommercial-ShareAlike – CC BY-NC-SA . This means that anyone can replicate and reuse the method and structure for the project, within the conditions of the license.

Full credit list:

Executive Producers: Simon Poulter, Rachel Drury
Artistic Producers: Marcus Romer, Simon Poulter
Story: James McDermott, Marcus Romer
Words: Liwaa Yazaji
Script Editor: Kathryn Castles
Social media elements: Maze Media
Actors: Oliver Westlake, Claire Lacey, Rebecca Banatvala, Tim Welton
Research and photography volunteer: Beatrice Bray
Film elements and trailer: Gavin Toomey
Logo and Design: Joe Magee
Costume Designer: Sunny Luckhoo
Artists: Issam Kourbaj, Karen Eng, Pete Cleary, Yael Biran, Joe Magee
Music: Carter-Tutti, Matmos, Sandy Nuttgens
Voice overs: Claire Lacey
Engagement Programme: Michelle Brace, Katy Marshall
Web Development: Chris Tyler
Creative Technologist/augments/back-end developer: Richard Hall
3D Artist: Dominic Manning
Projection Development: Pete Cleary
PR and comms: Becky Wieczorek, Stephanie Lewis
Ground and shop team: Luke Woodcroft, Fynn Pitkeathly, Beatrice Bray
Stage Manager: Lewis Anderson
Production Consultant: Ben Pugh
Production Coordinator: Nev Milsom
Project Assistant: Alex Byford
Lighting Assistant: Alexsandra Kruk
Borough Council of King’s Lynn and West Norfolk: Chris Bamfield, Mark Fuller, Martin Chisholm
AR.js software: Jerome Etienne
After Effects Artist: Sabrina Minter
Fundraising: Catherine Slack
LiDAR Survey: Mark McGarragh
Drone footage and photography: Matthew Usher

Digital Archaeology – building the future archives for the Arts

23 Aug
cc Big Data Water Wordscape by Marius B

cc Big Data Water Wordscape by Marius B

One of the key things I have been thinking about and working on is how the digital data of projects and work we have made will form part of the future of archaeology. How the data will relate to the spaces and the collective memories of artists, participants and audiences.

This has formed part of my thinking whilst working on the Unesco project for York, which was was recently designated the first City of Media Arts in the UK, as part of the global Creative Cities Network. Here the city joins a network of 68 other creative cities across the world with designations which include – music, film, design, food, literature, folk art and our own, media arts.

For me the definition of what constitutes media arts is broad and far reaching and it involves the integration of new media technologies into creative practice and social exchange. This includes disciplines such as video games, computer animation, digital and interactive art, sound art, film, television and theatre.

It is clear to many, that that there is a strong heritage and archaeological emphasis on York’s historical past within the City. For many visitors this is a key aspect of their visit – to see the Minster, the Jorvik Viking centre, the Roman foundations, the Mediaeval Walls or the National Railway Museum to name but a few.

But in this historical DNA of the City runs a bright seam of innovation, be they the Roman water systems, the railway engineering or more clearly the stained glass windows of York Minster. It is here we need to stop and think about those windows, and realise that they were of course the cinema, internet and television of their day. Their use of light, space, story was extraordinary and provided a shifting and colourful storytelling experience.

They were the media arts of their day.

Which is why I am keen to explore the future possibilities of how we can evolve the experiences and social interactions that the media arts can create. Sharing stories on and offline, in spaces and places can help to embed and build the future memories and narratives for us all. The data of these interactions through sharing of pictures, stories, images, vines, videos, all tagged and geo-located will help to form the future archives and provide rich digital archaeological seam for future generations to discover.

It is key that Artists and Arts organisations come to realise their role in the work that they make and how they can help to build these future archives digitally and make them available and accessible. It is their connection with audiences and participants to help to build and grow these vast connections with data, stories and memories of the work that has been made and what is has meant to be part of it.

I am not able to walk up the steps of my office at Pilot Theatre without the memory of the HD projection of our co-production of Blood + Chocolate onto the building back in 2013. I am going to add to the digital archaeological heritage of the city by tagging this picture of my office below.Blood+ChocolatePilotTheatre

Marcus Romer – Artistic Director – Pilot Theatre

 York City of Media Arts

Digital? The Arts? This time it’s personal…

2 Oct

Personal Wax Seal

This is my new personal sealing wax stamp. I bought it at the ‘Rivoaltus’ shop on the Rialto Bridge in Venice when I was there delivering one of my talks about the arts and digital stuff at the Teatro la Fenice.

The shop is great – they make their own paper and handbind their own version of Moleskine notebooks. Just the thing to write notes on with my trusty old fountain pen. It’s worth a look online if you get chance.

The reason for sharing this? Well, increasingly I have become more and more aware of the rising digital fatigue / panic in the arts. It oscillates between the two at any given moment. So I wanted to share my thoughts about how we rethink and refocus what ‘digital in the arts’  means. So this is my sort of talk that I will be giving at the SOLT / UK Theatre / ITC ‘Digital Forum’ day today.

Back in the day, the sealing wax stamp meant that a personal message could be hand delivered to a particular person or group. It would be specially for that person, and they would know that no-one else had seen the message if the seal had not been broken. It was a personal message. Delivered directly into their hand.

The human need to convey information, to share ideas and pass on details has not changed at all. Only the mechanism has. We now have the ability to place not only information, but amazing works of art into the palms of our friends, colleagues, followers,  via their handheld devices.

So, the question is this – What do we have to share with them that they will want to find interesting enough to keep and to share with their friends?

This is not about technology, we know this, it is always about people. People making things, and people who are interested in the particular things you make.

So let’s get over the whole ‘what can we broadcast’ and ‘how do we do it’ thing. Let’s shift the focus onto what we make and how we can we make something that will look beautiful and special – and that we can place that in the palm of someone’s hand – who will want to treasure it, and maybe show it to their friends.