Column

1. Impressions of your online distribution

The stage performance assumes that the audience will continue to watch for a certain period, but the online distribution has a different viewing structure from the performance, and it is more like an exhibition of works of art/installation. Based on that, when creating a work for online distribution from the beginning, it will be necessary to consider the structure of the work, but in the archive of the past work, you should consider seeing it online too.

Also, as in this period, the environment in which many works can be freely selected is like an art museum where many works line up. You should think that it is not a stage or movie theater where you selectively go to a particular work.

2. What was changed or modified from normal distribution or archive creation?

Usually, I am often involved in art performances that have dance elements, but this time I selected, created, and delivered an archive of concert-style performances.

Concerts are more flexible to watch than a timeline with a story. It is also relatively flexible for non-linear viewing. For example, I don’t think that someone would suddenly stand up and go for a coffee while another person was speaking in an actual conference, but that can happen without hesitation in a remote conference. I think it is better to assume that viewing on the web is always under such circumstances. Partly because of this, I created data by interacting with the sound/effects staff at the performance so that the quality of the voice/sound could be maximized. The image forces a visual focus on one point, while the sound fills the space.

3. Utilization and Development of Online Live Streaming for Forthcoming Activities

Online distribution is not a substitute for live performances where spectators gather and face-to-face with performers, but I think there are possibilities unique to remote/telework. For example, there may already be several precedents, but it is an event that connects all over the world and takes place at the same time. And, the invention of some structure, etc. that arbitrarily takes in the time difference at that time.

Besides, it can be considered that the progress of archiving at this opportunity is an opportunity to reinforce the useful layer on the global network of information. In that sense, I hope that this kind of support will be used as a foothold to form the good quality database that will be published indefinitely.

<Program>

光影 Light & Shadow Concert

• Date:  Published indefinitely from Friday, May 8, 2020
• Contents:
  As part of the event program for JAPAN ALPS ART FESTIVAL 2017, a collaboration between Sizzle Ohtaka, a singer and voice artist, and Takayuki Fujimoto (Kinsei R&D), who is acting as a lighting artist mainly in the field of performing arts. Recorded footage of A one-night concert.
• Promotion tool:
  Facebook: https://www.facebook.com/KinseiRD
  https://www.facebook.com/takayuki.fujimoto.923/https://www.facebook.com/profile.php?id=100036255038140
• Distribution tool:
  vimeo: Kansei R&D https://vimeo.com/416224538
  Youtube: Sizzle Ohtaka https://youtu.be/4Krtyitezjs
• Number of the audience: 
  From 19:00 8 May to 11:00 12 May, on Youtube 213 views, on vimeo 195 views, in total 408 views.