For announcing and archiving the art of Scott Fletcher.
A combination of media technologies and artistic traditions as delicately digital performances or public installations.
Bill’s Attic : In Particular
- Mixed Reality Audio/Visual archive experience
- https://feastcornwall.org/bills-attic/ (coming soon)
I was invited to Redruth to respond to the incredible space that is Bill’s Attic, was struck immediately by its cluttered eclectic majesty and how important it therefore was to digitally document its objects and their relationship to the space. In the first stage of what will soon be a much larger project, we used volumetric visual & ambisonic audio techniques to create an extensive mapping of the architecture and collections.
Existing as a vast array of high-quality assets, some worked up into public facing content, most as raw files, ready for use; the next even more exciting stage of the project is the creation of an exploratory digital archive that links them all with past and future responses to Bill's legacy.
Old Homes New Tech
- Location-led digital art Symposium programme
Two symposiums providing unique context and framework for the use of digital arts in stately homes, gardens and historical venues of similarly fixed content.
Each event was held over one exciting day bringing together a complimentary mix of invitees as venue-specific teams; to discuss, conceive and plan bespoke digital artworks that extend its character and engage new audiences.
Myself and co-host Ian Danby invited an exemplary mix of arts, culture and historical organisations to experience and question over coffee, a few curated ways that technology can positively intervene with tradition.
Accompanying the first Port Eliot hosted symposium was a small collection of themed digital technology demonstrations, featuring Face-Recognition, Voice Control, ARKit, HoloLens, 360 and Haptics.
So effective and proactive was the exploration of venue-specific arts projects that Antony House hosted the next event. Both being supported by Arts Council England and Cultivator Cornwall.
Round A New Way : Interactive Interview System
- Site-specific installation and interview app
- Painted Mural on Plaster + 360 + ARKit on iPad
The conception, development and delivery of a new way of expressing and extending artwork through contemporary digital reinterpretation. The immense 360 Robert Lenkiewicz mural in the Port Eliot Round Room inspired this unique digital expression and exploration of its characters, stories, influences and setting. The finished interdisciplinary work succeeded in increasing public engagement and understanding of the artist through interwoven digital interpretation of interviews with the mural subjects, artists friends and family.
Developed in conjunction with Zubr, using ARKit the mural is brought to life to reveal evocative audio and visual representations that peel away from the wall and populate the room as spatialized audio conversations. The resulting experience being that off a cocktail party with the characters from the wall telling you their stories. Launched at the 2018 festival and intended to continue on all public days and for any private function. Unfortunately due to CV19 the house has not yet been reopened to the public but when it is the app will be available again, as tour enhancement and take-home app.
Elephants Can Remember : Scene One
- Audio-scape and holographic animation
- Literature + 360 screenplay + HoloLens + ACE
Never before heard recording of Agatha Christie narrating her Poirot mystery presented as a Mixed Reality performance at Port Eliot Festival 2017, developed in collaboration with Films@59.
Archive recording of the author is played as spatialised audio alongside holographic cues for plot points and character dialogue. Set in a period bedroom, the scene is an exchange between Mrs Oliver and her maid while choosing her outfit. As a fascinating extra detail, each of the featured hats are bespoke 3D models of ones selected by renowned Milliner, Stephen Jones from his own collections.
A unique achievement of the work was to provide a genuine, tangible and personal connection with the author. As such subsequent invitations can only be accepted from events able to closely reproduce this intimacy; by way of physical props, set dressing, location and audience management.
VR vs. DJ
- Audio-reactiveTiltBrush artworks as live performance
- Live band / DJ / CDJ + Painter, Dancer, Boxer
As part of Love Saves The Day closing party at Bristol's iconic Lakota nightclub, a VR stage and projection mapped walls, floor and bar were created for an eclectic mix of artists to use TiltBrush as an expression of their movement. Dancer's created intersecting vortexes, which Boxers punctuated with sharp angles as Artists overlaid recognisable forms and together they all generated live visuals for DJ’s and Bristol favourites The Egg.
A unique and central aspect of the performance was for the brush strokes to represent the acoustic signature of the live music. So as an artist painted each virtual brushstroke, the strokes would animate or illuminate to match the signature of live audio input.
The evolving VR artwork was projected into the room as visuals, which is to say they were seen by the crowd not just those in the headset. The night was a great success and the experience immensely valuable and rare.
- VR 'natural-navigation micro-story
- Interactive storytelling + 360 screenplay
Room 2O2 drops the viewer into a hostile, unofficial interrogation, with their hands and legs tied and mouth gagged. As such only by nodding yes or no can the player progress the narrative and ultimately escape.
This experiment in natural navigation techniques demonstrated how natural and rewarding it is to progress a narrative by just nodding in response to questions. Selected for inclusion at Future of Storytelling Awards 2016, this piece includes some wonderful surprises, is a firm favourite of many industry experts and free to download on the Oculus Store for Rift and Gear.
Dance With Me
- Motion-tracked Baroque dance at Bristol Old Vic
- Cellist + Dancer + Kinect
A unique opportunity to engage in a new way with Bach's iconic classical music and be part of cutting-edge digital experimentation within live classical music performance. This work was conceived as part of Bristol Digital Proms as a multi-faceted experience to aid the dissemination of classical music and its accompanying dances.
Hosted by Tom Morris, discussions with leading choreographer Jane Gibson and expert cellist Peter Gregson led to a groundbreaking digital installation that allowed the public to interact, imitate and respond to a silhouette of a pre-recorded dancer as she moved to a recording of a Bach cello suite.
Using a 3D camera the choreographed dance is recorded. This dance is played back to the public so they may add their own expressive response. Over a month each public engagement was then filmed, merged, treated and the combined input as used as a projected accompaniment to a live performance by Peter. Preceded by a fascinating explanation of Baroque Dance etiquette from Jane and a much less fascinating outline of the overall project from myself.
Raw Material: Llareggub Revisited
- Online conversion of live performance into an interactive archive.
- Literature +Theatre + HTML5
An HTML5 experience exploring Laugharne - 'the strangest town in Wales' and inspiration for Dylan Thomas' Under Milk Wood. The responsive online archive was produced for as an evolving accompaniment to a weekend long live theatrical performance taking place in the Author's home town.
An incredibly unique and advanced application of HTML5 responsive web design; the archive is a scrollable 3D map forming the backbone of a story originally bookended by superb FMV sequences from your tour guide / kidnapper.
Through the navigable 3D map, the audience can explore theatrical installations, meet characters and discover behind the scenes interviews with actors as well as performance footage, audio broadcasts and star-studded BBC content.
I worked closely with director Marc Rees to develop a digital theatrical reimagining of his innovative live performance. Commissioned by National Theatre Wales and supported by The Space as part of the Dylan Thomas 100 Festival.
Four Seasons Recomposed
- Live audio-reactive 3D animated performance
- Orchestra + Sonnet + Animation + Live audio analysis
A forty-five minute audio-responsive animation retelling the story from the sonnets which inspired Vivaldi's Four Seasons. This vast 3D animation was an accompaniment to the live performance at Bristol Old Vic of Daniel Hope and The Royal Philharmonic Concert Orchestra with each of their microphone feeds used as controlling inputs for the separate aspects of the animation.
For the creation of the 3D world that encompassed the animation I first exhaustively analysed the sonnets in comparison to Vivaldi's rendition; this provided an understanding on how the meaning of the sonnets correlated with the expression of the music and critically the points when their meaning changed. These changes became the scene changes. Everything worked around timing a sequence of animated journeys' through the seasonally changing landscape and scenarios, as depicted in the sonnets.
However these journeys however were to accompany Max Richter's rendition (as opposed to Vivaldi’s original) and so I next altered that original interpretation to Richter's work, matching his stripped back, synthesised, contemporary approach and it was this that was mapped to the live performance timings.
I undertake collaborations and commissions alongside my core arts practice, ranging from initial conceptualisation and proposal writing to full production.
An exciting project with abstract artist Sally Coulden who approached me to collaborate on the combination of AR with her artworks. We conceived a performance piece using motion capture footage of her creative process alongside time-lapse of the canvas evolving. The resulting work is a touring installation (room-scale) and associated iOS app (table-top) that demonstrate the relationship between an artist and their canvas.
A few days consultancy at this fantastic Bideford arts venue to investigate and report on suitable means of integrating digital media into their existing framework
The production of a touring HoloLens installation that sought to express insights into gender fluidity through spatialised audio interviews set in a part real, part virtual bedroom environment.
A year long consultancy at the inspirational Oxford literary museum as they undertook a complete overhaul of the venue. My role being to advise on the scope and placement of suitable subtle digital content.
Advice on the combination of performance and venue, production of the first stage of development and co-writing the funding proposal.
Applying a combination of media technologies and artistic traditions as performance, public or personal installations.
My output is a response to a fascination in engaging audiences with art they were perhaps once intimidated by, while offering new perspectives to the established audience; applying a thought process and practical approach best described as delicate-digital.
My hope is that audiences experience a subversive use and often counterintuitive application of technology and in doing so face questions on representation, control, truth and expectation, that in turn promote a wider questioning of their role in the public art realm.
Explorations so far include collaborations in Theatre, Orchestra, Dance, Literature, Painting and Sculpture with technology including (but not limited to) VR, MR, AR, 360 and Kinect.
Graduated Plymouth University with BSc (Hons) MediaLab Arts and MA Digital Futures, going on to lecture on the same courses and in 2014 joined the board of i-DAT, the University’s home of excellence for digital art research, education and development.
Co-founder of Limbomedia in 2000 with the aim of delivering technical expertise in the burgeoning digital art landscape to more traditionally skilled artists.. Through collaborations, commissions a uniquely holistic approach to the use of technology evolved that continues to inform my work and the others who formed this exciting collective.
The PPC provided the opportunity to produce internationally touring experiential campaigns for the US movie market. Time here gave experience in delivering projects of extreme high production values that combined cutting-edge technology with large, varied audiences.
Co-Director of Play Nicely during which time I helped establish an award winning agency known internationally for highly-polished, cutting-edge and well-considered campaigns, specialising in VR and AR in arts and culture.