Attacking technology, several meanings of the transformation of performing arts in the 21st century

In recent months, the development speed of artificial intelligence (AI) has been staggering. The software developed by several leading companies shows the progress of each stage of update in weeks, from text data to the creation of complete scripts, image animations to simulated human beings. From portraits to video background processing to self-generated clips, it’s hard to imagine how the entire AI world will develop in half a year. Even OpenAI CEO Sam Altman admitted that he did not fully understand how GPT-4 develops reasoning capabilities derived from data collection. At the same time, groups signed by Elon Reeve Musk urged leading companies to suspend the development of AI for half a year so that everyone can understand and sort out the concept, direction, and content composition principles of AI before continuing (but Musk turned around We are also preparing to develop new AI modules on our own).

Looking back on last year, due to the Hong Kong government's vigorous promotion of art technology, different art groups also began to invest in the creation of enhanced technological resources, making the entire art circle seem to have many new forms of works. However, in the face of the high-speed operation of AI, it has become easy to create two-dimensional, flowing images, and even three-dimensional elements. Whether it is XR (extended reality) technology, generated images or sound devices that were enthusiastically sought after last year, , seems to have been overshadowed by the AI ​​craze, and in fact AI-generated technology may replace the professional applications of these devices in the future. So, rather than how to make use of current technology, I am more worried about whether the art technology I am pursuing now will still be considered a new technology in one or two years. But this anxiety further confirms a proposition that I think the industry can almost unanimously agree on: "Develop more possibilities through new forms of technology, and at the same time constantly reflect on the nature and meaning of theater." However, what is certain is creation. Readers are not really interested in technology, equipment, execution talents and companies. Those are just supporting hardware, which is of course very important. But what really drives creators’ desire to innovate, I summarize it in three directions: 1. Stimulate new concepts and imagination ; 2. Changing the perspective of performance and viewing; 3. Foresight and how to keep up with the pace of world change. Here I try to analyze how theater touches these three directions from the projects I have planned or the programs I have watched.

1. Stimulate new concepts and imagination

When online performances are no longer a stopgap measure after theaters were blocked in the early stages of the epidemic, but a choice, creators need to think about the difference between online performances and pure video playback. Even if there is interaction, it can make people sit at home Is the audience engaged? For example, at the beginning of the epidemic in 2020, I was one of the first batch to plan online performances with some creators. At that time, I was already thinking about the difference and significance of online performances and ordinary video broadcasts, immediacy, interactivity, and whether the effect matches the content? Or even form is content? If there is no such thinking process and practice, it will just use the Internet to publicly broadcast videos. The situation is like NT Live or the new limited-time online videos established by the "Hong Kong International Film Festival" in recent years. If it loses its real-time and interactive power, I still don't call it that. Made for the show. Therefore, regardless of the original planning, "How to Introduce the Emotional Life of Hong Kong People Under the Plague to Aliens" directed by Zhen Batao, and all the concepts and methods conceived, the audience can immediately communicate with the actors through text, or it can be produced by themselves later and invite the audience "Seven Stupid Minions" where you open a window to meet cats together is also designed to allow the audience to infiltrate the performance. This year's "Rooftop Productions" online theater "Remote Presence" also invites viewers to operate vehicles online, and the pictures show real small cars that can move in several different spaces, including schools, homes, offices, and even beaches. etc., trying to use video games to allow the audience to directly control the process and find content in a treasure hunt. It is worth noting that the operation of online performances, especially real-time interactors, involves a lot of instability, including the creator's network system, the audience's equipment, and even the picture cannot be high-definition or high-definition due to cost issues. Exquisite. However, today’s audiences who are fed by Netflix or other online images have very high image requirements, so how to convert low-quality images into content, at least as part of the performance, rather than forcing the audience to adapt, is also a big challenge. , and I think such ideas that make the audience engaged and fresh are necessary. "Remote Presence" is like this. Of course, its pictures cannot be compared with those of giant international performance companies, but it is better because its extremely flexible electric car becomes the core of the entire show, especially when it can walk on the beach. It is really surprising and shows the team. Be careful.

Thinking about it on the other hand, since online performance is an option and live performance is no longer the only production path, how can we rethink how to build a relationship with the audience during live performance? This kind of thinking has always influenced my subsequent planning work. Whether it is a traditional stage performance or an experiential theater, I remind myself from time to time that there is no reason for the audience to take it for granted that entering the theater to watch a performance. And maybe the epidemic policy was relaxed last year. Even though everything seems to have remained unchanged, I still have a vague feeling that both the creators of various art groups and the audience have a new experience of entering the theater again, and of the theater. The installation and even the space seem to be dissatisfied with the current state, and the desire to break through is full of different theater productions.

For example, when the government took the lead in promoting art technology in recent years, the increase in pure new technologies did not have much impact on many art groups. The reason is that pure technology supply cannot bring new ideas immediately. As a result, when I was commissioned by the East Kowloon Cultural Center to supervise the production of "Reconstructed Theater" in November last year, the director Zhen Batao conceived the entire concept and how to use technology during the art and technology trial of "Sounds from Everywhere in the Universe". Some people from the industry were invited to watch. When the team demonstrated live performance, virtual production (virtual production) and infrared sensor device (kinect) technology in the audition, the questions raised by the guests were almost not about the development and quality of the technology, but about the team's use in live performances. The reasons and ideas for this technology, whether it has artistic value, and whether it can really change the viewing angle of the audience, etc. At least I, like the guests, face the integration of new technologies into performance creations. The first thing I think about is always how exciting it will be for creators and audiences, and whether it will be an interesting experience. The technical team I worked with for the first time on this show often designs real-time visual effects for large-scale concerts. I remember that in the initial meeting, they agreed with a concept I proposed: We are not trying to perfect a new technology, but we are studying it. Techniques explore images that impact the senses. Even if they are generally judged as technical errors when the film is played, they may be a new experience in performing arts. For example, if the image and the performer are not synchronized, sometimes it can be a performance effect that makes the audience think about the meaning of the body.

－－－－－－－－－－－－－－－

Fertility has started another text area of ​​"Wonderful Questions and Answers from All walks of life".

It records the strange conversations that Fertility either overheard or encountered in person. If you stay in this city, you will find that many things are beyond common sense. Also includes other cultural comments and creations. Showcase the various softnesses of text.

Please support creation, follow ig: @felixismcreation and @felixismjokeseverywhere

https://www.instagram.com/felixismcreation

https://www.instagram.com/felixismjokeseverywhere/

－－－－－－－－－－－－－－

2. Change the perspective of performance and viewing

Among them, whether it can change the perspective of performance and viewing, especially leading the audience to contact art in a new way, has become the most important consideration in judging the modality in which new technologies should be combined. However, the so-called new viewing angle is only a relative concept. When the audience in 2023 has completely become a media creature that must consume images every day, there will be a large number of projections on the stage that are difficult to compare with the quality of movies. Even real-time images will not be able to impress the audience. There is a sense of freshness. Even XR, motion capture technology (motion capture), panoramic scene shooting, and even the latest AI learning system no longer feel special to many viewers today. So we return to the original question, does theater really need new technology? In other words, how to use form as the core content and combine the power of theater form, which is best at elaborating concepts and imagination, is the key to the development of technology and theater.

VR (augmented reality) equipment can be said to be the most commonly used new technology in theaters in recent years. Whether the performer puts on the equipment and the content is displayed on the screen, or the audience directly wears it to experience the surrounding images. It can even interact with the screen like a video game, all designed to change the viewing angle. In particular, productions that allow the audience to wear instruments are what creators are most eager to develop, but due to problems such as money, equipment constraints, and limited audiences, there are not many similar performances in the market. I have supervised three VR programs for the creator Yang Zhenye, and last year completed three 360-degree videos designed for VR playback for the "Hong Kong Dance Competition". I also made reference to the development of VR or XR theaters in different regions. Especially Taiwan's booming theater technology industry in recent years has made me understand the advantages and limitations of VR in the application of performing arts.

First of all, we need to realize that VR applications and 360-degree videos are two different concepts. To be precise, playing 360-degree videos is only one of the functions of VR technology. More applications of VR are in the video game market regarding panoramic virtual reality. Various game control and interactive programs constructed and extended. To understand this distinction, the key point is that we must recognize the power of VR to change the audience's perspective. It is not to create a 360-degree picture, but to establish a world that closes the human senses and puts the audience in it. When the audience puts on the instrument in the venue, whether the image that comes out is a panoramic image or only the image in front of them, it also gives people a sense of close and close oppression. So I have to ask, why should we give the audience such a sense of oppression or immersion in the theater? If not for gimmicks or novelty, what kind of content is worthy of a machine that was never developed for performance?

Here I have summarized three answers: observing the world; experiencing it personally; and game-like interaction. The effects of the first two are relatively similar, but there are some differences. For example, in the three 360-degree dance videos in "Hong Kong Dance Competition", the audience watches the dance as an observer, which is a relatively calm way to watch the video or theater. , the areas of viewing and performance are still clearly separated, but the audience has to be in a relatively close position to watch the program, but there is no emotional communication with the characters. This is considered to be observing the world. On the other hand, "Memo to the Next (Virtual) Prosperity" and "Young Marco's World Drift" created by Yang Zhenye have constructed several cities and universes for the audience to travel in VR, and the audience needs to invest from a subjective perspective Field, wander, hunt for novelties, explore. "In the Fog" created by Taiwanese Zhou Dongyan allows the audience to become one of the sauna-warming scenes in the film, sitting in the same room with the men around them and watching their actions. I think these are the experiences of the scene. The difference lies in the distance between the space and the audience (first point of view), the intensity and angle of subjective emotional investment, whether the audience is fully immersed in the environment, and whether they enjoy the world they are in or quietly watch. The third point of game-like interaction is to design a game-like layout so that the audience can use their bodies (mainly their hands) to communicate with virtual objects. For example, in the interactive mini-game of "Young Marco's Adventures in the Universe", the audience can push it away with their hands. objects, or control the speed of floating into the sun, etc.

There is no distinction between good and bad among the three, they are only different in function. The question still has to come back, why do we need to use this technology? Have we brought new perspectives to the audience to examine the theater? Or is it just a matter of bringing the show to the screen? A further question is, as an art form that is good at presenting imagination and interactive energy, does theater necessarily use high technology such as VR to allow the audience to have new ideas or thoughts? For example, last year I supervised "Stalker Map" for the "Forward Theater Workshop". It required the audience to bring their own smartphones and use the WhatsApp automatic answering robot function we designed, allowing the audience to follow the message instructions and navigate on their own. Walk through our designed route in Central and experience the story. It is true that WhatsApp messages today cannot be recognized as a new technology, but this method of using messages to guide the audience to complete the performance on their own definitely gives the audience a sense of freshness and fits the entire story about the free exploration of the real and fake history of Central. structure.

On the other hand, this year I planned "Shining Snow" for Reconstructed Theater. The entire concept and form were conceived by choreographer and director Zhen Batao. There are also no performers in the entire venue, and it is another theater that allows the audience to complete the journey on their own. model. However, this time there is not even low-end technology such as WhatsApp, and it returns to a design designed by the director. Only books are distributed to the audience, allowing the audience to read the text and guidance in the book, wander around the Nanfeng Spinnery, and interact with different device interaction. To be sure, these two performances cannot be classified as art technology, but they really bring a new viewing perspective to the audience, which is different from sitting down and watching the performance, and immersing themselves in a journey of their own. . These experiences have made me reflect more on whether performing arts must use art technology for certain purposes, or as performing arts creators and planners, what we really need to care about is how to let the audience watch in another mode and perspective. What about investing in creative content related to it? Thinking about it the other way around, when we hold these resources and equipment in our hands, have we thought about whether the audience has more expectations for the combination of performing arts and technology in addition to novelty? Can technology really satisfy such desires? Let’s go back to the starting point. A delicate pop-up book art, extraordinary paper-cut handicrafts, sand paintings, juggling, and traditional martial arts may sometimes have more performance effects in the era of excessive material life in the 21st century. Technology often exists only to amplify its effects. What is truly powerful is always the creator's imagination and presentation methods.

3. Foresight and how to keep up with the pace of world change

As mentioned above, the so-called "new" is just a comparative term. Nowadays, it is very common for everyone to have a smartphone to contact relatives and friends who are separated thousands of miles away for different reasons. On the other hand, the patience of urban people, especially the younger generation, has gradually been exhausted by real-time images that are limited to fifteen seconds ( reels) to train to new lows. However, precisely because we have become so accustomed to absorbing online media images without restraint, virtual interactions have become an important part of life, making real meetings and interactions more precious in turn. As global epidemic prevention policies gradually collapse, In particular, retaliatory consumption occurred at different concerts, and the sales speed was unmatched before the epidemic. It can be seen that for audiences accustomed to online life, even watching a live performance in a traditional format may be a "new" (or memorable) experience. I still believe that humans are social animals, and most people crave contact with others. But what exactly is this desire and contact, especially in the field of real-time performing arts that is irreplaceable because of this? I think that in the post-epidemic world, more energy needs to be spent on dismantling. For example, many people like to quote the late theater master Peter. Just the first few sentences of Peter Brook's book " The Empty Space ": "I can choose any empty space and call it an empty stage. If there is a person in a certain Passing through this empty space under people's gaze is enough to constitute a theater performance." However, I will find that this opening sentence of the book is increasingly unable to fully deconstruct the openness and diversity of contemporary theater, because the creator first You will ask how there can be a truly "empty" space in the myriad worlds of the universe. When theater no longer refers to theaters, but any field, even shopping malls, homes, companies, and public spaces, Even the virtual world has a variety of power and symbolic references behind it. Our imagination of theater has been transformed from space to where we are, whose place we are, what the financial composition is, what the political relationship is, etc. "empty" and "empty" The discussion of "space" has moved from performative to public, social, political and philosophical levels. In the end, it will be found that the concept of "empty" is basically untenable, or in the current theater ecology, it cannot be completely covered in one word. The chaotic aspects of contemporary art where the boundaries are blurred.

Another question is does that "person passing by" or "person watching" really need to exist? Does virtuality or absence hold true? Among the many examples of technological performances in the world today, there are no performances in which only the audience is present. Or even if there is only one person in the space, can it be called a theater? Do they deserve to be nominated for theater awards? Finally, there is "behavior". How inclusive is it? These questions have been continuously asked, questioned, and solved by the theater troupes who are currently at the forefront. However, after the criticism, they returned to the original point and thought about the topics in the following chapters of "Empty Space", which gave them new inspiration. For example, the discussion in the book about the visible and invisible of the sacred theater corresponds to several propositions about art and technology, opening up more possibilities to reflect on the exploration of world construction, virtuality and reality, and the relationship between man and spirit. Therefore, I am not saying that "Empty Space" is outdated, but just a sentence from the book may not be suitable to explain the chaotic state of the current theater development. Especially after the incorporation of the above-mentioned technology, the theater ecology may trend towards another new era. With the changes, the relationship between the field, the performer and the audience has more space to be broken down and interpreted. However, the charm of live performing arts still lies in gathering, meeting, and interacting, so that a Kun Opera or "Hamlet" on a traditional stage can still move all living beings. It will not be vulgar or noble than a performance mixed with technology. How complete is its texture? It depends on the flow of emotions between the creator and the audience during the performance. As a result, what creators need to understand is never how technology advances, but how people's strong desire for emotional communication and interaction between people has changed due to technology, which has remained unchanged for thousands of years. Then what we really need to learn is the art of development, the scientific spirit (not technology) of persisting in exercising and pursuing breakthroughs, rather than solving technical or administrative problems.

As discussed at the beginning of the article, the development of AI, can AI technology replace artistic creation? Or texts without artistic and cultural consideration, including official letters, consent letters, contracts, etc., will be slowly lost. Grassroots clerical employees and even art administrators who only deal with administrative processes may gradually be eliminated, or they may need to be transformed into an industry that specializes in entering keywords to communicate with AI, now known as "spellcasters". But I still think that at least in terms of artistic creation and planning, it is impossible to be replaced. The reason is that AI can only act through data analysis. Even if it can create the finished product that the audience desires most, it will eventually become monotonous because the answers from big data become more and more approximate and simplified. AI still needs people to input new information so that it is not rigid. Art originally exists for innovation and seeking breakthroughs. Therefore, when AI becomes popular, we will only care more about whether there are new ideas and who the creator is, crave real-time performance, and trust human interaction more. As a result, even painters nowadays pay special attention to the importance of showing the creative process. Only in this way can the uniqueness of the work be further proven. Then, there is no way for the performing arts to be replaced. However, in the future, when the development of AI will produce an uncontrolled amount of perfect and convenient finished products, we will become more fragile and tired of aesthetics. We are also likely to blurt out criticism and be quickly disappointed with the information. Just like when anyone can make a comment, but it only stops at criticizing, presenting information or describing the current situation, the power of comments will continue to weaken, but we will also crave higher quality and can truly guide profound thinking. The text exists. I still believe that what can really cause the decline of art is not AI that can only achieve a basic level, but the power to restrict artistic freedom and imagination.

Freedom, imagination, and vision ultimately determine how much space creators in different cities have to embrace the scientific spirit and applied technology. Should we just add images, machines, and programs to performances, or can we raise several questions about the contemporary posthuman generation? Also, do we have the ability and vision to use the convenience brought by technology to challenge the outdated power and institutional framework? For example, due to the development of science and technology, can we deconstruct the original administrative procedures and structures, rethink who has the right to speak, redistribute the power of artistic participation in each job, or break the so-called commercial and non-commercial resource integration methods? Or use new technologies to construct more forward-looking philosophical discussions. For example, in the past ten years, it has been popular in Europe and the United States to use dance and motion capture systems to analyze the impact of human mirror neurons on the development of art. Scientists and artists have joined forces to challenge an age-old problem: why do audiences react to seeing some action combinations? And moved? If dance movements can be digitized, can emotions and heartache be digitized? Famous electronic artist Chris Milk calls VR technology an "empathy machine." He believes that VR can easily create spatial illusions, increase the sense of immersion, produce more projected emotions, and induce empathy. So how can empathy be seen again through different sensing technologies? I think that for the city, members of the performing arts who are at the forefront of creating imagination and ideas need to examine their own abilities and influence, and how they can bring new thinking and impact to society, at least in terms of art and technology. is required. Now that we have acquired new tools, will we, even art creators, not just be consumers of technology, but also be creators of new ideas?

Conclusion

Hong Kong is no longer what it was four or five years ago. Faced with a large number of images, the rapid development of AI, and an extremely depressive social situation, I believe that more Hong Kong audiences are not satisfied with pure technology show-style entertainment, but are eager for more reflection and Resonant work of art. As mentioned above, when planning an art technology or new form of performing arts, in addition to allowing creators and technicians to collaborate, I am concerned about whether it brings new imagination to the industry and the audience, and more importantly, whether the work has scientific and philosophical considerations. think. Moreover, in the face of the 21st century audience who are clear-minded, increasingly sensitive and eager for interaction, I will pay more attention to every detail of contact with the audience, including introducing how to wear the equipment, adjusting the comfort, the route to enter the venue, lighting Darkness, the attitude of the introduction, the distance between the performance area and other buildings, businesses, performances, etc., the method and material of the audience’s final questionnaire, etc., are very important, especially in technological performances that break the conventions of ordinary theaters and theaters Or in experience mode, because the audience's senses are forced to amplify, they no longer just focus on the stage, but are curious about the all-round space and new instruments. At this time, the actions of each of our employees may be remembered one by one. If there is interaction, whether it is active or passive communication, even if it is just helping to adjust the equipment, or someone passing by outside the venue, it will be easier to touch the audience's nerves.

Finally, what I want to say is that compared to the rapidly developing and tense era of the last century, what mankind has to face in the 21st century is to use magic called "convenience" and "comfort" to hide multiple huge powers. Will and violence include proxy wars, economic supremacy that creates irresistible oppression in society, such as the forcible removal of homeless people, and the use of development to cover up the darkness behind it. How should these issues be raised and concerned about the development of performing arts in Hong Kong? Technological development, including art and technology, while creating more unknowns and novelties, also brings the same amount of danger and unequal power, such as surveillance and privacy issues, or labor protection and transformation due to technology. As a performing arts planner and creator, you need to have clear thinking and persistence in goodwill, and look at your own works and the new technologies that will be adopted from a broader perspective, instead of intentionally or unconsciously inducing the audience to fall into consumption gimmicks. , indulged in the illusion of a prosperous age that whitewashes peace. Just because technology has brought a lot of convenience to life and art, the pace has become too fast. I will be more alert at every level, and occasionally stop to look at the more delicate minds of the audience, think about details, and think about people. What is the ultimate origin of desire between people. In the end, I will keep reminding myself that we have never just transported artists and instruments to a venue, and then transported a bunch of audiences in, as was originally described in "Empty Space", and let them spend their time, just as they have completed the task. Rather, as Brooke describes later in the book, he examines each type of art, understands the details, thinks deeply, reflects world phenomena, conveys emotions, and allows the entire creative group, including every employee, to establish a more delicate and detailed relationship with the audience. Multiple relationships that resonate again.

The article has been published in IATC HK ARTISM