e-Science Collides with the
Performing Arts
Dr R P Fletcher
University of York
So what is this e-Science??
At the inception of the UK e-Science programme John
Taylor said that:
“e-Science is about global collaboration in key areas of
science and the next generation of infrastructure that will
enable it”
Another source says it is:
“science increasingly done through distributed global
collaborations enabled by the Internet, using very large data
collections, terascale computing resources and high
performance visualisation “
Malcolm Atkinson has said that:
“e-Science is the development and exploitation of advanced
informatics methods to support collaborative research in all
disciplines “
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OVERVIEW
Academic Background – am I a real scientist?
Involvement in Performing Arts – am I a fraud?
Involvement with technology – am I a technologist?
Technology
Bespoke hardware and software
Computers
Networks
Software
Engaging with this technology
Right people in the right place
Future – some ideas
Questions – whatever you want to throw at me!
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My Academic background
1968 Degree in Biology
General
1971 D.Phil in Neurophysiology
Information processing in single sensory nerve cells
1975 Research Fellow in Psychology
Risk of schizophrenia
Psychophysiology
1981 Computing Service
Graphics
Database systems
Programming
Mathematical and statistical systems and libraries
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Academic Background
Involvement in Performing Arts
My involvement with technology
Technology
Bespoke hardware
Computers
Networks
Software
Engaging with this technology
Right people in the right place
Future
Questions
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My “Performing Arts” background
1965 Staged school bands
1968 Staged University bands
1971 President of the Electronic Arts Society
1972 Recording engineer York Musicians Cooperative
1972 Worked with Trevor Wishart
1973 Recording/mixing engineer campus band
1974 Built own synthesiser system
1976 Programmed FX on PDP-11
1978 Recording/mixing engineer campus band (again)
1991 SGI Indigos bootstrap Music Technology
1996 Chaotic Constructions
1999 RIMM
2005 UKLight for Collaborative Composition/Performance
2006 PEACHES committee of TERENA
2007 Content Creation tools for Digital Cinema?
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Technology Input and Output
Specialised software to edit synthetic speech
User interfaces for Music Technology
Courses in graphics for Music Technology
External Examiner MA Digital Arts (Middlesex)
Midi I/O systems for Sun Workstations
Developer for GIMP (video plugins for Unix)
Developer for XMX (collaborative X-Windows)
Developer for .ogg audio formats
Still ambisonic developments
Tracking technology for Chaotic Constructions
Graphics system designer/developer for RIMM
Real-time Interactive Multiple Media
PEACHES committee at TERENA
Panel of Experts for Arts, Culture and Humanities E-Science
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Academic Background
Involvement in Performing Arts
My involvement with technology
Technology
Bespoke hardware
Computers
Networks
Software
Engaging with this technology
Right people in the right place
Future
Questions
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Technologies
Aim to lead you through some technologies
Ones I have worked on over the last 15 years (or so!)
At some point technology overlaps e-Science
Need to engage with the new technologies
Need to help drive their development
Performing Arts need new/different facilities
either from the existing infgrastructures
or via new facilities
But, unless we know what’s possible
How do we know what to ask for?
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YORKTALK
Worked with the Language and Linguistics staff
Their technology allowed about six synthesis runs
PER DAY!
Data transferred via Kermit file transfer program!
Real informed trial and error to fix problems
I created a graphical interface to the data
Ran on a then high performance system
Could interact with the data
Synthesis was up to near real time
Combined visualisation to “see” errors
Used interactive graphics to “fix” the problems
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YORK TALK
Research vehicle for speech synthesis
DecTalk example (may recognise the voice)
YorkTalk examples
Same words as DecTalk
A sentence (with a cold!)
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Engaging with “artists
Next project was with staff in Music
Needed help to create interfaces for a system
Needed some lateral thinking
Definitely moving into the Arts domain
High performance computing was needed
Multiple tasks by same computer
Video
Audio
Graphics
Midi
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Chaotic Constructions - 1994
Certain amount of serendipity
Peter Fluck talking on Radio 4 about Chaotic motion
in kinetic scuplture
Tony Myatt talked a few weeks later about Chaos in
Music
Phoned each other
classic “WE SHOULD TALK” moment
By 1996 developed a project
to use the chaotic motion of a kinetic sculpture to drive a
music composition system
PROBLEM – how to capture the motion
ANSWER – ask me
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Chaotic Constructions – the Tracking System
Request came to me
How can we do this?
and …
It will be installed in Tate Modern in March 1997
and …
It was now January 1997!
First thoughts were to use shape tracking systems
Problems:
most systems were proprietary and expensive
shapes to be tracked changed because sculpture was 3
dimensional
could not use trajectory prediction due to the chaotic motion
ANSWER – simply track unique coloured items
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VIDEO EXAMPLE
The Making
of
CHAOTIC
CONSTRUCTIONS
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Stage 1 – Define a Colour “Fingerprint”
Program creates a set of “unique fingerprints”
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Tuning the “Fingerprints”
Check motion does not lose sync with colour
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Peter Fluck Hand Cranking the Sculpture
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Running with Tracking and Music Program
“Fingerprint” used by second program
Motion tracking is just one element
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Changing a Tracking Point
What are the best points to track?
Due to chaotic motion some trial and error!
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And finally …the prototype
… we get there … a small excerpt
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And the real thing
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Credits and Awards
Exhibited to great acclaim in Tate Modern
Other UK Art Galleries
Travelled to Hong Kong and Corsica
Herald Angel Award by the Glasgow Herald for the
best piece of visual art at the 1997 Edinburgh Festival
International Critics Award as part of the 1997
Demarco European Art Foundation exhibition
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Not really “Performing Arts” I hear you say
In St. Ives staff gave children coloured “bats”
Switched off the sculpture
Children waved the bats around
And, of course, “made music”
Security was called once to “remove” a visitor
Would not leave at closing time
Transfixed by the whole thing
Some people came 2 or 3 times a week
For a “fix”
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How can this Technology be used …
… for Performing Arts
Mount a camera above a stage
Give actors coloured hats
Now you have their position on stage
Link their movement around the stage
To …
Orchestrate lighting changes
Hotspots
Move to one place on stage and make a sound
Detect “collisions”
Allow actors to fully interact with their environment
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…or …
Point the camera at a tropical fish tank
Let the fish make music
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Bringing e-Science into the Frame
So far York work done on a single modest computer
Scale up
To multiple specialist computers
Networks
Wireless devices
Complex tracking
3D sound
Interactive graphics
All controlled by …
The PERFORMER
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Real Time Interactive Multiple Media - RIMM
“Construction 3”
Realised by the Real-time Interactive Multiple Media
Project
University of York Music Department (UK), IRCAM
(France) and SIMPK (Germany)
European Commission Information Society
Technologies Programme
Incorporates a live performer on soprano saxophone
Three-dimensional sculpture
Computer generated graphics
Ambisonic surround sound
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construction 3 is a synergetic composition
The musical and graphical elements of the piece have
been composed concurrently
Both the computer graphics and music are triggered
by the saxophonists natural gestures
Through infra-red video tracking
Use i/r device and i/r filter on camera
Electronic sensors
Footswitches, accelerometers
Machine listening
Score following
Gesture recognition using neural networks
e.g. “throw” sound into the audience
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Block Diagram of System
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System Diagram
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The “Team”
Lots of people needed to make this happen
Project manager to keep us in line
The Composer/Sound stage designer
The Graphic Designer
The Graphics Programmer
The Audio Programmer
The Electronics technical wizard
The Local site organiser
The commercial suppliers
And …
THE PERFORMER
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Team Photo
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Screens and Performer
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Examples of the RIMM Computer Graphics
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Technology becomes e-Science
Clearly a lot of technology to make it work
Some is bespoke electronics
Majority of tasks were programmed
The SGI Origin 2000
8 fast processors
Highly parallel
jMax
24-bit optical output for audio
High speed network interconnect to graphics computer
SGI O2 graphics
Optimised for OpenGL
Texture memory drawn from main memory
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Academic Background
Involvement in Performing Arts
My involvement with technology
Technology
Bespoke hardware
Computers
Networks
Software
Engaging with this technology
Right people in the right place
Future
Questions
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Technologies for All
Many of these technologies are available
Many of the ideas are now embodied in software
Many are free
Pure Data – aka PD (with GEM add-in)
Eyesweb
VJ-ing is growing
Many VJ products around
Grid Computing is available
Not easily accessible
Lacks some functionality for Performing Arts
Photonic networks are available
High speed links point to point
Up to 10 gb/s possible now
1 gb/s across the globe
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jMax, Pure Data/GEM
Graphics Programming
Lots of modules
Connect up inputs and outputs
Uses the modular synthesiser metaphor
GEM
Graphics Environment for Musicians
Link audio to graphics
Limited by modules unless you write your own
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eyesweb
Video programming with modules
Huge number of modules
Includes “man” tracking capability
Can link to rudimentary audio
But …
Can also link to PD
using Open Sound Control protocols - OSC
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REACTABLE
Collaborative electronic music instrument
Tabletop tangible multi-touch interface
Several simultaneous performers
Share complete control over the instrument
by moving and rotating physical objects
on a luminous round table surface.
Objects represent components of a classic modular
synthesizer
can create complex and dynamic sonic topologies
a kind of tangible modular synthesizer or
graspable flow-controlled programming language
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REACTABLE
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REACTABLE - demo
Click on Image to go to site with Videos
[will open a browser]
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More Video Tracking and Performance
Messa di Voce
Tmema,Blonk,La Barbara
http://www.tmema.org/messa/messa.html
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Messa di Voce - demo
Click image to go to the Host site
[will try to play Quicktime in a browser]
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And just for fun … another demo
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Academic Background
Involvement in Performing Arts
My involvement with technology
Technology
Bespoke hardware
Computers
Networks
Software
Engaging with this technology
Right people in the right place
Future
Questions
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So what is this Grid Computing?
The term originated in the early 1990’s
Metaphor for making computer power as easy to
access as an electric power grid
Many years on and still mainly in the domain of “BIG
SCIENCE”
Most Grids are run like 80’s batch style computing
Submit a job description to a scheduler
It decides when and where the job runs – more or less
This is a computational grid
Many computers and clusters are interconnected
Can be globally distributed via photonic networks
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What is this Data Grid?
A grid computing system that deals with data
The controlled sharing and management of large
amounts of distributed data
These are often, but not always, combined with
computational grid computing systems
Finding data is not easy
Accessing it is not easy
Mainly in the domain of “BIG SCIENCE”
Some shift to Arts and Humanities
We have lots of data too!
More later in context of National Grid Service
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What are these Photonics Networks
A worldwide network of optical fibres
Speeds are 1gbit/s to 40 gbit/s
Run by different organisations
UK - Janet
Europe - GEANT2
USA - StarLight
USA - National Lambda Rail
Canada – CANARIE
etc …
A connection is usually point-to-point
Very exclusive
Lots of bandwidth
Low latency and jitter (more of this later)
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What might I use such links?
Many examples
Interactive dance
Use HDTV rather then Lo-res AccessGrid technology
Collaborative audio and video
Master classes are more commonplace
Collaborative tools for distributed, remote teams
Digital cinema (4k x 2k) is used for:
Entertainment, media, art and culture
Science, medicine, education and research
and also …
Military, intelligence, security and police
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Nagano Winter Olympics 1998
Massive endeavour with live networked music
Opening ceremony had a chorus in:
Berlin
Cape Town
Beijing
New York
Sydney
Performed the final movement of Beethoven's 9th
Together with the full symphony orchestra in:
Nagano Kenmin Cultural Centre Hall.
Also …
2000-person chorus in the Olympic stadium
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Nagano Winter Olympics
The final result was mixed and broadcast worldwide
This setup required:
7 satellites
12 uplinks with encoders and decoders
Multiple-delay compensation
The longest delay was to and from Berlin
Around 4 seconds!
Incredibly …
It all worked and the result was orchestras and choirs
all in time
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Orchestra Rehearsals
New World Symphony in Miami rehearsed pieces by French
composers
The composers participated live from IRCAM in Paris
This transatlantic rehearsal enabled live exchanges between
musicians in Miami and the composers in Paris
Via RENATER-4 in France, GEANT2 in Europe, and Internet2
These advanced research and education networks provided the
bandwidth and quality of service to ensure high quality audio and
video
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Using High Speed Networks for Arts
Cinegrid is a good Example
Cinegrid’s Mission Statement:
To build an interdisciplinary community that is focused
on the research, development, and demonstration of
networked collaborative tools to enable the
production, use and exchange of very-high-quality
digital media over photonic networks
See www.cinegrid.org for more details
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Cinegrid
Converging on the digital
Fast networking
Access to shared instruments, computers, storage
Collaboration tools
Robust security for intellectual property
High visual quality
Greater speed
More distributed applications
and, importantly …
Next generation of trained professionals
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Cinegrid@AES October 25th 2006
This event was structured in four acts
Each demonstrating a different facet of the CineGrid
philosophy of networked extreme media
In Act 1, a sequence of 4K “digital shorts” at 24
frames per second (fps), together with fully mixed
synchronized audio, were pulled in real time from
network-connected servers in Los Angeles and San
Diego.
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Cinegrid@AES October 25th 2006
In Act 2, 4K tele-presence was used for interactive
video-conferencing and ultra-realistic reproduction of
a classical music performance from Tokyo
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Cinegrid@AES October 25th 2006
Acts 3 and 4 were designed to prove the concept:
networked, remote audio post-production for digital cinema
by creative teams spread around the world
who demand the highest-quality production values
In Act 3
4K motion pictures were sent compressed from Tokyo
24-channel non-compressed digital audio was streamed from
San Diego
In Act 4
The performance system was re-configured
to use uncompressed 2K motion pictures coming from ILM
servers in the LDAC facility, synchronized to 24-channel,
non-compressed digital audio streaming from San Diego
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Cinegrid@AES October 25th 2006
Was a good test of the CineGrid concept of:
Using 4K cameras
Multi-channel, non-compressed audio
Ultra-realistic “live” experiences of music concerts
and …
other kinds of performing arts
To distant audiences in theatres
Connected by high-speed networks
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Cinegrid@AES October 25th 2006
Tomonori Aoyama, Professor at Keio/DMC and Chairman of the
Digital Cinema Consortium of Japan (DCCJ) said:
"I believe the very high-speed optical networks such
as now being deployed by research organizations will
become an essential infrastructure for digital cinema
production and distribution”
"But, we still have to learn how to integrate systems
that creative people can use to make beautiful 4K
content - picture and sound - in new ways appropriate
for the 21st century. Demonstrations such as
CineGrid@AES force us, in a good way, to learn by
doing."
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UK National Academic Networks
UKERNA
UK Education and Research Networking Association
Now renamed to JANET
Operate the standard IP service
What most of use use daily
With the rollout of SUPERJANET-5 we now have:
JANET Lightpath Service
Evolved from UKLight
See www.uklight.ac.uk for details
Various research projects
Many coordinated from NeSC and the eSI
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What is a lightpath?
End-to-end Network Capacity
Point-to-point circuits
Capacities from about 50Mbit/s to 10Gbit/s
Presentations
• Ethernet – 100/1G/10G (WAN/LAN)
• SDH – STM-1/4/16/64
Implemented over JANET optical transmission
infrastructure
including SDH equipment re-deployed from UKLight
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Janet Networks
JANET IP
Research capacity
UKLight
Additional
Wavelengths
JANET Optical
Transmisson
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SUPERJANET-5 Integrated with UKLIGHT
FaTMAN
UHI
Glasgow
NIRAN
Clydenet
EaStMAN
C&NLMAN
AbMAN
NorMAN
Dublin
(HEANET)
YHMAN
NNW
Leeds
Warringto
n
USA
StarLight
Europe
GEANT
MidMAN
EastNet
EMMAN
T-City
Reading
THouse
TVN
London
LMN
WREN
Kentish
MAN
LeNSE
SWERN
Bristol
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Getting a Lightpath - JANET Policy
Subject to capacity and budget availability, lightpaths
will be free at point of use up to 1Gbit/s
Tariffs available for 10Gbit/s
Delivered to Institutions at the JANET Access Point
Institutions must commit to extending the lightpath
across their networks
See www.ja.net/lightpath for details
Documents shortly
First public version in final editorial stage
Service description and application lightpath
application form
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High Performance Computing
The more power we need the less we can afford it
Not sensible to have massive systems duplicated
Look towards the grid for power
But, what if we need it in real time?
Current technology geared towards batch computing
Some notable exceptions
Interactive visualisation
Computational steering
VLBI
Some CERN LHA experiments
Data reduction in real time
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Grid Computing in the UK
National Grid Service (NGS)
NGS-1 4 core sites with compute and TB storage
NGS-2 Officially in pre-production as of 20th June
Sevices …
Job Submission via:
Globus, GridSAM, Condor, gLite
or via portals and applications repositories
“to simplify job submission for users who do not wish to delve
into the technical details of grid computing “
Grid Support Centre to help users
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Data Grid in the UK
NGS offers:
Oracle 10g
Storage Resource Broker (SRB)
OGSA-DAI
VOMS
Oracle 10g – high performance database system
SRB - data storage service
store your data in geographically distributed locations
access them all using only the logical filename
Reliabilty and efficiency are improved dramatically
OGSA-DAI
The Open Grid Services Architecture Data Access and Integration
middleware that helps users access and integrate data
from separate structured data sources e.g. XML or Oracle
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VOMS
Virtual Organisation Membership Service
To help grids manage the authorization of their users
Delegates the approval of users to the to the VO itself
Thus removing the onus upon the end user to register
with each resource they might use as part of the VO
NGS resources are in the process of adopting VOMS
to authorize NGS members
In the future the number of VOMS-aware resources is
likely to increase
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Academic Background
Involvement in Performing Arts
My involvement with technology
Technology
Bespoke hardware
Computers
Networks
Software
Engaging with this technology
Right people in the right place
Future
Questions
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High Performance Computing
Wavefield Synthesis is a good example
Computationally demanding
Desktop machines and small clusters not capable
Can we have real time grid computing please?
If not, will someone fund a big lorry:
With lots of computers
Lots of aircon
Plug in 3-phase power at one end
Gigabit ethernet comes out the other end!
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Wavefield Synthesis – what, why, when?
The limitation of stereo or ambisonic techniques
it only works perfectly well for one listener
positioned on the so-called sweet spot
Thus in common concert environments
the intended effect of movement of the sound will in these
cases not be heard by a majority of the listeners
Wave field synthesis can overcome this limitation
Can provide a good perceptual localisation in a
relatively large listening area
This makes the technique ideal for concert
environments
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Wavefield Synthesis – Simplistic overview
Sound is waves
Next wave can be synthesised by a infinite number of
small speakers
Need to approximate “infinite”
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Wavefield Synthesis – the reality
Various experimental speaker arrays
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Exemplar Venue
RECOMBINANT MEDIA LABS, SF
Founded to create, research, and portray Spatial
Media Synthesis
The science of projecting image and sound objects in
3-dimensional space
RML cultivates radical methodologies for experiential
engineering
Exploring performative processes which expand the
formal aesthetic and technological boundaries of
immersive installation and surround cinema
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RML
The San Francisco facility contains:
A flexible black box environment that houses:
A high definition multi-channel audio-visual system
known as Surround Traffic Control
Full fidelity array consists of a design specification for:
10 screens in 360 degrees
supported by an ultra impact 16.8.2 horizontal and vertical
sound diffusion system
scalable for all types of rectangular rooms
High Speed Networking
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Summary
Seen the evolution of some technology
The newer technologies require:
High performance computing
Very high speed networks
Massive storage
New breeds of creative artists
Many different experts in the technologies
Networking of experts
New theatres
Investment
and much much more
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ANY
QUESTIONS?
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