|
Designing for Virtual
Worlds - Although I have been working with 3D Computer
graphics and CAD for literally decades, I am rather new to working in full
immersive Virtual Environments. I am a fast learner though and have already made
a mark in this rather new field. While most folks are familiar with computer
gaming environments either as a creator, or as a designer/programmer, the
virtual world of Second Life is unique. A game world affords all sorts of
interactivity for its players. Beyond this the worlds within Second Life are
created entirely by the participants! As such it is an excellent platform
for artistic collaboration. My work in this arena is largely in three areas,
presented here. If you wish to skip ahead, the internal links right below
can facilitate your quick navigation.
Contents with Quick Internal Navigation Links on this page.
|
SECTION 1: DESIGN FOR
VIRTUAL PERFORMANCE |
ARCHIDANCE - BALLET PIXELLE 2011
- Ballet Pixelle is considered to be the first virtual dance company in
history. In 2012 it reached its 6th anniversary. The company and dancers
come into the virtual world to perform from about 8 different countries
including Estonia, Bahrain, Japan, Canada, USA, Spain, Portugal. In may
ways the process of preparation for production is the same as in real life
though when I mentioned this observation to company founder and Artistic
Director, Inarra Saaren, her response was: "Yes but in real life I
have never had to give a note to a dancer to 'hover a bit higher'
". The modern dance piece depicted in these first few images
traces the development of dance in its form (like architecture) through
the ages. It is a 3-act dance. Much of the
design and choreography in the work is in homage to the work of Rudolf
Laban.
|
|
WINDOWS - BALLET PIXELLE - 2012 - This
production was a revival with all new scenery, of a virtual dance piece
that had its debut in the early days of the company. The modern ballet
is in three acts, each telling an un-related story involving the human
condition. |
|
THE NUT - BALLET PIXELLE - 2011 - This
production was nearly 5 years old when I was engaged to refurbish it
with new scenery. The ballet, of course, is an adaptation of The
Nutcracker. Depicted below are the snow scene and the first setting,
before it moves into color as part of the magical transformation. |
|
PRAYER FOR THE CHILDREN - BALLET PIXELLE - 2011 - This
modern ballet was commissioned as a fundraiser for missing and exploited
children. |
|
IMMORTAL
WALTZ - BALLET PIXELLE - 2011 - This piece was created during
Halloween season. Depicted is a view through the show scrim to the
cemetery setting |
|
|
Section 2: Design for Real-Life using the Virtual
Reality
of Second Life
For decades, literally, I have been
designing scenery aided by computers and 3-D visualization. While this
has afforded some interactivity, this is at a primitive level where one
sits with a director and manipulate an image on a flat computer
screen. One remarkable difference in Second Life is that through
the use of avitars, it is possible for the director to come INSIDE the
visualization to interact in a more meaningful way with the proposed
environment. My experiment was to apply the skills I learned in
designing for virtual performance to my work in real-life stage design.
Below are examples from the two productions that I have designed in this
manner: Our Country's Good, and A Servant of Two Masters. Both
productions have their own pages on this website if you would like to
learn more. The first images depicted here though, are of the virtual
recreation of the real-life venue, the new Forbes Center for the
Performing Arts at James Madison University. |
|
OUR COUNTRY'S GOOD - Real-Life Design as
planned on the virtual stage in Second Life
|
|
SERVANT OF TWO MASTERS - Real-Life Design as
planned on the virtual stage in Second Life
|
The following two images demonstrate the use of Second Life as a means of simulating the complex parameters of performing the musical, Orphan Train at Grand Central Terminal in the fall of 2013. Given the extensive requirements and rules for working in such a heightened environment (homeland security) which also has National Landmark status, every detail is simulated doen to the trash cans. This allowed for easy communications between the various collaborators. Via Second Life I was then able to quickly produce walk-through videos to better explain the environment to the various levels of participant. |
|
|
|
|
Section 3: Virtual Design for Virtual Worlds
Outside of my stage design work, I am now a Master Builder in the
virtual world of Second Life. In addition to creating architectural
builds in the virtual arena, I also operate two shops where my
furnishings and design elements are for sale. Additionally I use Second
Life now extensively as a teaching environment. Below are a few
images from my shops along with some examples of my virtual builds. |
Second Story of one of my Second Life Shops.
A few samplings of furnishings that I
manufacture and sell in my Second Life stores. Half of my furnishings
are totally original, while other items are derived from historical
example. |
|
|
Views of two of the rooms in my house in Second
Life. About 70% of the rooms was created by me within the virtual world.
|
|
|
|