In Case of Emotions – preliminära resultat

Den 5 maj utförde projektet Musikalsk Oplevelsesdesign ett första större experiment på Det Kongelige Teater: In Case of Emotions. Med hjälp av en webb-applikation och ljusstavar fick publiken inflytande över vilken färg scenljuset skulle ha. Experimentet utfördes i samarbete med Medeas Connectivity Lab på Malmö högskola.

In Case of Emotions - Credit Mads Hobye CC:BY

Via en webb-app kunde publiken styra vilken färg scenljuset skulle ha

Under Det Kongelige Teaters Musik2Go-konsert den 5 maj bjöds publiken in till att bli aktiva medskapare i konsertupplevelsen. Detta genom att via en enkel webb-applikation eller via färgade ljusstavar välja en färg som bäst passade med den enskilda individens känslotillstånd.

Dorte Grannov Balslev, outreach-ansvarlig på Det Kongelige Teater:

Jeg synes, det var sjovt at se, hvilke ’forhandlinger’ der var i gang mellem publikum. Hvis konceptet stod på til flere koncerter med overlappende publikum, tror jeg der efterhånden ville blive dannet en kultur for, hvornår vi melder blåt, og hvornår vi melder gult. Rød synes mere frit fortolket. Nogle meldte rød for kærlighed andre for passion/høj energi. (Min tolkning). Jeg bemærkede også de rytmitiserede taktslag med knæklys. Der kom næsten lidt ’Last Night of the Proms’ over det på et tidspunkt. Jeg mener, det er et fint succeskriterium, at skabe noget, som både børn og voksne kan være sammen om ligeværdigt, – der er generationskløfter nok i vores samfund. Tilmed var scenografien meget smuk især i første del.

Video: en kort introduktion till hur webb-appen fungerar (länk till Vimeo)

Medeas Mads Høbye var delaktig i designen av “systemet” och Høbye kommenterar utfallet så här:

The introduction on stage worked out really well. It enabled the participants to break the ice and start playing with the colours. After the break, the energy died a little. I think this is partly because the music changed, but mostly I think it was a matter of people hesitating to break the ice again. It was as if people needed another pep talk. Some people tried to break the ice, but they did not get any reaction from the light and gave up. This might have to do with the people controlling the light expected too big a reaction from the audience. E.g. they probably should have exaggerated the few response they got, to get the interaction going again.

Høbye reflekterar också över det faktum att flera publikmedlemmar använde ljusstavarna som dirigentpinnar:

People used the glow sticks as a director’s wand. This resulted in them playing along with the director, waving the wand in the air. The glow sticks enabled everyone to participate, but gave a somewhat flimsy aesthetic look to it. They were thin and did not create much light. Further, a lot of them were on all the time because people did not hide them – they had them in their laps. From above, this gave a more messy appearance than were the case in reality. Some people started to put the glow sticks in their hair etc. Although this was not the intended use in this context, it does make sense because of the intended use of glow sticks in general. The glow sticks enabled the kids to participate as well. It was clear that the kids thought of it as a nice surprise to play with the light sticks when going to a symphony orchestra concert.

Vad gäller webb-applikationen menar Høbye att den för många i publiken blev ett andrahandsval:

It seemed like the phone became the second option from the glow sticks, hence most people felt like it was simpler to use the sticks. The people introducing the phone had a tendency to give everyone a glow stick “just in case the technology did not work”. This resulted in the glow stick becoming the dominant way of interacting. It would be interesting to see a concert with only the phone interface. This would encourage the participants to find the website on their phones. I believe people would be willing to spend the time and energy to figure it out. Seniors were eager to use the mobile. To me, this destroys the persona myth e.g. seniors cannot use mobile phones. They were interested in using it and did not seem to be interested in being talked to as if they needed special help. I do believe that this interaction has a potential for being quite aesthetic with only the phones as the interface.

In Case of Emotions - Scenljus och scenmönster

Scenljus och mönster

Vad gäller scenljus som “feedback” och estetisk upplevelse menar Høbye att kombinationen av färg och olika mönster fungerade riktigt bra:

The combination of the solid background and the patterns on top created a really good dynamic. It became more than just a flat surface. Further, the lights projected on the roof really integrated the beautiful ceiling of the theatre into the experience. From my above point of view, the coupling between peoples’ suggestions and the lights controlled varied greatly. Sometimes, it would be spot on and sometimes one could observe a wave of glow stick in the same colour coming up but no reaction from the lights. I believe some of the participants lost the energy of wanting to participate from this. It is crucial that the connection becomes as tight as possible. On the other hand, I believe it was a good choice to have a human interpreting the combinations of light. I believe a controller would end up in a binary experience. Here, the human did a good job of making smooth transitions and making aesthetic choices on the fly. I believe the somewhat loose coupling were a consequence of the light controller not having a clear enough visual of the audience.

Många fler bilder från experimentet hittar du här.

Läs mer om Interregprojektet Musikalsk Oplevelsesdesign.