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Immersive and Augmented Performance practices
March 6 @ 17:00 - 19:00
The Immersive Storytelling Studio (previously the Immersive Reality / VR Lab) invites you to Immersive and Augmented Performance practices, where our guests Zoey M. Cochran, Pierre-Henri Barralis and Chélanie Beaudin-Quintin will speak about their individual approaches to immersion and their collaborative process working with the “OpéRA de poche” project.
When? March 6, from 5-7pm
Where? Milieux Institute, EV.11.725, Concordia University: 1515 Ste-Catherine St. W, Montréal.
Zoey Mariniello Cochran is a PhD candidate at McGill University where she is completing her dissertation entitled “Power and Resistance in the Operas of Viceregal Naples (1696–1714).” Her research has been funded by the Social Sciences and Humanities Research Council of Canada and she was awarded the Proctor prize (MusCan) for her research on the use of Tuscan in Neapolitan comic opera. She currently works at the Université de Montréal as deputy director of research and scientific coordination of the Canada Research Chair in Opera Creation, held by composer Ana Sokolović, and as the co-director of “Convergence through rhythm” (cinEXmedia partnership). In this context, she has developed, among others, the research-creation project OpéRA de poche, involving the creation of short operas for augmented reality in partnership with the Opéra de Montréal, INEDI, Normal studio, the National Theatre School, Wapikoni mobile and Musique nomade.
Chélanie Beaudin-Quintin (she/her) is a visual artist and filmmaker currently pursuing a research-creation PhD in Interdisciplinary Humanities at Concordia University. Through her project entitled “Technological animism: thinking the body in relationship with humans and robots through immersive cinedance,” she works with dance, cinema, and anthropology to explore individual and collective bodies, investigating spaces of exchange and cohabitation. Through dance and film, she seeks to create a new dramaturgy whose narrative form, by moving away from classical codes, seems rather sensory and embodied. Her work has been presented in exhibitions and events in Quebec, Ontario, Belgium, Germany, Italy and the United States. Amongst other projects, she currently directs an underwater stereoscopic and ambisonic cinedance choreographed by Caroline Laurin-Beaucage (Art et Essai), and collaborates as a cinematographer on the OpéRA de poche project.
Pierre-Henri Barralis is a software engineer who has worked with video game companies Ubisoft and Square-Enix, and is currently studying music composition at the University of Montreal (UdeM). Exploring the affordances of VR since 2013, he has helped many VR and AR experiences come to life, such as the AR module in the mobile game Jurassic World: Alive (Ludia). Within UdeM, he has contributed to two VR projects involving sound spatialization in collaboration with the Centre des Musiciens du Monde, and with the Observatoire Interdisciplinaire de Création et de Recherche en Musique (OICRM). He is the technical director of the OpéRA de poche project where he guides the choice and use of technology to serve the creative teams, including volumetric capture and augmented reality.
About the OpéRA de poche project:
Le projet OpéRA de poche vise à développer des opéras pour la réalité augmentée et virtuelle par un processus de cocréation interdisciplinaire qui relie recherche académique, recherche et développement technologique et création artistique. Ces opéras, qui seront accessibles sur téléphones intelligents et tablettes, permettront au public d’assister à une représentation opératique à 360° dans leur espace domestique. Ce projet a pour but de renouveler et démocratiser l’opéra.