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MontageCinemaRevived Portfolio
MontageCinemaRevived Portfolio
Artist Statement
During the last decades the scientific field
of artificial intelligence has undergone a
major change in direction. The general
cognitive paradigm of constructing an
artificial humanoid thinking machine was
becoming more and more problematic. It
turned out that creating an intelligent robot
capable of communication is not just a
matter of computational power. As a direct
answer to this the 90s saw the rise of a
promising and remarkable research domain
in artificial intelligence called affective
computing. In this field, originally founded
by Prof. Dr. R. Picard at MIT, researchers are
studying innovative emotional man-machine
interactions. From these efforts a new
breed of humanoid robots including the
KISMET (first generation) and Nexi (second
generation) was developed at MIT.
The groundbreaking vision affective
computing offers has also had a profound
influence on the field of computational and
cognitive musicology. Specifically it has
renewed interest in the connections
between music and emotions. Since the
tentative studies of K. Hevner in the 1930s
this connection could only be thought of in
terms of classical psychology. But by
applying the field of affective computing a
whole new perspective opens up.
This point of view lies at the foundation of
the construction of the EMO-Synth. In
implementing the system numerous new
principles and ideas have also come to
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EMO-Synth
The EMO-Synth is an interactive multimedia system where the emotional manmachine interaction plays a central role.
During performances and demonstrations
the system automatically generates and
manipulates sounds and images to direct
the user in certain predefined emotional
states. The development of the EMO-Synth
relies on different techniques stemming
from a broad range of domains including
artificial intelligence, affective computing,
psychophysiology, automatic music
composition and sound and image
generation.
In the current setup emotions are
quantitatively measured using biosensors
that
monitor
psychophysiological
parameters such as heart rate (ECG or
electrocardiogram), stress (GSR or
galvanic
skin
response)
and
electrooculogram (EOG). During operation
the EMO-Synth will subsequently generate
audiovisual artifacts and analyze the
resulting emotional impact on the user.
Using techniques stemming from artificial
intelligence like interactive genetic
programming and HMMs the EMO-Synth
will try to generate audiovisuals to bring
the user in a specific emotional state.
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05
Prototypes
Between 2004 and 2007 the first four
prototypes of the EMO-Synth were
developed to explore the possibilities of the
system and to design possible blueprints
for future developments.
Prototype 01 was developed for the multi
media project SKANNER (collaboration with
Belgian artist Angelo Vermeulen) that
mainly dealt with the concept of human fear.
The project was shown on various locations
including the Atomium (expo Interface,
Brussels, Belgium, 2004), W139 (Amsterdam,
Netherlands, on invitation of Belgian artist
Jan Fabre, 2004), Beursschouwburg
(Subliminal Festival, Brussels, Belgium,
2005), STUK (Artefact festival and Kulturama
2005, Leuven, Belgium, 2005), Z33 (expo Feel
the young, Hasselt, Belgium, 2004). With this
prototype
first
experiments
were
elaborated in the field of the sonification of
the psychophysiological data.
Prototype 02 was developed in 2006 for the
exposition PERSEVERANCE at the Godshuis
in Sint Laureins in Belgium. A first automatic
music generating system was implemented
with this prototype. During the exposition
an
EMO-Synth
performance
was
broadcasted live on the national Belgian
radio station Studio Brussels.
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PROTOTYPE 05
Montage cinema revived by the EMO-Synth
Introduction
The general idea behind the EMO-Synth is
to create a dynamic work of art that evolves
automatically. Using a natural evolutionary
process the computer will pursue the
creation of ideal optimized and personal
audiovisual material. The EMO-Synth thus
embraces a fasciniting new paradigm that
opens the discussion on the deprecation of
the unique character of a piece of art.
Referring to earlier art history; this is a
recurrent discussion that also appeared at
the rise of photography at the start of the
20th century. At that time the general
concern was the loss of the aura that
surrounds artwork because reproduction of
photographic material severely questioned
artistic authenticity. But as history thought
us it turned out artistic potential is not equal
to its medium.
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PROTOTYPE 05
Montage cinema revived by the EMO-Synth
project outline
The concept of montage cinema was
conceived by a number of Russian
filmmakers in the 1920s and its core ideas
were rooted in the Soviet revolution a couple
of years prior. Different filmmakers, such as
Vertov, Pudovkin and Kuleshov, all had quite
different ideas about what montage cinema
ought to be. Therefore the word montage,
which literally means editing, is used to
describe the Russian cinema of the 1920s. In
this project though, we started off with the
theories and views of Sergej Eisenstein who
claimed that montage was the very essence
of cinema.
His idea of montage cinema was that
filmmakers needed to compose a series of
exciting events in order to emotionally
stimulate the viewer. This meant that
individual shots couldnt just follow each
other, but had to collide. He denounced the
classical Hollywood way of editing in which
temporal and spatial continuity were
quintessential. Shots had to be opposed to
one another instead in a dialectical way. This
idea was derived from the Marxist theory in
which thesis and anti-thesis combined into
syn-thesis and thus determined the course
of history. This collision of shots could be
based on conflicts of scale, volume, motion
and speed, both within and between
different frames. These conflicts result in a
new mental concept which forms itself inside
the viewers mind. This mental concept
cannot originate from the different shots coexisting, but emerges from the overall
interaction between shots. This enabled the
director to raise abstract concepts, such as
specific emotions, in the mind of the
audience. Genuine emotions could not be felt
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PROTOTYPE 05
Montage cinema revived by the EMO-Synth
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The Phantom of the Opera is a 1925 film directed by Rupert Julian. The film is about Eric, a
musical genius who hides himself because of his deformed face. After he has heard
Christine, the young opera singer, he becomes hopelessly in love with her. This is the
beginning of a tragedy. Christine is engaged to the handsome young count Raoul de Chagny
and cannot feel love for a deformed freak. Driven by extreme anger and jealousy the
phantom kidnaps the young soprano.
As most of the work of the montage cinema school is protected by legal issues we looked
in the project for alternative film material apt to being applied in the "montage cinema"
context. Extensive research lead us to The Phantom of the Opera. Even though it was made
in roughly the same period as the montage film-school flourished, it has few similarities at
first glance. But closer examination reveals that it contains all the elements to be used for
montage purposes.
On one hand there is the world of the phantom, which is dark, gloomy and driven by negative
emotions. On the other there is Christines world which is bright, happy and has overall
positive connotations of love and devotion. The emotional elements within the shots are
one-dimensional and dont really evoke complex emotions and abstract concepts in the
viewers minds. But a clever re-editing, executed by the EMO-Synth which follows the
guidelines stipulated by the director of the project, adds a new dimension to the film.
The juxtaposition of shots of both worlds will lead to the emergence of new and more
complex and abstract emotions which will be reinforced by the new soundtrack that is
composed to the slightly re-edited parts of the film. The audience will experience empathy
for the villainous character of Eric. This empathy is usually not associated to malicious
characters in films and can only be achieved by means of using montage techniques. These
elements present in The Phantom of the Opera make it the ideal film to use in a montage
context without being a montage film itself.
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Office Tamuraj
Because the elaboration of the different aspects of the EMO-Synth requires various
skills the dynamic collective Office Tamuraj was founded in 2007. The collective includes
people from different backgrounds including programmers, musicians, designers and
people with an artistic aspiration. Our main philosophy as a dynamic collective is to
allow people to join in or drop out freely. Being a collective also implies we want to voice
a single message: Office Tamuraj aims to translate recent developments in affective
computing to the world of music and image generation. In doing so it acts as a bridge
between the world of purely academic research and the artistic world. Of course we
are aware that we are not the only players trying to attain this goal. But in gathering
people with a common spirit and state of mind we want to establish a discussion
platform for the possibilities of creating a new era where man and machine can
communicate on an emotional and artistic level. For the creation of Montage Cinema
Revived bythe EMO-Synth Office Tamuraj consists of the following people:
Valery Vermeulen Electronic musician, composer, producer and developer of new
interactive multimedia software and founder of the EMO-Synth project. He obtained a
PhD in mathematics at the University of Ghent where he conducted fundamental
research in the area of algebraic group theory and geometry (PhD in Pure Mathematics
in 2001). Between 2001 and 2005 Vermeulen worked at the Institute for Psychoacoustics
and Electronic Music (IPEM, University of Ghent) on a research project focusing on the
link between music and emotions. Meanwhile he started writing and recording music
in his own production studio. Since 2004 Vermeulen has been working on the
development of the EMO-Synth and other art projects focusing on sound and music.
Besides being involved in the EMO-Synth project Vermeulen works currently as a
statistical expert and consultant and studies music at the Royal Conservatory of Ghent.
Astrid David Astrid David Studied social-cultural work at the Social College Ghent,
art-sciences at the University of Ghent, followed by an internship at the Metropolitan
University of Manchester. She worked as cultural policy coordinator on two accepted
cultural policy plans for Tielt and Eeklo, organized the exhibition Persvrance in the
Godshuis of Sint-Laureins in 2006 and was associate at the Andr Simoens Gallery
from 2006 to 2009. More info on www.david-vzw.be.
Arpad Dorozmai Graduated in Communication Sciences from the Catholic University
of Leuven in 2004 with a dissertation entitled A filmtheoretical research on the socialcriticism in Elia Kazans films. In 2004 he entered a Master-class in Film Studies and
Visual Culture at the University of Antwerp. The following year he produced a short
documentary film entitled Kandarock". For his master degree, he worked on a short
film entitled Nowhere to hide. The subsequent two years he worked for the European
Film Festival in Brussels. He came into contact with Valery Vermeulen at Testcase 1 of
Prototype 04 and eventually became a member of Office Tamuraj.
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Liard Kranen After graduating from Waldorf Education with a project and a paper on
DOGMA95 Liard enrolled in Economy and Arts at the Utrecht School of the Arts. He
graduated in 2006 with honors. Liard was involved in numerous projects as a producer
such as the short fiction film Hotel Paradijs from Jan Krger and the long-play fiction
De Legendarische Scheiding from Lars Trim and the documentaries Hooligans from
Nikita Sutyrin and Kresty from Allard Detiger. After his these experiences in film Liard
obtained a Master of Arts degree in the EMMA European Media Master of Arts program
of the HKU. In meantime he worked as a project manager for the Changing Societies
project of BUZA (Dutch ministry of Foreign Affairs) the HKU and VGIK (All-Russian State
Institute of Cinematography Moscow). His graduation project was called Disnified
(www.disnified.org) an online interactive documentary film about the
entertainmentization of society and the thoughts of young Europeans on this topic.
Liard became one of the members of Office Tamuraj art collective in 2007. Furthermore
Liard is working on a photographic documentary and an audiovisual installation from
the Disnified project.
Stif Labarque In 2004 Stif Labarque obtained the degree of Industrial Engineer
specialized in Information Technology. For his thesis he wrote an application that served
as an online data loader to provide access analysis for a video streaming website for
La nueva Espaa (a Spanish newspaper). Since then he has been developing several
web-based and standalone applications using Microsofts .NET technology. He was
contacted by Valery for the development and implementation of Prototype 05 of the
EMO-Synth. Through the use of cutting edge technologies he has seamlessly integrated
the new EMO-Synths core and its subsystems into one application.
Valery
Astrid
Arpad
Liard
Stif
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Flanders Image
www.flandersimage.com
Mindmedia B.V.
www.mindmedia.nl
Office Tamuraj
www.myspace.com/OfficeTamuraj
www.emo-synth.com
www.jon-ibe.be