The cursor on this web-page is a representation of Jeremiah's
face and the eyes randomly appear to blink
||This is Jeremiah, Jeremiah is a computer generated animated head
based upon Geoface. He has a simple bone structure which allows him to express himself and
emotions with which he can become angry or sad. But most importantly he has eyes with
which he can see.
Jeremiah has a visual system
which allows him to watch his environment and react to it.
Video 1 - 3 demonstrates what Jeremiah
sees and what we as an audience see. It also demonstrates the visual
surveillance technology and real-time interaction between Jeremiah
and Richard Bowden.
The Real-Time video clips will not
be displayed inless you have this software Download
DIV-X Codecs (works with media player).
Also they have no sound.
Jeremiah watching a yellow duster, Real Player, DIV-X Codec
What Jeremiah sees, Real Player, DIV-X Codec
A bored Jeremiah randomly looking around, Real Player, DIV-X Codec
This is Elodie, once she performed alone, now she has
someone to watch over her.
Video 4 shows Elodie Berland in the original performance of Blue Bloodshot Flowers before (2000) before Jeremiah joined the cast.
Elodie Performing Alone, Real Player
Reaction and Performance
The Human Body Tracking Project
The collaboration involves developing a contemporary
performance piece bringing together physical theatre, live art and new technologies. The
English/French text used in the work is from an original prose written by Philip Stanier.
The production will consist of a public, live performance and will be distributed
electronically over the web.
Downloadable movies :
Video 5-7 shows Elodie and Jeremiah in rehearsal and how they interact with one another in real-time.
and Elodie interacting on stage Part 1, Real Player
Jeremiah and Elodie interacting
on stage Part 2, Real Player
Jeremiah and Elodie interacting
on stage Part 3, Real Player
Video 8 demonstrates how Jeremiah shares his attention between more than one person - and here Richard and Martin Lewin, a PhD student from Systems Engineering at Brunel and our Stage Manager, compete for Jeremiah's attention.
Jeremiah shares his attention
between people, Real Player
Video 9 has both the performer
Elodie and the director Sue Broadhurst attempting at the same
time to cheer Jeremiah up. At the same time demonstrating some
of Jeremiah's emotional expressions.
Trying to cheer up Jeremiah,
Video 10 shows Jeremiah's apparent sadness at being left alone
Sad to be left alone, Real
Video's 11-15 are in Quick-time format and contain sound. They are clips from one of the public performances of Blue Bloodshot Flowers (2001)
Video 11 Richard demonstrates how Jeremiah interacts with audience members, and again Jeremiah does not like to be left alone.
Interaction with Richard, Mpeg
Video 12 shows various audience members interacting with Jeremiah and trying to make him smile
Video 13 illustrates Jeremiah's Geo-face construction.
Video 14-15 shows Elodie and Jeremiah interacting with one another in real-time during one of the public performances.
Hold Hands, Mpeg
We Walked, Mpeg
RealPlayer, Download DIV-X
Codecs (works with media player)
Jeremiah was born from a security system
Jeremiahs visual system is actually based upon a
system developed for visual surveillance, a system which is designed to watch people
and vehicles performing their every day tasks. Waiting for something unusual to happen.
Jeremiah has literally 'been born of this technology' and is the emotional face or the
automated security guard who watches patiently for something to happen. Imagine now if we
gave that system feelings. Boredom when nothing is happening, anger when people leave and
he cant, sadness, joy and surprise when finally the event happens that he has been waiting
for. This is Jeremiah, but his emotions and interest in the world and people make him more
like a child than a computer system.
Now how do you react to Jeremiah, some people find him eerie,
some fun, but people always see more in him than he really is. People want to believe he
is sentient so they make him as real as they want him to be. Now how do you interact with
Jeremiah. You do it naturally. Everything you do effects him, his reactions are
directly related to your presence but the chaos of the system means we never know what he
will do next. Now how do you perform with Jeremiah, that is what we are trying to
establish. Jeremiah is unique in that as effectively a piece of set within a performance
he embodies intelligence and is in no way prescripted. The performance is a transaction
between performer and technology.
|Scientific Research Rationale
||Art Research Rationale
|The Turing test describes a system as
artificially intelligent if a human user cannot distinguish the system from another human
in conversation. We are attempting to test this concept of intelligence by providing an
interactive human avatar with simple rules and chaotic behaviour. The interactivity
and human embodiment of Jeremiah is sufficient that individuals see him as a living
||This research takes place within a context
of rapidly evolving contemporary performance practices which, as yet have not been
adequately theorised. By the term contemporary performance practice, we are indicating
those works which utilise a broad range of digital technologies, multimedia, installation
and interactivity, together with live art performance.
|How real can Artificial Life
become? How do we interact with A'Life ?
||What are the implications of new
technologies on contemporary art practices ?
Some Research Questions
Does the interface between the physical and virtual bodies within contemporary
performance practice give rise to a new aesthetics? What are the theoretical and practical
implication of this? For instance, such developments as artificial intelligence and motion
capture are becoming increasingly prominent in all art practices. One of the aims of the
project is to explore and analyse the effect that such technologies have on the physical
body in performance. Especially in relation to the problem of re)presenting the
'unrepresentable', that is the sublime of the physical/virtual interface (or liminal
space) within new performance practices.
1st/2nd June 2001
1st August 291 Gallery, London.
For Further details contact:
Dept Systems Engineering, Surrey University email
Dr Susan Broadhurst,
BST Group, School
of Arts, Brunel University, email.