Planned Performances

Over the course of this project we plan various performances and presentations. The schedule is:

Ritsumeikan University January 24 2009
Marguerite Witvoet, DIVA
Bob Pritchard, music
Sid Fels, hardware/software
Meryn Cadell, texts
Helene Day Fraser, costuming
Video: DIVA Performance Japan 09

Open Ears Festival, May 2, 2009
Marguerite Witvoet, DIVA
Bob Pritchard, music
Meryn Cadell, texts
Helene Day Fraser, costuming
Lighting Itai Erdal
Movement Susan Bertoia


NIME 2010, June 17 and 18, 2010
Marguerite Witvoet, DIVA
Bob Pritchard, music
Sid Fels, DIVA concept
Meryn Cadell, texts
Helene Day Fraser, costuming
Lighting Itai Erdal
Nicolas D'Alessandro, audio assistance
Johnty Wang, technical assistance
Video of June 17 performance (right click->save as)

Rehearsal/Training Schedule

These performances follow our training schedule that coincides with our technical schedule for face synthesis, speech synthesis, DIVA design. A key component involves having the performer provide training data for improving and modifying the technical components and bringing new technical advances smoothly into the DiVA as it becomes available over the course of the project. Further, the performers participation in the emprical work in the linguistics analysis will help to better tune the expressive performance and technical components in addition to the contributions to our understanding of audio/visual speech and song production and perception.

In our first year, we plan to:

1. create a gesture-mapped dictionary;
2. establish a training regime for a performer-centric design to feed practice experience into development plan
3. supply training data for adapting the gesture-speech mapping
4. complete first text that explores the interplay of the performer with the DIVA
   • we plan the piece for natural voice, DiVA (same performer) and percussion
5. set design, lighting, and costuming

In our second year:

1. have a second singer learn how to use the new DiVA
2. create the text for a second piece with two performers and small ensemble
3. create a portable set for touring

In our third year:

1. have a third performer learn to play the new system
2. create our most complex piece for 3 performers and ensemble
3. practice and tour