Ágnes Bakk

Ágnes Bakk
editor - Transmedia

Ágnes Bakk graduated from Theatre Studies and Hungarian-Finnish Department of Babes-Bolyai University, Cluj, Romania, and later had her MA degree in Theatre Studies at Károli Gáspár University, Budapest, Hungary. Currently she works at the Hungarian National Digital Archive as an editor, having her focus on digitization, new technologies and online platforms in theatres and museums. She has been the project manager at several companies and institutions: Jurányi Art Incubator House, Góbi Dance Company, the Natural Art Disasters Company, Verzio Human Rights Documentary Film Festival, Moholy-Nagy University of Art and Design, Budapest. Since 2014 she is the co-organizer of The Eye of the Needle Festival (Tű Fokán Fesztivál) and she is also the co-founder of The Eye of the Needle Foundation (Tű Fokán Alapítvány). In 2015 she was member of the organizing committee of IETM Budapest meeting. She is the founder of the performing arts&new technologies blog: zip-scene.com and she is currently a PHD fellow at Moholy-Nagy Art and Design University in Budapest, Hungary.

Between Panoramas And VR: What Does It Mean To Be Immersed?

Interview with Dr. Robin Curtis, professor of media studies at Albert-Ludwigs-Universität Freiburg who puts herself between theory and practice with expertise both in filmmaking and in researching the history of immersion. How did you start to become more immersed in the concept and history of immersion? I was already teaching at the university when I got the opportunity to start a PhD. I was interested in autobiographical film and how it constructs a particular fictional self but claims that it is factual. It makes claims about the world and history, about a certain physical place inside history, and invites the viewer...

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Theatre Is Not Happy Any More In Crisis: The Internet and Performing Arts

It’s often stated that performing arts reflect changes in society. But how does this look when we face such major changes, changes the information society is facing with the digital transformation that is radically altering our style of communication? This is an interview about these changes with Ulf Otto, professor of Hildesheim University and author of the book Internetauftritte. How did you start to research the relationship between the internet and performing arts? When I was a teenager I was more a computer person as I grew up in the first digital wave. There was at the time a new subject...

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Analog Virtual Reality Worlds of SIGNA Performance Group

Signa and Arthur Köstler are the creative directors of SIGNA, the well-known performance installation company. Their latest performance, Das Heuvolk, took place near Mannheim in Benjamin Franklin Village during the bi-annual Schillertage Festival organized by the National Theatre of Mannheim. Their productions are famous for taking place in big houses for approximately one month, and by their site-specific characteristics, they can create a sense of being in a parallel universe, where their audience can wonder around from room to room for a whole evening. During this time they can chat with the numerous cast of actors, find out the rules of their system, eat,...

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Transmedia Storytelling in the Performing Arts, a New Grammar to be Learned: An Interview with Belén Santa-Olalla

Belén Santa-Olalla has a BA in Media Practice and Theory from Sussex University, Brighton. She studied audiovisual communication, drama and performance art, and was an assistant director for the former director of the National Theatre and the National Dramatic Centre in Spain where she founded her own theatre company, Stroke114. As she became interested in the intersection of technology and theatre, she learned about transmedia storytelling and, due to her interest in post-production software and other technology, ended up working with Robert Pratten at Transmedia Storyteller Limited (www.conducttr.com) in London. Now, she works there as a creative consultant, focusing...

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Games And Theatre in Hybrid-Reality

Professor Judith Ackermann studied media, psychology, and computer linguistics prior to taking up acting for a time after growing tired of so much theoretical study. Nonetheless, she also decided to pursue her PhD in parallel with her acting studies, but this simply took too much time. Ackermann then dedicated herself to her doctoral studies. How did you come to research pervasive games? I was researching computer games and started to focus on LAN-parties for my PhD studies. Three groups of gamers played for 6 hours each and I recorded, then transcribed, what they said. I analysed how the communication...

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Theatre Between Old and New Technology: Conversation With Tomáš Procházka of Handa Gote

Interview with Tomáš Procházka, one of the founding members of the Czech performing arts group Handa Gote, about old media, physicality and one of their latest production Eleusis. How did you go from attending an engineering secondary school to staging creative performances? I think engineering school was a mistake, which I tried to rectify by attending art school. Later I felt like I needed to connect both things somehow, and, luckily, I found a couple of like-minded people. How did Handa Gote come to life? We were collaborating with Veronika Švábová on various productions and we suddenly came up with...

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Theatre, Technology, and “The Tempest” – Interview With Sarah Ellis

Sarah Ellis is the head of digital development at the Royal Shakespeare Company. She first studied music at Goldsmiths University. After finishing her studies, she moved to a digital television company but she quickly went back to the arts. First to a poetry organization called Apples and Snakes. This was a great experience for her where she could work on brilliant projects with writers and theatre practitioners as well as start to look at new ways of performing spoken word. It was there that she first developed her interest in digital: “These were early days but there was a...

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Gaming and the Future of Dramaturgy: Goethe’s “Faust” as an Immersive and Interactive Experience

Peter Lee is the founder of NOLGONG, the Seoul-based game design company, which is also producing offline games based on historical events and also on classical literature like Goethe’s Faust. Last spring they were also commissioned to design a game for the Korean presidential office, dealing with history. NOLGONG is also often approached by museums who have content and are looking for new ways to make it accessible to people, as they have lots of info to be enjoyed. We had a conversation about offline and online games, and about a possible future of the dramaturgy, or how to introduce a gamificative...

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Play the Game on the Stage! Conversation with machina eX, One of The Most Immersive Theatre Companies in Germany

machina eX is one of the most immersive theatre company in Germany. They constantly recreate surrounding of video games where the audience can experience how is to be a real protagonist of such games. Interview with machina eX’s member, Lasse Marburg. What is exactly your background? I studied in Hildesheim, with all of the people with whom I did our first game. We came from different specialties and directions but we found out at the university that we had this common thing in our mind and then we applied it in practice. We had eight weeks to really work...

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Between the Niche and Disneyland: Interactive Performance Design for Virtual Theatre & Games

Evert Hoogendoorn is a strategist and game designer at IJsfontein Interactive Media. He also has a background in theatre and acting, has been part of the game industry for over fifteen years and started the Design for Virtual Theatre & Games program that later became part of the School of Theatre under the name of Interactive Performance Design program. He speaks with us about the reticence of some directors to use digital devices in the theater. At the IETM meeting in Amsterdam 2016, you asked the audience to put forward three verbs which define contemporary theatre for them. What would be your three verbs? I...

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A Conversation With Katie Day on Theatre, Big Data, and Narrative Design

A conversation with Katie Day (founder and artistic director of The Other Way Works company) about her latest productions and why is important for her to work with new technology tools. How do you see as a practitioner what is going to be the relationship of performing arts and data? We are working more and more with the internet. I have to say when they came up with the idea for the HELLO CULTURE Conference’s prize [a conference about open data and artistic practice related to open data, where Katie Day pitched her project Chronotype, which is an application...

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On Audience Outreach and Gaming: Conversation With Kirsty Sedgman

Kirsty Sedgman‘s background is in performance studies, which, according to her, tends to make big assumptions about audiences: who they are, why they attend, and what they get out of theatre. After encountering the rich field of audience studies, she became committed to research that talks to rather than talks about audiences. How did you find your way from Creative Writing to Audience Development? What is the biggest challenge for you in it? My background initially was in theatre studies – I did the undergraduate BA at Birmingham University. It was a great course, and I got a lot from it: particularly...

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From Virtual Corporeality to Nano-Spectacles: Interview With Mirko Stojkovic

Interview with Mirko Stojkovic dramaturg, video game developer and university teacher about monomyths, nano-spectacles and avatars.  At last years IETM meeting you mentioned that one of the biggest problems of the virtual world is in its lacking emotions. Do you see any way in which we could combat that? It has been said that art can enter this sphere when freedom steps in. Do you know any examples of this? I was completely wrong. The problem with virtual reality is not a lack of true emotions, but it’s abundance of false ones. A few weeks after IETM I put on...

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Sander Veenhof: Staging Audience Against Isolation

Sander Veenhof is a hands-on futurist, creating interactive experiences to explore scenario’s for a speculative but highly probable future. He has already exhibited his work in MOMA using AR, and he is continuously experimenting with AR, VR and their possible combination in performances. A conversation with Sander Veenhof about creating new human connection with apps, AR, VR. What was your first experience using new technologies in your performances? Seeing Crew was my first immersive experience. It was before the time when augmented reality existed. The question is difficult, as there are a lot of different genres: light– immersive, semi-immersive. It...

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Blast Theory on “a Mission to Maintain a Sense of Liveness and Participation”

The Brighton-based Blast Theory is one of the world leading interactive performance companies that combines elements of performance, installation and virtual reality. The company is at the forefront of using technology, doing research and actually “testing” human behaviour although they also have a clean-cut policy of handling big data of their audience. A conversation with Nick Tandavanitj. What is Operation Black Antler about? We were looking at the rise in surveillance and the practice of the British police of “deep swimming”: going undercover for months and years to investigate groups they thought to be politically extreme. At the time,...

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