What impressed the client was that they felt embedded in the creative process from the start, Nina enthuses: “We didn’t have to keep going back to the original renders, edit the content and wait a day for the new version. We made things larger or smaller in real time, even if it was 3D rendered. We’d move the camera in 3D space, or change the lighting, and it would update in real time on the wall.”
The first time the creative team saw the artwork at full size was on the first rehearsal day. “I wanted to remain empirical and ensure the artwork was a true reflection of the sound recordings and the live mic feed at the wall,” stresses Nina. “We fine-tuned some elements to ensure no graphic dominated - e.g. when the Barbican hall started to fill up or when the audience applauded, but ultimately I wanted the visual output to be a true assessment of the flow of activity in the Culture Mile at any given time.”
What also fascinates Nina is the responsive of disguise and Notch. New software releases allowed Nina to pre-compose four different graphics into a single thread, enabling her team to send out a single Notch block instead of five separate ones.
Nina and her team also incorporated an OSC script to scan twitter for #culturecurve. “We created five fixed states to respond each time the hashtag appeared on Twitter. These described which sound was dominant and where it came from, offering the tweeter a hint on how the artwork was generated.”