Ar Waith Ar Daith: inside NativeHQ’s digital artistry for WMC #Awen2015

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During August 2015 the iconic Wales Millennium Centre celebrated its tenth anniversary with help from Walk the Plank, NativeHQ and other contributors.

As a prelude to the public show in Cardiff Bay on 12th September we sent the Awen Bus on an epic tour of Wales to encounter musicians, poets, visual artists, actors and other talented performers.

Members of the public walking through the foyer of WMC in August were enchanted by these diverse performances – emerging from the smoke and broth of the Cauldron of Inspiration.

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Occasionally they would have a surprise conversation with a ghostly apparition of somebody elsewhere in Wales!

Over one hundred videos were also posted on the web. The videos embedded in this post are just a sample.

To enjoy further encounters with performers, artists and others, go to the Ar Waith Ar Daith website and navigate the map or search for the #Awen2015 tag.

We’re particularly chuffed at the website map, where you can browse the tour and see the artistic encounters at any location. For example the National Eisteddfod tour location includes performances by Gwyneth Glyn, Benjamin Zephaniah, Plu, Band Pres Llareggub, Guto Dafydd and many others. The bilingual website was created by our friends and collaborators Proper Design.

I’ll elaborate on the work in detail, for those who are curious.

Almost a year ago NativeHQ was commissioned as digital artist on the Ar Waith Ar Daith project.

When a lighting designer, say, is booked for a theatre show the conventions and expectations tend to be known – but not so in digital work.

Once Walk the Plank, the outdoor events company working on behalf of WMC, had contracted NativeHQ we admitted we didn’t really know the meaning of the job title ‘digital artist’. Maybe they assumed we were joking.

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From our experience of theatrical collaborations, we find that it does help to be open-ended about our involvement, while the possibilities and scale of ambition are still being worked out. There is currently no convention for the role of digital media in the creative aspect of such a project, unlike the lighting and other more traditional elements. We simply don’t know if and how digital media will be used creatively. Our remit here is way beyond sales and promotion of the show. Hence the initial period of work was to understand the story and aims of the project – and then scope possible platforms, content ideas, personnel, hardware, software, budgets and schedules.

From the start we knew that the finale celebration would be based on the medieval Welsh legend of Ceridwen, her cauldron and the ineffable poetic inspiration that is awen – referenced in Gwyneth Lewis’ poem on the face of WMC.

It became clear that digital media platforms and the idea of a bus tour offered opportunities for WMC to have a pan-Wales project, to work with diverse artists wherever they live, and meet the centre’s aspiration to showcase the best of Wales to the world.

We intended for our work to have lasting effects, to connect artists – to each other and to fans. Artists would want to accrue fans beyond the tour, with a view to future gigs and performances, selling artworks, releasing music, offering crowdfunding and the like.

Once the plan was written, refined and approved, the Awen Bus was fitted with a stage, window blinds, rudimentary furniture and storage, electricity supply, modest kitchen, and some much needed access security.

The bus team did a sterling job of sharing the performances through video, Periscope live streams and other social media posts. It became apparent that video editing should be kept to a minimum if we were to reach a maximum number of artists in the time available.

One essential requirement was to render a permanent onscreen credit to each artist in each video – along with a link to become a fan where possible, e.g. the artist’s Twitter account or website. That and the ongoing persistence of the video on YouTube would lead to maximum benefit for the artist.

Each artist had the option of releasing the resulting video under a Creative Commons Attribution-ShareAlike licence to encourage re-use and adaptations. Alternatively they could take a more traditional licensing option to offer the video for use by the Ar Waith Ar Daith project and reserve other rights.

Connectivity was a major challenge, especially in some rural areas, and despite valiant efforts with a BRCK WiFi hotspot and two mobile data plans we struggled to upload videos from all the tour locations. Instead we had to opt for occasional café access and shuttle trips to reliable home broadband.

ar-waith-ar-daith-engagement-globeExample of Ar Waith Ar Daith conversation analytics from Pulsar Platform

We obtained useful data analytics and tour conversation insights from a paid service with Pulsar Platform – although for a smaller projects the level of detail offered might be overkill.

Our aim was for the Cauldron of Inspiration to feel authentic and avoid any associations with computers. According to the writer Arthur C. Clarke, ‘any sufficiently advanced technology is indistinguishable from magic’, which conveys the kind of result we desired.

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At this point I can reveal that the Cauldron of Inspiration was powered by two computers. Inside the chassis was a Raspberry Pi computer connected to proximity sensors, motion sensors, and activation effects: fog, furnace lights and sounds. The other computer was a Mac Mini creating the apparitions of artists, achieved with a remotely-curated Dropbox playlist of fresh performance videos, a darkened panel and foggers.

This Mac Mini was also connected to a webcam for live conversation with the bus team. We deliberately limited the input devices on the cauldron to just the sensors, with no graphical interface or notifications. The live conversations would appear ad hoc without warning, between recent videos.

As a brand new design of a one-off piece of hardware we often had to intervene directly in the cauldron to fix problems and ensure maximum levels of awen. We could also access the two computers remotely, from our phones if necessary. Software tools and platforms included VDMX, Dropbox, WebRTC, Python, Node.js and other libraries.

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Penblwydd hapus WMC! I think we broke new ground, not just for ourselves as a team but in an artistic sense. We are enormously grateful to the following people for their ideas and valuable work.

Diolch o galon i:

  • All artists and performers who took part, each of whom is credited in their video.
  • Liz Pugh, John Wassell, Sarah Cole and the Walk the Plank team
  • Wales Millennium Centre
  • The hardworking Awen Bus team members: Greg Byatt, Louise Carey, Mair Ifans, Gwennan Mair Jones, Glyn Morgan, Mike Regan, Lowri Wynn
  • Henry Widdicombe for booking and curation
  • Proper Design for graphic design, cauldron envisagement, software development and for the website
  • Sarah Edmonds for illustration
  • Wild Creations for cauldron design and construction work
  • Kazimier for kitting out the bus
  • John Rea for music

Ar Waith Ar Daith: celfyddyd ddigidol NativeHQ ar gyfer Canolfan Mileniwm Cymru #Awen2015

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Yn ystod Awst 2015 dathlodd Canolfan Mileniwm Cymru ei ddegfed pen-blwydd gyda chymorth Walk the Plank, NativeHQ a chyfranwyr eraill.

Fel preliwd i’r sioe gyhoeddus ym Mae Caerdydd ar 12 Medi, anfonwyd y Bws Awen ar daith epig o Gymru i gwrdd â cherddorion, beirdd, artistiaid gweledol, actorion a pherfformwyr talentog eraill.

Roedd aelodau cyhoedd a oedd yn cerdded trwy gyntedd Canolfan Mileniwm Cymru ym mis Awst yn cael eu swyno gan berfformiadau amrywiol – yn deillio o’r mwg a hylif y Pair Awen.

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O bryd i’w gilydd byddai hi’n syndod iddynt gynnal sgwrs gyda rhith o rywun yn rhywle arall yng Nghymru!

Cafodd dros gant o fideos eu postio ar y we hefyd. Detholiad bach yw’r fideos yn y cofnod hwn.

Ewch i’r map ar wefan Ar Waith Ar Daith i fwynhau rhagor o fideos gyda pherfformwyr, artistiaid ac eraill, neu chwiliwch am yr hashnod #Awen2015.

Rydym yn bles iawn fod y map ar y wefan, lle gallwch bori’r daith a gwylio’r fideos mewn unrhyw leoliad. Er enghraifft, mae lleoliad taith Eisteddfod Genedlaethol yn cynnwys perfformiadau gan Gwyneth Glyn, Benjamin Zephaniah, Plu, Band Pres Llareggub, Guto Dafydd a llawer eraill. Cafodd y wefan ddwyieithog ei chreu gan ein ffrindiau a chydweithwyr Proper Design.

Byddaf yn ymhelaethu ar y gwaith yn fanwl, i’r rhai sy’n chwilfrydig.

Bron i flwyddyn yn ôl cafodd NativeHQ ei gomisiynu fel artist digidol ar brosiect Ar Waith Ar Daith.

Pan mae dylunydd goleuo, dyweder, yn cael ei gomisiynu/chomisiynu ar gyfer sioe theatr mae’r arferion a disgwyliadau yn weddol amlwg fel arfer – ond nid felly mewn gwaith digidol.

Ar ôl i gwmni digwyddiadau awyr agored Walk the Plank ein comisiynu ar ran Canolfan Mileniwm Cymru, roeddem yn cyfaddef nad oeddem yn wir yn gwybod ystyr y teitl ‘artist digidol’. Efallai roedden nhw yn meddwl taw jôc oedd hi.

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O’n profiad o gydweithrediadau theatrig, rydym yn meddwl fod hi’n helpu i fod yn benagored am ein cyfranogiad, tra ein bod yn ansicr am y posibiliadau ac union naws y prosiect. Ar hyn o bryd nid oes templed ar gyfer rôl y cyfryngau digidol yn yr agwedd greadigol mewn prosiect o’r fath, yn wahanol i’r golau ac elfennau traddodiadol eraill. Yn syml, dydyn ni ddim yn gwybod os a sut fydd y cyfryngau digidol yn cael eu defnyddio yn greadigol. Rydym yn meddwl tu hwnt i werthiannau a chyhoeddusrwydd y sioe. Felly roedd y cyfnod cychwynnol o waith am ddeall y stori ac amcanion y prosiect – ac yna sgopio platfformau posibil, syniadau cynnwys, personél, caledwedd, meddalwedd, cyllidebau ac amserlenni.

O’r dechrau roeddem yn gwybod y byddai’r dathliad terfynol yn seiliedig ar stori Ceridwen, ei phair ac awen – y cyfeirir atynt yn y gerdd Gwyneth Lewis ar wyneb Canolfan Mileniwm Cymru.

Daeth yn amlwg bod platfformau cyfryngau digidol a’r syniad o daith bws yn cynnig cyfleoedd i’r Ganolfan gael prosiect Cymru gyfan, i weithio gydag artistiaid amrywiol ble bynnag maent yn byw, ac yn mynegi dyhead y ganolfan i arddangos y gorau o Gymru i’r byd.

Roeddem yn bwriadu cael effaith parhaol trwy’r gwaith, i gysylltu artistiaid – i’w gilydd ac i’w ffans. Byddai artistiaid eisiau casglu cefnogwyr ar ôl y daith, ystyried gigs a pherfformiadau yn y dyfodol, gwerthu gweithiau celf, rhyddhau cerddoriaeth, cynnig ariannu torfol ac yn y blaen.

Unwaith yr ysgrifennwyd a datblygwyd y cynllun, cafodd y Bws Awen ei gyfaddasu gyda llwyfan, bleindiau ffenestri, dodrefn a storfa syml, cyflenwad trydan, cegin gymedrol, a diogelwch.

Gwnaeth y tîm bws gwaith gwych o rannu’r perfformiadau drwy fideo, ffrydiau Periscope a chofnodion eraill ar y cyfryngau cymdeithasol. Daeth yn amlwg y dylid lleihau ar waith golygu fideo pe baem yn cwrdd a gymaint o artistiaid sy’n bosibl yn yr amser.

Un o’r gofynion hanfodol oedd i roi priodoledd parhaol ar y sgrin i bob artist ym mhob fideo – ynghyd â dolen i ddod yn ffan lle bo hynny’n bosibl, e.e. cyfrif Twitter yr artist neu wefan. Byddai hynny a fideo parhaus ar YouTube yn arwain at y budd mwyaf i’r artist.

Roedd gan bob artist yr opsiwn o ryddhau’r fideo o dan drwydded Comin Creu Priodoledd-‘ShareAlike’ i annog ailddefnydd ac addasiadau. Fel arall, gallent wedi dewis opsiwn trwyddedu mwy traddodiadol i brosiect Ar Waith Ar Daith ddefnyddio’r fideo a chadw hawliau eraill.

Roedd cysylltedd yn her fawr, yn enwedig mewn rhai ardaloedd gwledig, ac er gwaethaf ymdrechion gyda dyfais di-wifr BRCK a dau gynllun data symudol roeddem yn straffaglu i lanlwytho fideos o’r holl leoliadau daith. Yn hytrach roedd rhaid i ni ddefnyddio caffis yn achlysurol a thethiau gwennol i fand eang dibynadwy gartref.

ar-waith-ar-daith-engagement-globeEnghraifft o ystadegau sgwrs Ar Waith Ar Daith oddi ar Pulsar Platform

Cawsom ystadegau defnyddiol a mewnwelediadau i sgyrsiau taith o wasanaeth Pulsar Platform am ffi – ond ar brosiectau llai gallai’r manylder a gynigir fod yn ormodol.

Ein nod oedd i greu Pair Awen go iawn ac osgoi unrhyw awgrym o gyfrifiaduron. Yn ôl yr awdur Arthur C. Clarke, ‘nid oes modd gwahaniaethu rhwng unrhyw dechnoleg sy’n digon datblygedig – a hud’, sy’n cyfleu y math o ganlyniad roeddem eisiau.

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Erbyn hyn gallaf ddatgelu bod dau gyfrifiadur o fewn y Pair Awen. Y tu mewn i’r ffrâm oedd gyfrifiadur Raspberry Pi yn gysylltiedig â synwyryddion agosrwydd, synwyryddion symudiad, ac effeithiau: niwl, goleuadau ffwrnais a seiniau. Mac Mini oedd y cyfrifiadur arall, yn creu’r delweddau o artistiaid, trwy rhestr chwarae Dropbox o fideos perfformiadol newydd, panel tywyll ac unedau niwl.

Roedd y Mac Mini hefyd yn gysylltiedig â gwe-gamera ar gyfer sgwrs fyw gyda’r tîm bws. Yn fwriadol roeddem yn cyfyngu’r dyfeisiau mewnbwn ar y pair i dim ond y synwyryddion, heb unrhyw rhyngwyneb graffigol na negeseuon ar y sgrin. Felly byddai’r sgyrsiau byw yn ymddangos yn sydyn heb rybudd, rhwng fideos diweddar.

Fel dyluniad newydd sbon o galedwedd yn aml roedd rhaid i ni ymyrryd yn uniongyrchol yn y pair i ddatrys problemau a sicrhau’r lefelau gorau o awen! Roedd modd i ni gael mynediad i’r ddau gyfrifiadur o bell, o’n ffonau os oedd angen. Roedd offer a phlatfformau meddalwedd yn cynnwys VDMX, Dropbox, WebRTC, Python, Node.js a llyfrgelloedd eraill.

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Penblwydd hapus i’r Ganolfan! Rwy’n credu ein bod wedi torri tir newydd, nid yn unig fel tîm ond yn yr ystyr artistig. Rydym yn ddiolchgar iawn i’r bobl ganlynol am eu syniadau a mewnbwn gwerthfawr.

Diolch o galon i:

  • Yr holl artistiaid a pherfformwyr a gymerodd ran – mae pob un ohonynt yn cael priodoledd yn ei fideo.
  • Liz Pugh, John Wassell, Sarah Cole a thîm Walk the Plank
  • Canolfan Mileniwm Cymru
  • Aelodau tîm gweithgar yr Awen Bws: Greg Byatt, Louise Carey, Mair Ifans, Gwennan Mair Jones, Glyn Morgan, Mike Regan, Lowri Wynn
  • Henry Widdicombe am fwcio a churadu
  • Proper Design am ddylunio graffeg, gwaith ar y pair, datblygu meddalwedd ac am y wefan
  • Sarah Edmonds am ddarlunio
  • Wild Creations am ddylunio ac adeiladu’r pair
  • Kazimier am gyfaddasu’r bws
  • John Rea am gerddoriaeth

More jobs on Ar Waith Ar Daith: Bus Driver / Stage Manager, Social Media Producer, Videographer

We are advertising three more jobs from today: Bus Driver / Stage Manager, Social Media Producer and Videographer.

All these roles are for the Ar Waith Ar Daith project, part of Wales Millennium Centre’s tenth anniversary celebrations over summer 2015.

These are fantastic opportunities to take part in an exciting project with Walk the Plank, NativeHQ and others; a tour of Wales to discover inspiration and artistry of the nation, to share from the Centre to Wales to the world.

Please share the details with people who would be interested in these jobs.

Check out the Ar Waith Ar Daith website for more details on the project.

Er sylw pobl celfyddydol Cymru! Tair swydd gydag Ar Waith Ar Daith / Walk the Plank

Rydym yn chwilio am gyflwynydd, dylunydd a threfnydd taith ar gyfer prosiect mawr o’r enw Ar Waith Ar Daith, ar gyfer dathliadau dengmlwyddiant Canolfan Mileniwm Cymru yn ystod haf 2015.

Dyma gyfleoedd gwych i gymryd rhan mewn prosiect cyffrous; taith o gwmpas Cymru i ddarganfod yr ysbrydoliaeth a chelfyddyd y wlad, i’w rhannu o’r Ganolfan i’r wlad a’r byd.

Plîs anfonwch y manylion at unrhyw un sy’n addas am y swyddi.

Rydym ni yn NativeHQ yn falch o gael ein penodi fel artist digidol gan gynhyrchwyr cwmni Walk the Plank. Byddwn yn rhannu mwy am y profiad hwnnw trwy gofnodion sydd i ddod.

Yn y cyfamser, ewch i wefan Ar Waith Ar Daith am ragor o fanylion am y prosiect.

Calling all Wales arts people! Three jobs with Ar Waith Ar Daith / Walk the Plank

We need a host, a designer and a programmer for a big project called Ar Waith Ar Daith, for the 10th anniversary celebrations of the Wales Millennium Centre in summer 2015.

These are superb opportunities to participate in an exciting project; a journey around Wales, discovering the inspirations and art of the country, sharing it from the Centre to the country and the world.

Please pass the details to anyone you think might be interested.

We at NativeHQ are chuffed to have been appointed digital artist by producers Walk the Plank. We’ll be sharing more about that experience in upcoming posts.

In the meantime, head to the Ar Waith Ar Daith website for further info on the project.