Periodic Reporting for period 1 - IFL (ISABELLA'S FLIGHT: AERIAL SYSTEM FOR PUPPETRY WITH DRONES)
Reporting period: 2021-09-01 to 2023-08-31
Isabella's Flight merges art and technology to create flying characters in theater. Traditional methods of flying puppets rely on wires or balloons, which lack precision and control. Isabella's Flight uses drones and mechatronic systems for better control and precision.
While drone shows have become common, contemporary drone shows have not explored drones as puppets. Such shows often prioritize technical prowess over narrative depth, resulting in choreographed drones that lack lifelike characters and storytelling. Recognizing this gap, our project pioneers a novel approach by integrating drone technology and mechatronic systems with traditional puppetry techniques. At its core, "Isabella's Flight" seeks to redefine the possibilities of live performance by offering a platform where drones serve as dynamic puppets, capable of conveying nuanced emotions and engaging storytelling in flying characters. Our project leverages drones and mechatronic systems to provide precise and lifelike movement. The project aims to overcome the limitations of traditional solutions for flying characters and performance art by offering a unique solution and a new platform for storytelling.
This project is important for society and impacts the cultural sector as it represents a step forward in the performing arts, pushing the boundaries of creativity and technological integration. By offering audiences a fresh and immersive theatrical experience, "Isabella's Flight" fosters cultural enrichment and stimulates interest in the intersection of art and technology. Furthermore, the project promotes interdisciplinary collaboration between artists ad engineers, encouraging innovation and pushing the boundaries of what is possible in live entertainment.
The overall objectives of "Isabella's Flight" are: 1. To deliver a performance that captivates audiences and redefines storytelling possibilities through innovative drone technology and puppetry. 2. To develop an application for drone puppetry, so that other shows can be created, and 3. To inspire dialogue and exploration at the intersection of art and technology, foster collaboration, and push the boundaries of creativity in the performing arts. The project will culminate in July 2024 with a performance at the theater Aula Magna in Louvain la Neuve, Belgium. It is all remote-controlled by drone pilots, but we are still collaborating with the University of Luxembourg, and the next version of the show will be automated. The success of "Isabella's Flight" catalyzes future exploration and experimentation in drone puppetry and live entertainment. It inspires artists, technologists, and audiences alike to push the boundaries of creativity and imagination in the performing arts.
While drone shows have become common, contemporary drone shows have not explored drones as puppets. Such shows often prioritize technical prowess over narrative depth, resulting in choreographed drones that lack lifelike characters and storytelling. Recognizing this gap, our project pioneers a novel approach by integrating drone technology and mechatronic systems with traditional puppetry techniques. At its core, "Isabella's Flight" seeks to redefine the possibilities of live performance by offering a platform where drones serve as dynamic puppets, capable of conveying nuanced emotions and engaging storytelling in flying characters. Our project leverages drones and mechatronic systems to provide precise and lifelike movement. The project aims to overcome the limitations of traditional solutions for flying characters and performance art by offering a unique solution and a new platform for storytelling.
This project is important for society and impacts the cultural sector as it represents a step forward in the performing arts, pushing the boundaries of creativity and technological integration. By offering audiences a fresh and immersive theatrical experience, "Isabella's Flight" fosters cultural enrichment and stimulates interest in the intersection of art and technology. Furthermore, the project promotes interdisciplinary collaboration between artists ad engineers, encouraging innovation and pushing the boundaries of what is possible in live entertainment.
The overall objectives of "Isabella's Flight" are: 1. To deliver a performance that captivates audiences and redefines storytelling possibilities through innovative drone technology and puppetry. 2. To develop an application for drone puppetry, so that other shows can be created, and 3. To inspire dialogue and exploration at the intersection of art and technology, foster collaboration, and push the boundaries of creativity in the performing arts. The project will culminate in July 2024 with a performance at the theater Aula Magna in Louvain la Neuve, Belgium. It is all remote-controlled by drone pilots, but we are still collaborating with the University of Luxembourg, and the next version of the show will be automated. The success of "Isabella's Flight" catalyzes future exploration and experimentation in drone puppetry and live entertainment. It inspires artists, technologists, and audiences alike to push the boundaries of creativity and imagination in the performing arts.
This research was divided into four Work Packages (WPs):
WP1 was the project management phase conducted at UCLouvain. It monitored project phases and logistics, including UAV regulations and security measures. I managed a team of students and participated in training sessions to improve my abilities.
In WP2 with Rene Baker from the Curious School of Puppetry, we focused on the artistic design of the performance, specifically the body structures of El Capitan and Isabella. We created sketches, animations, and maquettes to guide both the artistic and technical design phases. We also conducted rigorous rehearsals with our skilled pilots to optimize the components.
WP3 - Technical Productions:
• WP 3.1 Custom-building the drones to be compatible with the puppet characters in collaboration with the drone company RC Take-off. The company constructed two drones to support the payload and perform maneuvers essential for the performance narrative of Isabella and El Capitan.
• WP 3.2 Creating the characters' bodies and integrating the puppets' mechatronic systems, including the arm and the skirt at UCLouvain. This phase was executed in partnership with students, ensuring precise engineering and integration of the mechanical components.
• WP 3.3 Developing the Flight Management System to control the drone's choreographies in real-time. This phase of the project is presently being conducted in collaboration with UNILUX, to orchestrate synchronized movements and aerial sequences of the drones and mechatronic bodies of the puppets.
WP4 - Dissemination and Communication. In line with our dissemination efforts, we are finalizing two papers for open-source publications to share our insights and methodologies with the broader academic and artistic communities. Additionally, preparations are underway to showcase Isabella's Flight across Europe and globally.
The "Isabella's Flight" project has two significant results. Firstly, a comprehensive methodology for flying puppets using drones and mechatronic systems. Secondly, the performance itself, showcasing technological and artistic prowess.
We need strategic dissemination and collaboration to use these results, including partnerships with theater companies, art institutions, and educational organizations. The methodology developed during the project holds significant commercial potential, which can facilitate the widespread adoption of aerial puppetry techniques.
WP1 was the project management phase conducted at UCLouvain. It monitored project phases and logistics, including UAV regulations and security measures. I managed a team of students and participated in training sessions to improve my abilities.
In WP2 with Rene Baker from the Curious School of Puppetry, we focused on the artistic design of the performance, specifically the body structures of El Capitan and Isabella. We created sketches, animations, and maquettes to guide both the artistic and technical design phases. We also conducted rigorous rehearsals with our skilled pilots to optimize the components.
WP3 - Technical Productions:
• WP 3.1 Custom-building the drones to be compatible with the puppet characters in collaboration with the drone company RC Take-off. The company constructed two drones to support the payload and perform maneuvers essential for the performance narrative of Isabella and El Capitan.
• WP 3.2 Creating the characters' bodies and integrating the puppets' mechatronic systems, including the arm and the skirt at UCLouvain. This phase was executed in partnership with students, ensuring precise engineering and integration of the mechanical components.
• WP 3.3 Developing the Flight Management System to control the drone's choreographies in real-time. This phase of the project is presently being conducted in collaboration with UNILUX, to orchestrate synchronized movements and aerial sequences of the drones and mechatronic bodies of the puppets.
WP4 - Dissemination and Communication. In line with our dissemination efforts, we are finalizing two papers for open-source publications to share our insights and methodologies with the broader academic and artistic communities. Additionally, preparations are underway to showcase Isabella's Flight across Europe and globally.
The "Isabella's Flight" project has two significant results. Firstly, a comprehensive methodology for flying puppets using drones and mechatronic systems. Secondly, the performance itself, showcasing technological and artistic prowess.
We need strategic dissemination and collaboration to use these results, including partnerships with theater companies, art institutions, and educational organizations. The methodology developed during the project holds significant commercial potential, which can facilitate the widespread adoption of aerial puppetry techniques.
Drones have become popular in light shows, music concerts, and festivals. Intel leads in developing large-scale drone performances. While drone performances have come a long way, the potential for exploring artistry beyond light shows is still immense. In 2013, Kevin Egger created the first drone puppet. Cirque du Soleil and ETH Zurich collaborated in 2014 to create "Sparked," a captivating performance that combined acrobatics, music, and drone technology. Verity Studios and Léa Pereyre teamed up in 2018 to create drone costumes that emulated sea creatures' movements. Drones have also been used in smaller-scale artistic productions. These examples emphasize the ongoing need for extensive exploration of aerial puppetry.
Prior to this project, the field lacked established methodologies for crafting flying puppets. Consequently, this research was crucial in unveiling drones' vast potential as authentic characters capable of emotive expression and narrative storytelling. Central to the project was the comprehensive process of designing, fabricating, maneuvering, and animating drone puppets aimed at imbuing them with credibility, expressiveness, and a compelling narrative arc.
From a socio-economic perspective, the project has the potential to stimulate innovation and economic growth in the arts and technology sectors. By merging drone technology with traditional puppetry, "Isabella's Flight" introduces a novel form of entertainment that could attract new audiences and revenue streams. This innovative approach also creates opportunities for collaboration between artists and engineers, fostering interdisciplinary partnerships and knowledge exchange.
The project has significant implications for society also in terms of highlighting military issues related to drone applications. Isabella's Flight provides a distinct and captivating theatrical experience that encourages audiences to reflect on cowardly military attacks on civilian populations. By combining art and technology in a unique way, the project aims to entertain, inspire, and provoke thought.
Prior to this project, the field lacked established methodologies for crafting flying puppets. Consequently, this research was crucial in unveiling drones' vast potential as authentic characters capable of emotive expression and narrative storytelling. Central to the project was the comprehensive process of designing, fabricating, maneuvering, and animating drone puppets aimed at imbuing them with credibility, expressiveness, and a compelling narrative arc.
From a socio-economic perspective, the project has the potential to stimulate innovation and economic growth in the arts and technology sectors. By merging drone technology with traditional puppetry, "Isabella's Flight" introduces a novel form of entertainment that could attract new audiences and revenue streams. This innovative approach also creates opportunities for collaboration between artists and engineers, fostering interdisciplinary partnerships and knowledge exchange.
The project has significant implications for society also in terms of highlighting military issues related to drone applications. Isabella's Flight provides a distinct and captivating theatrical experience that encourages audiences to reflect on cowardly military attacks on civilian populations. By combining art and technology in a unique way, the project aims to entertain, inspire, and provoke thought.