Digital and Technology Trends in Wedding Entertainment 2020

Digital and Technology Trends in Wedding Entertainment 2020

Digital and Technology Trends in Wedding Entertainment 2020

I want to talk about technology and the digitalrevolution yeah and the way it’s kind of started to creep into functions andweddings one way that I’ve seen it happen is with magicians yeah so I meanthat’s just another kind of trend that we’re seeing going forward is thatmagicians are maybe because of the street magic that’s on TV yeah DerrenBrown and David Blaine and Dynamo everyone begins with D yeah tha tusing iPhones and iPads. http://tech

and that kind of thing do you think that that’s somethingthat you know have you seen a lot of that this year or do you think it’sgonna be carrying on next year yeah definitely and you know magicians aresomething that you know they are very popular in terms of having sort of a good interactive act.

that is within that kind of mix and mingle styleto keep people entertained and I’ve had requests where people just exclusivelywant iPhone or kind of technology-based magic so when that all came through it was it was the first time that I’ve sort ofseen somebody who just wants that style because you know all magicians are or atleast the majority of them will be incorporating.

some of that into theirnormal kind of repertoire in terms of their tricks but you know to havesomeone just say they exclusively want that and for us to be able to findmagicians that can do it it’s nice thats a real testament to the waythat pop culture kind of affects this industry because they wouldn’t be around unless.

there were people like Dynamo and Derren Brown doing that alreadyand it shows the caliber of our acts as well that they are also kind of hip to the times because totally yeah when that enquiry camethrough I was on the phone to some magicians and straightaway they were like yeahI can do loads of that because they just know that that’s what people like at the moment.

so you know even if you kind of think that your request is a little bitout there because you might have seen it on Pinterest or Instagram you knowthat our acts are so on it don’t be afraid to ask because thechances are someone else in terms of our acts will probably have the same ideaand they can definitely work with you so yeah and you know with magicians definitely.

the iPhone or at least the iPador you know any technology-based magic magic they’re all gonna be ableto incorporate that and following on from the kind of mix and mingle style aswell caricaturists have also kind of adopted this as well of course yeah you know with caricaturists it’s a very kind of traditional art formit’s.

you know traditionally it’s pen paper and they will besort of drawing caricatures on the spot but like you were sayingas the sort of technology improves and as times changethey’ve adapted as well and now they can do a lot of their caricatures digitallyso a lot of it is kind of done on iPads and all kind of pictures can then bedigitally shared so you can then replicate them share them with your friends it’s a really good way of kind of sharing something.

I mean andobviously as well with the way that social media kind of works now if youcan have you know all these caricatures up on your Facebook page or your profilepicture that’s a really cool memento to have to not justphysically take home but and you also have a digital copy as well yeah that’sreally cool because especially on the day because with our caricaturiststhere’s just not enough time to get around everyone you know sure it’salways it’s always the way with you know that the structure of weddings that there’s often so many people and there’s only so many hours that they can do but if for example you have a family member.

and you really love thecaricature that they did you know if you only have one copy of that then you’re torn then because you know they’ll want to keep it but you’ll want tohave a copy of it and then you’ve got to go through the whole process of scanningstuff but if you can have a digital copy then you can share that andreplicate as many times as you want and and it just means that you get a littlebit extra value really from the service yes course you get so many more pictures potentially so.

mind blowing stage sculptures that fuse music and technology

mind blowing stage sculptures that fuse music and technology

These are sequences from a play called”The Lehman Trilogy,” which traces the originsof Western capitalism in three hours, with three actors and a piano. And my role was to create a stage design to write a visual language for this work. The play describes Atlantic crossings, Alabama cotton fields, New York skylines, and we framed the whole thingwithin this single revolving cube, a kind of kinetic cinemathrough the centuries.

It’s like a musical instrument played by three performers. And as they step their wayaround and through the lives of the Lehman brothers, we, the audience, begin to connectwith the simple, human origins at the root of the complexglobal financial systems that we’re all still in thrall to today. I used to play musical instrumentsmyself when I was younger.

My favorite was the violin. It was this intimate transfer of energy. You held this organic sculptureup to your heart, and you poured the energyof your whole body into this little piece of wood,and heard it translated into music. And I was never particularlygood at the violin, but I used to sit at the backof the second violin section in the Hastings Youth Orchestra, scratching away.

We were all scratching and marveling at this symphonic soundthat we were making that was so muchmore beautiful and powerful than anything we would everhave managed on our own. And now, as I createlarge-scale performances, I am always working with teams that are at least the sizeof a symphony orchestra.

And whether we are creating these revolving giantchess piece time tunnels for an opera by Richard Wagner or shark tanks and mountainsfor Kanye West, we’re always seeking to createthe most articulate sculpture, the most poetic instrumentof communication to an audience. When I say poetic, I just mean languageat its most condensed, like a song lyric, a poetic puzzleto be unlocked and unpacked.

And when we were preparingto design Beyoncé’s “Formation” tour, we looked at all the lyrics, and we came across this poemthat Beyoncé wrote. “I saw a TV preacher when I was scared,at four or five about bad dreams who promised he’d say a prayerif I put my hand to the TV. That’s the first time I remember prayer,an electric current running through me.” And this TV that transmitted prayerto Beyoncé as a child became this monolithic revolving sculpture that broadcast Beyoncéto the back of the stadium.

And the stadium is a mass congregation. It’s a temporary populationof a hundred thousand people who have all come there to sing alongwith every word together, but they’ve also come thereeach seeking one-to-one intimacy with the performer. And we, as we conceive the show,we have to provide intimacy on a grand scale. It usually starts with sketches. I was drawingthis 60-foot-high, revolving, broadcast-quality portrait of the artist, and then I torethe piece of paper in half.

I split the mask to try to access the humanunderneath it all. And it’s one thing to do sketches,but of course translating from a sketch into a tourable revolvingsix-story building took some exceptional engineersworking around the clock for three months, until finally we arrived in Miami and opened the show in April 2016.

Y’all haters cornywith that Illuminati mess Paparazzi, catch my fly,and my cocky fresh I’m so reckless when I rockmy Givenchy dress I’m so possessive so I rockhis Roc necklaces My daddy Alabama Momma Louisiana You mix that negro with that Creole make a Texas bama I call my work Thank you. I call my work stage sculpture, but of course what’s really being sculptedis the experience of the audience, and as directors and designers, we have to take responsibility for every minutethat the audience spend with us.

We’re a bit like pilots navigating a flight pathfor a hundred thousand passengers. And in the case of the Canadianartist The Weeknd, we translated this flight path literally into an origami paper folding airplane that took off over the headsof the audience, broke apart in mid-flight, complications, and then rose out of the ashes restored at the end of the show.

Digital and Technology Trends in Wedding Entertainment 2020

Digital and Technology Trends in Wedding Entertainment 2020

And like any flight, the most delicate partis the liftoff, the beginning, because when you design a pop concert, the prime materialthat you’re working with is something that doesn’t take trucksor crew to transport it. It doesn’t cost anything, and yet it fills every atom of airin the arena, before the show starts. It’s the audience’s anticipation. Everyone brings with themthe story of how they came to get there, the distances they traveled, the months they had to workto pay for the tickets.

Sometimes they sleep overnightoutside the arena, and our first task is to deliverfor an audience on their anticipation, to deliver their first sightof the performer. When I work with men, they’re quite happy to have their musictransformed into metaphor — spaceflights, mountains. But with women, we work a lot with masksand with three-dimensional portraiture, because the fans of the female artist crave her face.

And when the audience arrived to seeAdele’s first live concert in five years, they were met with this imageof her eyes asleep. If they listened carefully, they would hear her sleeping breathechoing around the arena, waiting to wake up. Here’s how the show began. Adele: Hello. Es Devlin: With U2,we’re navigating the audience over a terrain that spans three decadesof politics, poetry and music.

And over many months, meetingwith the band and their creative teams, this is the sketch that kept recurring, this line, this street, the street that connectsthe band’s past with their present, the tightrope that they walkas activists and artists, a walk through cinema that allows the bandto become protagonists in their own poetry. Bono: I wanna run I want to hide I wanna tear down the walls That hold me inside Es Devlin: The end of the showis like the end of a flight. It’s an arrival. It’s a transfer from the stageout to the audience.

For the British band Take That, we ended the show by sendingan 80-foot high mechanical human figure out to the center of the crowd. (Music) Like many translationsfrom music to mechanics, this one was initially deemedentirely technically impossible. The first three engineerswe took it to said no, and eventually, the way that it was achieved was by keeping the entirecontrol system together while it toured around the country, so we had to fold it uponto a flatbed truck so it could tour aroundwithout coming apart.

And of course, what this meantwas that the dimension of its head was entirely determined by the lowest motorway bridgethat it had to travel under on its tour. And I have to tell you that it turns out there is an unavoidableand annoyingly low bridge low bridge just outside Hamburg. (Laughter) (Music) Another of the most technically complexpieces that we’ve worked on is the opera “Carmen” at Bregenz Festival in Austria.

We envisaged Carmen’s hands risingout of Lake Constance, and throwing this deckof cards in the air and leaving them suspendedbetween sky and sea. But this transient gesture,this flick of the wrists had to become a structurethat would be strong enough to withstand two Austrian winters.

mind blowing stage sculptures that fuse music and technology

mind blowing stage sculptures that fuse music and technology

So there’s an awful lotthat you don’t see in this photograph that’s working really hard. It’s a lot of ballast and structureand support around the back, and I’m going to show you the photosthat aren’t on my website. They’re photos of the back of a set, the part that’s not designedfor the audience to see, however much work it’s doing.

And you know, this is actually the dilemma for an artist who is workingas a stage designer, because so much of what I make is fake, it’s an illusion. And yet every artist works in pursuitof communicating something that’s true. But we are always asking ourselves: “Can we communicate truthusing things that are false?” And now when I attendthe shows that I’ve worked on, I often find I’m the only onewho is not looking at the stage.

I’m looking at somethingthat I find equally fascinating, and it’s the audience. (Cheers) I mean, where else do you witness this: (Cheers) this many humans, connected, focused, undistracted and unfragmented? And lately, I’ve begun to make workthat originates here, in the collective voice of the audience. “Poem Portraits” is a collective poem.

It began at the SerpentineGallery in London, and everybody is invitedto donate one word to a collective poem. And instead of that largesingle LED portrait that was broadcastingto the back of the stadium, in this case, every member of the audience gets to take their own portraithome with them, and it’s woven in with the words that they’ve contributedto the collective poem.

So they keep a fragmentof an ever-evolving collective work. And next year, the collective poemwill take architectural form. This is the design for the UK Pavilionat the World Expo 2020. The UK … In my lifetime,it’s never felt this divided. It’s never felt this noisywith divergent voices. And it’s never felt this muchin need of places where voices might connect and converge. And it’s my hopethat this wooden sculpture, this wooden instrument,a bit like that violin I used to play, might be a place where peoplecan play and enter their word at one end of the cone, emerge at the other end of the building, and find that their word has joineda collective poem, a collective voice.

These are simple experimentsin machine learning. The algorithm that generatesthe collective poem is pretty simple. It’s like predictive text, only it’s trained on millions of wordswritten by poets in the 19th century. So it’s a sort of convergenceof intelligence, past and present, organic and inorganic. And we were inspiredby the words of Stephen Hawking.

Towards the end of his life,he asked quite a simple question: If we as a species were everto come across another advanced life-form, an advanced civilization, how would we speak to them? What collective languagewould we speak as a planet? The language of lightreaches every audience. All of us are touched by it.None of us can hold it.

And in the theater, we begin each workin a dark place, devoid of light. We stay up all night focusing the lights,programming the lights, trying to find new waysto sculpt and carve light. This is a portrait of our practice, always seeking new waysto shape and reshape light, always finding words for thingsthat we no longer need to say. And I want to say that this, and everything that I’ve just shown you, no longer exists in physical form.

In fact, most of what I’ve madeover the last 25 years doesn’t exist anymore. But our work endures in memories,in synaptic sculptures, in the minds of thosewho were once present in the audience. (Music) I once read that a poem learnt by heart is what you have left, what can’t be lost, even if your house burns downand you’ve lost all your possessions.

I want to end with some linesthat I learnt by heart a long time ago. (Music) They’re written by the Englishnovelist E.M. Forster, in 1910, just a few yearsbefore Europe, my continent, (Music) began tearing itself apart. (Music) And his call to convergencestill resonates through most of whatwe’re trying to make now. (Music) “Only connect! That wasthe whole of her sermon. Only connect the prose and the passion, and both will be exalted, And human love will be seen at its height. Only connect! And livein fragments no longer.” Thank you.

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