Punchdrunk: projects like this need digital specialists
Last week we looked at the LSE Pulse project and what had emerged since its completion. This week we do the same with Punchdrunk. I caught up with Peter Higgin, enrichment director at the immersive theatre company, whose project aimed to connect real-world and digital experiences in a performance space. He told me about the importance of having a digital specialist in a project like this, something they didn’t have the luxury of when it ran.
“Doing it again I think we’d place a digital specialist within the Punchdrunk team,” he admitted. “It would mean we could deliberately break the rules and conventions that we adhere to in the physical space when creating online experiences. We’d also be able to explore the option of creating a bespoke piece outside of Sleep No More.”
There were other lessons as well, particularly with organisation: “We would definitely restructure our scheduling and protect the time set aside for beta testing.”
But what the project did get right was the technical logistics of it all. As Peter told the Guardian back in May 2012, “The physical installation of the project saw us run over 8,000 feet of CAT-5 cable around the site, linking a 100MB internet connection to our control hub within the building with individual runs that broke out to 24 access points. This allowed us to create a network across the building to live stream sound and audio content to both live and online participants.”
The project used a mix of 10 RFID readers and 50 Bluetooth devices, as well as 10 physical portals, “which allowed participants to communicate” said Peter. “These included a poltergeist-like book that online participants could cue to flip a real book off a shelf when their participant was nearby and a typewriter that allowed online participants to type direct messages to their real-world companion.”