<?xml version="1.0" encoding="UTF-8"?><?xml-stylesheet type="text/xsl" href="static/style.xsl"?><OAI-PMH xmlns="http://www.openarchives.org/OAI/2.0/" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:schemaLocation="http://www.openarchives.org/OAI/2.0/ http://www.openarchives.org/OAI/2.0/OAI-PMH.xsd"><responseDate>2026-09-20T03:06:16Z</responseDate><request verb="GetRecord" identifier="oai:dspace.mit.edu:1721.1/65324" metadataPrefix="dim">https://dspace.mit.edu/server/oai/request</request><GetRecord><record><header><identifier>oai:dspace.mit.edu:1721.1/65324</identifier><datestamp>2022-01-13T07:54:29Z</datestamp><setSpec>com_1721.1_7582</setSpec><setSpec>com_1721.1_7581</setSpec><setSpec>col_1721.1_131023</setSpec></header><metadata><dim:dim xmlns:dim="http://www.dspace.org/xmlns/dspace/dim" xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xmlns:doc="http://www.lyncode.com/xoai" xsi:schemaLocation="http://www.dspace.org/xmlns/dspace/dim http://www.dspace.org/schema/dim.xsd">
   <dim:field mdschema="dc" element="contributor" qualifier="advisor" lang="en_US">Tod Machover.</dim:field>
   <dim:field mdschema="dc" element="contributor" qualifier="author" lang="en_US">Miller, Michael R., M. Eng. Massachusetts Institute of Technology</dim:field>
   <dim:field mdschema="dc" element="contributor" qualifier="other" lang="en_US">Massachusetts Institute of Technology. Dept. of Electrical Engineering and Computer Science.</dim:field>
   <dim:field mdschema="dc" element="contributor" qualifier="department">Massachusetts Institute of Technology. Department of Electrical Engineering and Computer Science</dim:field>
   <dim:field mdschema="dc" element="date" qualifier="accessioned">2011-08-18T19:18:52Z</dim:field>
   <dim:field mdschema="dc" element="date" qualifier="available">2011-08-18T19:18:52Z</dim:field>
   <dim:field mdschema="dc" element="date" qualifier="copyright" lang="en_US">2010</dim:field>
   <dim:field mdschema="dc" element="date" qualifier="issued" lang="en_US">2010</dim:field>
   <dim:field mdschema="dc" element="identifier" qualifier="uri">http://hdl.handle.net/1721.1/65324</dim:field>
   <dim:field mdschema="dc" element="identifier" qualifier="oclc" lang="en_US">746081867</dim:field>
   <dim:field mdschema="dc" element="description" lang="en_US">Thesis (M. Eng.)--Massachusetts Institute of Technology, Dept. of Electrical Engineering and Computer Science, 2010.</dim:field>
   <dim:field mdschema="dc" element="description" lang="en_US">Cataloged from PDF version of thesis.</dim:field>
   <dim:field mdschema="dc" element="description" lang="en_US">Includes bibliographical references (p. 75).</dim:field>
   <dim:field mdschema="dc" element="description" qualifier="abstract" lang="en_US">Tod Machover's upcoming opera Death and the Powers calls for an unprecedented integration of technology and theater. These uses of technology are at the heart of the show and include a Greek chorus of nine "Operabots"; a novel surround sound and audio processing architecture; a massive string instrument called "The Chandelier"; three 14' tall robotic stage fixtures with displays called "The Walls"; and more. Each component has its own unique challenges, but all share the need for a comprehensive show design and control system. A show design and control system was built for this specific purpose and will be used for Death and the Powers. The software affords real-time control over the robotic elements in the opera alongside predetermined, choreographed routines.</dim:field>
   <dim:field mdschema="dc" element="description" qualifier="statementofresponsibility" lang="en_US">by Michael R. Miller.</dim:field>
   <dim:field mdschema="dc" element="description" qualifier="degree" lang="en_US">M.Eng.</dim:field>
   <dim:field mdschema="dc" element="format" qualifier="extent" lang="en_US">75 p.</dim:field>
   <dim:field mdschema="dc" element="language" qualifier="iso" lang="en_US">eng</dim:field>
   <dim:field mdschema="dc" element="publisher" lang="en_US">Massachusetts Institute of Technology</dim:field>
   <dim:field mdschema="dc" element="relation" qualifier="requires" lang="en_US">CD-ROM contains supplemental material for thesis.</dim:field>
   <dim:field mdschema="dc" element="rights" lang="en_US">M.I.T. theses are protected by 
copyright. They may be viewed from this source for any purpose, but 
reproduction or distribution in any format is prohibited without written 
permission. See provided URL for inquiries about permission.</dim:field>
   <dim:field mdschema="dc" element="rights" qualifier="uri" lang="en_US">http://dspace.mit.edu/handle/1721.1/7582</dim:field>
   <dim:field mdschema="dc" element="subject" lang="en_US">Electrical Engineering and Computer Science.</dim:field>
   <dim:field mdschema="dc" element="title" lang="en_US">Show design and control system for live theater</dim:field>
   <dim:field mdschema="dc" element="type" lang="en_US">Thesis</dim:field>
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	&lt;Language>eng&lt;/Language>
   	&lt;Title>Show design and control system for live theater&lt;/Title>
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   	&lt;PublicationDate>2010&lt;/PublicationDate>
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        	&lt;DisplayName>Miller, Michael R., M. Eng. Massachusetts Institute of Technology&lt;/DisplayName>
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            &lt;DisplayName>Massachusetts Institute of Technology&lt;/DisplayName>
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    &lt;Keyword>Electrical Engineering and Computer Science.&lt;/Keyword>
   	&lt;Abstract>Tod Machover&amp;apos;s upcoming opera Death and the Powers calls for an unprecedented integration of technology and theater. These uses of technology are at the heart of the show and include a Greek chorus of nine &amp;quot;Operabots&amp;quot;; a novel surround sound and audio processing architecture; a massive string instrument called &amp;quot;The Chandelier&amp;quot;; three 14&amp;apos; tall robotic stage fixtures with displays called &amp;quot;The Walls&amp;quot;; and more. Each component has its own unique challenges, but all share the need for a comprehensive show design and control system. A show design and control system was built for this specific purpose and will be used for Death and the Powers. The software affords real-time control over the robotic elements in the opera alongside predetermined, choreographed routines.&lt;/Abstract>
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