Shifting Interfaces: art research at the intersections of live performance and technology

Merged with duplicate record 10026.1/809 on 08.20.2017 by CS (TIS)This collection of published works is an outcome of my practice-led inter-disciplinary collaborative artistic research into deepening understanding of creative process in the field of contemporary dance. It comprises thirty written works published from 1999 to 2007 in various formats and platforms. This collection is framed by a methodological discussion that provides insight into how this research has intersected over time with diverse fields of practice including contemporary dance, digital and new media arts and non-art domains such as cognitive and social science. Fields are understood in the context of this research to be largely constituted out of the expert practices of individual collaborators. This research starts from an interest in the Impact of new media technologies on dance making/ choreography. The collection of works show evidence, established in the first two publications, of an evolving engagement with two concepts related to this interest: (1) the 'algorithm' as a process-level connection or bridge between dance composition and computation; (2) the empirical study of movement embedded as a 'knowledge base' in the practices of both computer animation and dance and thus forming a special correspondence between them. This collection provides evidence of this research through a period of community-building amongst artists using new media technologies in performance, and culminates in the identification of an emerging 'community of practice' coming together around the formation of a unique body of knowledge pertaining to dance. The late 1990s New Media Art movement provided a supportive context for Important peer-to-peer encounters with creators and users of software tools and platforms in the context of inter-disciplinary art-making. A growing interest in software programming as a creative practice opened up fresh perspectives on possible connections with dance making. It became clear that software's utility alone, including artistic uses of software, was a limited conception. This was the background thinking that informed the first major shift in the research towards the design of software that might augment the creative process of expert choreographers and dancers. This shift from software use to its design, framed by a focus on the development of tools to support dance creation, also provided strong rationale to deepen the research into dance making processes. In the second major phase of the research presented here, scientific study is brought collaboratively to bear on questions related to choreographic practice. This lead to a better understanding of ways in which dancers and choreographers, as 'thinking bodies', interact with their design tools and each other in the context of creation work. In addition to this collection, outcomes of this research are traceable to other published papers and art works it has given rise to. Less easily measureable, but just as valuable, are the sustained relations between individuals and groups behind the 'community of practice' now recognised for its development of unique formats for bringing choreographic ideas and processes into contact, now and in the future, with both general audiences and other specialist practices

The Elements of Influence (and a Ghost) : Julien Prévieux

''Work, management, economics, politics, control systems, state-of-the-art technologies, and the culture industry are the many “worlds” that Prix Marcel Duchamp winning artist Julien Prévieux’s activities interrogate. The methods of recording movement and gesture developed over the last century and a half led to aesthetic results that recall the formal explorations of modernist art. Playing on this resemblance, Julien Prévieux transforms these records—originally produced for the sake of productivity, profit or surveillance—into pure form. Using map-making, dance, theatre, sculpture, video, and drawing, his work appropriates the vocabulary, mechanisms, and modus operandi of the sectors by which it is informed to highlight their dogmas and excesses. In this solo exhibition presented across both galleries, Prévieux highlights each mechanism’s potential for play, creativity, productivity, and counter-productivity.'' -- Publisher's websit

Dance performance in cyberspace - transfer and transformation

The aim of this research undertaking is to understand the potential development of dance performance in the context of cyberculture, by examining the way practitioners use new media to create artworks that include audience participation, and by endeavouring in their theorization. With specific reference to cyberspace as a concept of electronic, networked and navigable space, the enquiry traces the connections such practices have with conventions of the medium of dance, which operate in its widely known condition as a live performing art. But acknowledgement that new media and new contexts of production and reception inform the characteristics of these artworks and their discursive articulation, in terms of the way people and digital technologies interact in contemporary culture, is a major principle to their analysis and evaluation. This qualitative research is based on case-study design as a means of finding pragmatic evidence in particulars, to illustrate abstract concepts, technological processes and aesthetic values that are underway in a new area of knowledge. The field where this research operates within is located by a mapping of published literature that informs a theoretical interdisciplinary framework, which contextualizes the interpretation of artworks. The selected case studies have been subject to a process of systematic and detailed analysis, entailed with a model devised for the purpose of this enquiry. From this undertaking it can be claimed that while an extensive array of technologies, media and interactive models is available in this field, the artists pursue a commitment to demonstrate their worth for specifically developing (new media) dance performance, and for dance performance to articulate technological and critical issues for cyberculture studies. The results of this enquiry also contribute to conceptual understanding of what dance can be, today, in the light of technological changes

Restaging the Record: The Role of Contemporary Archives in Safeguarding and Preserving Performance as Intangible Cultural Heritage

Bounded by and framed within the question of the role of contemporary archives in preserving expressions of intangible cultural heritage, this dissertation examines the existing ways performed and event-based cultural heritage are fixed and represented; problematizes prevailing notions of information as evidence in archives; and disrupts issues of archival custody. The dissertation offers new ways of thinking about the points where archives and intangible cultural heritage intersect; as such, the project analyzes these intersections by examining three differing modes of performance-based archivy. With an eye toward existing archival theory and practice as well as an understanding of “the archive” grounded in performance studies, this dissertation uses three unique case studies to analyze and interrogate the perceived disconnect between “the archive and the repertoire,” as well as to expand the body of research on the preservation of event-based cultural heritage. The cases selected for this study, representative of the digital humanities, local practice and international policy, are: the Live Performance Simulation System’s Virtual Vaudeville prototype; the Katherine Dunham Archives and the Dunham Technique; and the implementation of the United Nations Scientific, Educational and Cultural Organization (UNESCO)’s 2003 Convention for the Safeguarding of Intangible Cultural Heritage. These cases collectively interrogate boundaries between archive and repertoire, illuminating the existing ways contemporary archives document, safeguard and preserve event-based cultural heritage. At the same time, each individual case investigates instances of event-based archivy, highlighting necessary shifts in archival theory and practice to better support the preservation of performative means of cultural expression

Geographical Counterpoint to Choreographic Information based on Approaches in GIScience and Visualization

This study provides geographical counterpoint to existing knowledge of a dance piece through approaches from GIScience and visualization by focusing on spatio-temporal movement of dancers in a large dataset of the dance. The goal of this study is to introduce a new application to bridging art and science in the domain of dance and geography disciplines. The study utilizes existing methodologies in GIScience, including exploratory spatial data analysis (ESDA), spatial analysis, Relative Motion (REMO) analysis, and Qualitative Trajectory Calculus (QTC) analysis for the reasoning of the dance data. The results of the study demonstrate the following. First, spatio-temporal information in the dance can be better understood by using approaches in geography, including ESDA, spatial analysis, REMO analysis, QTC analysis, and visualization. Second, the REMO analysis measured relative azimuth, speed, and δ-speed of the dancers per space and time and intuitively visualized their interactions. Third, the QTC analysis showed an example of measuring similarity and difference between repetitive movements of the dancers. The study exhibits how approaches of GIScience in geography could contribute to finding new knowledge of choreographic information that has been, in general, hard to recognize through other disciplines such as dance and statistics

3D (embodied) projection mapping and sensing bodies : a study in interactive dance performance

This dissertation identifies the synergies between physical and virtual environments when designing for immersive experiences in interactive dance performances. The integration of virtual information in physical space is transforming our interactions and experiences with the world. By using the body and creative expression as the interface between real and virtual worlds, dance performance creates a privileged framework to research and design interactive mixed reality environments and immersive augmented architectures. The research is primarily situated in the fields of visual art and interaction design. It combines performance with transdisciplinary fields and intertwines practice with theory. The theoretical and conceptual implications involved in designing and experiencing immersive hybrid environments are analyzed using the reality–virtuality continuum. These theories helped frame the ways augmented reality architectures are achieved through the integration of dance performance with digital software and reception displays. They also helped identify the main artistic affordances and restrictions in the design of augmented reality and augmented virtuality environments for live performance. These pervasive media architectures were materialized in three field experiments, the live dance performances. Each performance was created in three different stages of conception, design and production. The first stage was to “digitize” the performer’s movement and brain activity to the virtual environment and our system. This was accomplished through the use of depth sensor cameras, 3D motion capture, and brain computer interfaces. The second stage was the creation of the computational architecture and software that aggregates the connections and mapping between the physical body and the spatial dynamics of the virtual environment. This process created real-time interactions between the performer’s behavior and motion and the real-time generative computer 3D graphics. Finally, the third stage consisted of the output modality: 3D projector based augmentation techniques were adopted in order to overlay the virtual environment onto physical space. This thesis proposes and lays out theoretical, technical, and artistic frameworks between 3D digital environments and moving bodies in dance performance. By sensing the body and the brain with the 3D virtual environments, new layers of augmentation and interactions are established, and ultimately this generates mixed reality environments for embodied improvisational self-expression.Radio-Television-Fil

Immersive Participation:Futuring, Training Simulation and Dance and Virtual Reality

Dance knowledge can inform the development of scenario design in immersive digital simulation environments by strengthening a participant’s capacity to learn through the body. This study engages with processes of participatory practice that question how the transmission and transfer of dance knowledge/embodied knowledge in immersive digital environments is activated and applied in new contexts. These questions are relevant in both arts and industry and have the potential to add value and knowledge through crossdisciplinary collaboration and exchange. This thesis consists of three different research projects all focused on observation, participation, and interviews with experts on embodiment in digital simulation. The projects were chosen to provide a range of perspectives across dance, industry and futures studies. Theories of embodied cognition, in particular the notions of the extended body, distributed cognition, enactment and mindfulness, offer critical lenses through which to explore the relationship of embodied integration and participation within immersive digital environments. These areas of inquiry lead to the consideration of how language from the field of computer science can assist in describing somatic experience in digital worlds through a discussion of the emerging concepts of mindfulness, wayfinding, guided movement and digital kinship. These terms serve as an example of how the mutability of language became part of the process as terms applied in disparate disciplines were understood within varying contexts. The analytic tools focus on applying a posthuman view, speculation through a futures ethnography, and a cognitive ethnographical approach to my research project. These approaches allowed me to examine an ecology of practices in order to identify methods and processes that can facilitate the transmission and transfer of embodied knowledge within a community of practice. The ecological components include dance, healthcare, transport, education and human/computer interaction. These fields drove the data collection from a range of sources including academic papers, texts, specialists’ reports, scientific papers, interviews and conversations with experts and artists.The aim of my research is to contribute both a theoretical and a speculative understanding of processes, as well as tools applicable in the transmission of embodied knowledge in virtual dance and arts environments as well as digital simulation across industry. Processes were understood theoretically through established studies in embodied cognition applied to workbased training, reinterpreted through my own movement study. Futures methodologies paved the way for speculative processes and analysis. Tools to choreograph scenario design in immersive digital environments were identified through the recognition of cross purpose language such as mindfulness, wayfinding, guided movement and digital kinship. Put together, the major contribution of this research is a greater understanding of the value of dance knowledge applied to simulation developed through theoretical and transformational processes and creative tools