THE PHILOSOPHY OF ACTION IN LIVE PERFORMANCE INTERACTION DESIGN: ALIGNING FLOWS OF INTENTIONALITY

In recent years, ubiquitous computing has altered traditional performance spaces. Arts organizations have notably tested various strategies to either accommodate or eliminate the persistent and disruptive “glowing screen” of smartphones. While theatre and performance artists and scholars correctly identify many problems created by this influx of new technology, this dissertation argues that the rise of ubiquitous computing presents immense potential for theatre and performance studies to begin solving the design problems faced by computer scientists and user experience designers. Theatre and performance scholars hold a crucial role in ubiquitous technology design for live performance, and we have key knowledge of action that user experience designers seek now more than ever. I propose that human action is the basis for a common nomenclature and theoretical bridge between user experience design and theatre and performance studies. I extend Aristotle’s intentionalist mimetic theory using current philosophy of action and cognitive science, and argue that performance artists and designers select and align flows of intentionality in action that immerse spectators in the intentional presentation of an action. Furthermore, I follow Elizabeth Anscombe’s theory of action to argue for the incommensurability of propositionally articulated theoretical knowledge and non-propositional practical knowledge. Audiences experience the flow of a performance as they ascertain the interweaving of these incommensurable yet complimentary articulations of intentionality through a reciprocal feedback loop of active perception. Both performers and audiences derive the meaning of a performance from an “expanded description” of the teleological structure of actions that comprise it. This action-centric analysis of performance provides the basis for dialogue with human experience designers through an ecologically balanced mapping of the four Aristotelian causes of a performance onto the design of new technology. As a practical application of this theoretical framework, the dissertation also proposes a new platform for smartphone-based audience interactivity at live Jazz concerts. Applying the theoretical argument to the intentional flows of action in live jazz, the Nymbus system seeks to align the material, formal, and efficient causality of smartphones at concerts with the intentional flows in jazz performance in order to heighten and compliment audience immersion in jazz performance flow

Doing Duo - a case study of entrainment in William Forsythe's choreography "Duo"

Waterhouse E, Watts R, Bläsing B. Doing Duo - a case study of entrainment in William Forsythe's choreography "Duo". Frontiers in Human Neuroscience. 2014;8:812.Entrainment theory focuses on processes in which interacting (i.e., coupled) rhythmic systems stabilize, producing synchronization in the ideal sense, and forms of phase related rhythmic coordination in complex cases. In human action, entrainment involves spatiotemporal and social aspects, characterizing the meaningful activities of music, dance, and communication. How can the phenomenon of human entrainment be meaningfully studied in complex situations such as dance? We present an in-progress case study of entrainment in William Forsythe's choreography Duo, a duet in which coordinated rhythmic activity is achieved without an external musical beat and without touch-based interaction. Using concepts of entrainment from different disciplines as well as insight from Duo performer Riley Watts, we question definitions of entrainment in the context of dance. The functions of chorusing, turn-taking, complementary action, cues, and alignments are discussed and linked to supporting annotated video material. While Duo challenges the definition of entrainment in dance as coordinated response to an external musical or rhythmic signal, it supports the definition of entrainment as coordinated interplay of motion and sound production by active agents (i.e., dancers) in the field. Agreeing that human entrainment should be studied on multiple levels, we suggest that entrainment between the dancers in Duo is elastic in time and propose how to test this hypothesis empirically. We do not claim that our proposed model of elasticity is applicable to all forms of human entrainment nor to all examples of entrainment in dance. Rather, we suggest studying higher order phase correction (the stabilizing tendency of entrainment) as a potential aspect to be incorporated into other models

Exciting Instrumental Data: Toward an Expanded Action-Oriented Ontology for Digital Music Performance

Musical performance using digital musical instruments has obfuscated the relationship between observable musical gestures and the resultant sound. This is due to the sound producing mechanisms of digital musical instruments being hidden within the digital music making system. The difficulty in observing embodied artistic expression is especially true for musical instruments that are comprised of digital components only. Despite this characteristic of digital music performance practice, this thesis argues that it is possible to bring digital musical performance further within our action-oriented ontology by understanding the digital musician through the lens of Lévi-Strauss’ notion of the bricoleur. Furthermore, by examining musical gestures with these instruments through a multi-tiered analytical framework that accounts for the physical computing elements necessarily present in all digital music making systems, we can further understand and appreciate the intricacies of digital music performance practice and culture

VR Storytelling

The question of cinematic VR production has been on the table for several years. This is due to the peculiarity of VR language which, even if it is de ned by an image that surrounds and immerses the viewer rather than placing them, as in the classic cinematic situation, in front of a screen, relies decisively on an audiovisual basis that cannot help but refer to cinematic practices of constructing visual and auditory experience. Despite this, it would be extremely reductive to consider VR as the mere transposition of elements of cinematic language. The VR medium is endowed with its own speci city, which inevitably impacts its forms of narration. We thus need to investigate the narrative forms it uses that are probably related to cinematic language, and draw their strength from the same basis, drink from the same well, but develop according to di erent trajectories, thus displaying di erent links and a nities

Digital Theatre: A "Live" and Mediated Art Form Expanding Perceptions of Body, Place, and Community

This work discusses Digital Theatre, a type of performance which utilizes both "live" actors and co-present audiences along with digital media to create a hybrid art form revitalizing theatre for contemporary audiences. This work surveys a wide range of digital performances (with "live" and digital elements, limited interactivity/participation and spoken words) and identifies the group collectively as Digital Theatre, an art form with the flexibility and reach of digital data and the sense of community found in "live" theatre. I offer performance examples from Mark Reaney, David Saltz, Troika Ranch, Gertrude Stein Repertory Theatre, Flying Karamazov Brothers, Talking Birds, Yacov Sharir, Studio Z, George Coates Performance Group, and ArtGrid. (The technologies utilized in performances include: video-conferencing, media projection, MIDI control, motion capture, VR animation, and AI). Rather than looking at these productions as isolated events, I identify them as a movement and link the use of digital techniques to continuing theatrical tradition of utilizing new technologies on the stage. The work ties many of the aesthetic choices explored in theatrical past by the likes of Piscator, Svoboda, Craig, and in Bauhaus and Futurist movements. While it retains the essential qualities of public human connection and imaginative thought central to theatre, Digital Theatre can cause theatrical roles to merge as it extends the performer's body, expands our concept of place, and creates new models of global community

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

2023-2024 Course Catalog

2023-2024 Course Catalo

2017-2018 Course Catalog

2017-2018 Course Catalo