Accented Body and Beyond: a Model for Practice-Led Research with Multiple Theory/Practice Outcomes

Dance has always been a collaborative or interdisciplinary practice normally associated with music or sound and visual arts/design. Recent developments with technology have introduced additional layers of interdisciplinary work to include live and virtual forms in the expansion of what Fraleigh (1999:11) terms ‘the dancer oriented in time/space, somatically alive to the experience of moving’. This already multi-sensory experience and knowledge of the dancer is now layered with other kinds of space/time and kinetic awarenesses, both present and distant, through telematic presence, generative systems and/or sensors. In this world of altered perceptions and ways of being, the field of dance research is further opened up to alternative processes of inquiry, both theoretically and in practice, and importantly in the spaces between the two

Embodied conversations: Performance and the design of a robotic dancing partner

This paper reports insights gained from an exploration of performance-based techniques to improve the design of relationships between people and responsive machines. It draws on the Emergent Objects project and specifically addresses notions of embodiment as employed in the field of performance as a means to prototype and develop a robotic agent, SpiderCrab, designed to promote expressive interaction of device and human dancer, in order to achieve ‘performative merging’. The significance of the work is to bring further knowledge of embodiment to bear on the development of human-technological interaction in general. In doing so, it draws on discursive and interpretive methods of research widely used in the field of performance but not yet obviously aligned with some orthodox paradigms and practices within design research. It also posits the design outcome as an ‘objectile’ in the sense that a continuous and potentially divergent iteration of prototypes is envisaged, rather than a singular final product. The focus on performative merging draws in notions of complexity and user experience. Keywords: Embodiment; Performance; Tacit Knowledge; Practice-As-Research; Habitus.</p

Exploring children's creative narratives: some theoretical, methodological and applied perscpectives

This chapter introduces the edited collection, Exploring Children’s Creative Narratives that offers fresh perspectives on children’s creative narratives and that explores what these perspectives reveal about their imagination, their thought processes and how they understand the world. The chapter argues that ethnographic case studies, naturalistic observations, conversations and playful interactions with children ranging in age from two to eleven years allow the development of theoretical insights that challenge traditional accounts of creativity and narrative. It also argues that a proper understanding of creative narratives has to be an interdisciplinary endeavour if it is to do justice to the rich, complex, multi-modal and embodied nature of the children’s thought processes as revealed through their drawing and story-telling, music making, dance, drama and imaginative play. Interpretation of these processes draws on socio-cultural accounts of creativity and creative development that challenge more traditional accounts of creativity as an attribute or talent that belongs only to certain gifted individuals. The chapter (and contributors to the collection) maintains that to understand the situated nature of children’s creative activity it is important to examine the social, affective and cognitive processes that take place when children are immersed in such activity. This re-conceptualisation of children’s creativity challenges conventional educational practice and suggests that formal educational training programmes should offer teachers more sophisticated cultural discourses and experiences which will allow them to gain a more rounded understanding of children’s creative narratives

Hypermedia support for argumentation-based rationale: 15 years on from gIBIS and QOC

Having developed, used and evaluated some of the early IBIS-based approaches to design rationale (DR) such as gIBIS and QOC in the late 1980s/mid-1990s, we describe the subsequent evolution of the argumentation-based paradigm through software support, and perspectives drawn from modeling and meeting facilitation. Particular attention is given to the challenge of negotiating the overheads of capturing this form of rationale. Our approach has maintained a strong emphasis on keeping the representational scheme as simple as possible to enable real time meeting mediation and capture, attending explicitly to the skills required to use the approach well, particularly for the sort of participatory, multi-stakeholder requirements analysis demanded by many design problems. However, we can then specialize the notation and the way in which the tool is used in the service of specific methodologies, supported by a customizable hypermedia environment, and interoperable with other software tools. After presenting this approach, called Compendium, we present examples to illustrate the capabilities for support security argumentation in requirements engineering, template driven modeling for document generation, and IBIS-based indexing of and navigation around video records of meetings

The Translocal Event and the Polyrhythmic Diagram

This thesis identifies and analyses the key creative protocols in translocal performance practice, and ends with suggestions for new forms of transversal live and mediated performance practice, informed by theory. It argues that ontologies of emergence in dynamic systems nourish contemporary practice in the digital arts. Feedback in self-organised, recursive systems and organisms elicit change, and change transforms. The arguments trace concepts from chaos and complexity theory to virtual multiplicity, relationality, intuition and individuation (in the work of Bergson, Deleuze, Guattari, Simondon, Massumi, and other process theorists). It then examines the intersection of methodologies in philosophy, science and art and the radical contingencies implicit in the technicity of real-time, collaborative composition. Simultaneous forces or tendencies such as perception/memory, content/ expression and instinct/intellect produce composites (experience, meaning, and intuition- respectively) that affect the sensation of interplay. The translocal event is itself a diagram - an interstice between the forces of the local and the global, between the tendencies of the individual and the collective. The translocal is a point of reference for exploring the distribution of affect, parameters of control and emergent aesthetics. Translocal interplay, enabled by digital technologies and network protocols, is ontogenetic and autopoietic; diagrammatic and synaesthetic; intuitive and transductive. KeyWorx is a software application developed for realtime, distributed, multimodal media processing. As a technological tool created by artists, KeyWorx supports this intuitive type of creative experience: a real-time, translocal “jamming” that transduces the lived experience of a “biogram,” a synaesthetic hinge-dimension. The emerging aesthetics are processual – intuitive, diagrammatic and transversal

The game jam movement:disruption, performance and artwork

This paper explores the current conventions and intentions of the game jam - contemporary events that encourage the rapid, collaborative creation of game design prototypes. Game jams are often renowned for their capacity to encourage creativity and the development of alternative, innovative game designs. However, there is a growing necessity for game jams to continue to challenge traditional development practices through evolving new formats and perspectives to maintain the game jam as a disruptive, refreshing aspect of game development culture. As in other creative jam style events, a game jam is not only a process but also, an outcome. Through a discussion of the literature this paper establishes a theoretical basis with which to analyse game jams as disruptive, performative processes that result in original creative artefacts. In support of this, case study analysis of Development Cultures: a series of workshops that centred on innovation and new forms of practice through play, chance, and experimentation, is presented. The findings indicate that game jams can be considered as processes that inspire creativity within a community and that the resulting performances can be considered as a form of creative artefact, thus parallels can be drawn between game jams and performative and interactive art