948 research outputs found
Kehollistuneet vuorovaikutuskoreografiat. Kinesteettinen lÀhestymistapa ÀlykkÀiden ympÀristöjen suunnitteluun
Research investigates interaction design through application of the concept of choreography. Special attention is paid to assess what kind of influences technological designs have on the userâs body and movements. Choreographic approach to interaction design emphasizes the felt experience of movement as content to interaction design and offers methods for conducting multi-level choreographic analysis. The concept of kinesthesia, which refers to the felt sensation of movement, is regarded as the foundational concept for both understanding and realizing the choreographic analysis.
Choreographic method is applied in studying a future vision of intelligent information and communication environments. Intelligent environment refers to development where objects in everyday environments become connected and form a communicating-actuating network that possess abilities to collect information on the environment and of its users, and enables processing of this information for serving the userâs needs. The research data consists of two visions on intelligent environments in video format, introduced by Microsoft. Visions are analyzed through choreographic analysis with intention to investigate interactions between the user, the intelligent environment and the computer system. Micro level choreography analysis focuses on how the user experiences choreographies as movement continuums. Also local level choreographies that address the broader interaction context will be analyzed. Task based analysis focuses on two functions, first, sending and fetching digital information and, second, real time re-modelling of data and visualizations.
Phenomenological methodology that enabled embodiment of the choreographies through dancing was applied in the analysis. Dancing aimed at internalizing the choreographies and enabled the analysis of felt sensation of movement. Key finding of the study is that choreographic analysis and hermeneutics of the body work well to be utilized in tandem in conducting a case study research on intelligent ICT environments. Dancing is considered as choreographic practice that provides understanding on the unfolding of interactions in space, time and movement. Furthermore, dancing integrates the designerâs explicit technological information to the design context and highlights the kinesthetic dimension of interaction. Presented methods provide relevant support for defining technological systems in intelligent ICT environments that are grounded in the embodied experience of interaction. I suggest that âdancing as choreographic practiceâ is to be applied in user-centered design of intelligent information and communication environments.Tutkimus tarkastelee vuorovaikutussuunnittelua koreografian kĂ€sitteen kautta. Koreografinen lĂ€hestymistapa tarkastelee teknologian kokonaisvaltaista ohjausvaikutusta kĂ€yttĂ€jĂ€n liikkeeseen teknologian kĂ€yttötilanteessa. Koreografinen suunnitteluote korostaa liikkeen kokemuksen huomioimisen tĂ€rkeyttĂ€ vuorovaikutussuunnittelussa ja tarjoaa menetelmiĂ€ monitasoisen vuorovaikutusanalyysin toteuttamiseen. Kinestesian kĂ€site, jolla tarkoitetaan liikkeen kokemista kehossa, nousee yhdeksi koreografisen lĂ€hestymistavan keskeisistĂ€ kĂ€sitteistĂ€.
Sovellan koreografista menetelmÀÀ tulevaisuuden Ă€lykĂ€stĂ€ informaatio- ja kommunikaatioympĂ€ristöÀ kuvaavan vision tutkimiseen. ĂlykkÀÀllĂ€ ympĂ€ristöllĂ€ viittaan kehityskulkuun, jossa jokapĂ€ivĂ€isissĂ€ ympĂ€ristöissĂ€mme lĂ€snĂ€ oleva teknologia verkottuu, kykenee kerÀÀmÀÀn ja jakamaan tietoa ympĂ€ristöstĂ€ ja kĂ€yttĂ€jistĂ€ sekĂ€ mahdollistaa tiedon jalostuksen kĂ€yttĂ€jĂ€n tarpeita palvelevalla tavalla. Aineistona on kĂ€ytetty Microsoftin teknologiavisioita, joissa esitetyt kuvaukset Ă€lykkĂ€istĂ€ ympĂ€ristöistĂ€ sekĂ€ esimerkit kĂ€yttĂ€jĂ€n ja teknologian vĂ€lisistĂ€ liikkeellisistĂ€ vuorovaikutuksista nousevat analyysin kohteeksi. Analyysissa keskitytÀÀn ensinnĂ€kin kĂ€yttĂ€jĂ€n toteuttamien mikroliikkeiden jatkumon kokemuksen analyysiin. Toiseksi analysoidaan yksilön kokemusta paikallisen tason koreografioissa. TĂ€llĂ€ analyysitasolla huomiota kiinnitetÀÀn teknologista vuorovaikutusta laajemman vuorovaikutustapahtuman kontekstiin jolloin mm. sosiaaliset tapahtumat ja tilan vaikutus vuorovaikutukseen tulevat huomioiduksi. Analyysi toteutetaan tehtĂ€vĂ€perusteisena ja analyysi kĂ€sittÀÀ kaksi toimintoa: tiedostojen jakaminen ja vastaanottaminen sekĂ€ datan ja visualisointien muokkaus.
Toteutin tutkimuksen nojaten fenomenologiseen metodologiaan, joka mahdollisti koreografioiden henkilökohtaisen omaksumisen tanssin eli tutkimuksen kohteena olevien vuorovaikutustapojen kehollisen harjoittamisen kautta. Teknologiavisioissa esitetyn liikemateriaalin perusteella jĂ€sentyi koreografia, jonka tanssiminen mahdollisti liiketiedon sisĂ€istĂ€misen ja vuorovaikutusten kehollisesti koettujen ulottuvuuksien arvioinnin. Tutkimus osoitti koreografisen analyysin ja osittain tanssimalla toteutetun ruumiin hermeneuttisen lĂ€hestymistavan soveltuvan hyvin sovellettavaksi yhdessĂ€ Ă€lykĂ€stĂ€ ympĂ€ristöÀ kĂ€sittelevĂ€ssĂ€ tapaustutkimuksessa. Tutkimuksen johtopÀÀtöksenĂ€ koreografisen menetelmĂ€n ja vuorovaikutusten kehollisen harjoittamisen todetaan auttavan suunnittelijaa tilassa, ajassa ja liikkeessĂ€ tapahtuvien vuorovaikutusten jĂ€sentĂ€misessĂ€, ja arvioimaan miten teknologisen jĂ€rjestelmĂ€n suunnitteluratkaisut vaikuttavat kĂ€yttĂ€jĂ€n kehoon ja liikkeeseen vuorovaikutustapahtumassa. EsitĂ€n âtanssimista koreografisena kĂ€ytĂ€ntönĂ€â sovellettavaksi Ă€lykkĂ€iden ympĂ€ristöjen kĂ€yttĂ€jĂ€keskeisen suunnittelun menetelmĂ€nĂ€
Moveable worlds/digital scenographies
This is the author's accepted manuscript. The final published article is available from the link below. Copyright @ Intellect Ltd 2010.The mixed reality choreographic installation UKIYO explored in this article reflects an interest in scenographic practices that connect physical space to virtual worlds and explore how performers can move between material and immaterial spaces. The spatial design for UKIYO is inspired by Japanese hanamichi and western fashion runways, emphasizing the research production company's commitment to various creative crossovers between movement languages, innovative wearable design for interactive performance, acoustic and electronic sound processing and digital image objects that have a plastic as well as an immaterial/virtual dimension. The work integrates various forms of making art in order to visualize things that are not in themselves visual, or which connect visual and kinaesthetic/tactile/auditory experiences. The âMoveable Worldsâ in this essay are also reflections of the narrative spaces, subtexts and auditory relationships in the mutating matrix of an installation-space inviting the audience to move around and follow its sensorial experiences, drawn near to the bodies of the dancers.Brunel University, the British Council, and the
Japan Foundation
How do dancers want to use interactive technology? Appropriation and layers of meaning beyond traditional movement mapping
There has been an increased interest in HCI research regarding the possibilities of interactive technology applied to the field of dance performance, particularly contemporary dance. This has produced numerous strategies to capture data from the moving bodies of the dancers and to map that data into different types of display formats. In this paper, we look at the role of interactive technology in dance performance from a broader perspective, aiming at understanding the needs of dancers and their relation with the audience. To this end, we ran a focus group with ten dancers with expertise in technology. We analysed the focus group using thematic analysis. We discuss the implications for design of our results by framing the role of technology in dance performance, proposing design guidelines related to the communication to the audience, use of technology, and mapping. Moreover, we propose different levels of ambiguity and appropriation related to the creators of the performance and the audience
Beyond the Electronic Connection: The Technologically Manufactured Cyber-Human and Its Physical Human Counterpart in Performance: A Theory Related to Convergence Identities
This thesis is an investigation of the complex processes and relationships between the physical human performer and the technologically manufactured cyber-human counterpart. I acted as both researcher and the physical human performer, deeply engaged in the moment-to-moment creation of events unfolding within a shared virtual reality environment. As the primary instigator and activator of the cyber-human partner, I maintained a balance between the live and technological performance elements, prioritizing the production of content and meaning. By way of using practice as research, this thesis argues that in considering interactions between cyber-human and human performers, it is crucial to move beyond discussions of technology when considering interactions between cyber-humans and human performers to an analysis of emotional content, the powers of poetic imagery, the trust that is developed through sensory perception and the evocation of complex relationships. A theoretical model is constructed to describe the relationship between a cyber-human and a human performer in the five works created specifically for this thesis, which is not substantially different from that between human performers. Technological exploration allows for the observation and analysis of various relationships, furthering an expanded understanding of âmovement as contentâ beyond the electronic connection.
Each of the works created for this research used new and innovative technologies, including virtual reality, multiple interactive systems, six generations of wearable computers, motion capture technology, high-end digital lighting projectors, various projection screens, smart electronically charged fabrics, multiple sensory sensitive devices and intelligent sensory charged alternative performance spaces. They were most often collaboratively created in order to augment all aspects of the performance and create the sense of community found in digital live dance performances/events. These works are identified as one continuous line of energy and discovery, each representing a slight variation on the premise that a working, caring, visceral and poetic content occurs beyond the technological tools. Consequently, a shift in the physical humanâs psyche overwhelms the act of performance. Scholarship and reflection on the works have been integral to my creative process throughout.
The goals of this thesis, the works created and the resulting methodologies are to investigate performance to heighten the multiple ways we experience and interact with the world. This maximizes connection and results in a highly interactive, improvisational, dynamic, non-linear, immediate, accessible, agential, reciprocal, emotional, visceral and transformative experience without boundaries between the virtual and physical for physical humans, cyborgs and cyber-humans alike.College of Fine Arts at the University of Texas at Austin, Department of Theatre & Dance at the University of Texas at Austi
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 ÎŽ-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
Choreographic and Somatic Approaches for the Development of Expressive Robotic Systems
As robotic systems are moved out of factory work cells into human-facing
environments questions of choreography become central to their design,
placement, and application. With a human viewer or counterpart present, a
system will automatically be interpreted within context, style of movement, and
form factor by human beings as animate elements of their environment. The
interpretation by this human counterpart is critical to the success of the
system's integration: knobs on the system need to make sense to a human
counterpart; an artificial agent should have a way of notifying a human
counterpart of a change in system state, possibly through motion profiles; and
the motion of a human counterpart may have important contextual clues for task
completion. Thus, professional choreographers, dance practitioners, and
movement analysts are critical to research in robotics. They have design
methods for movement that align with human audience perception, can identify
simplified features of movement for human-robot interaction goals, and have
detailed knowledge of the capacity of human movement. This article provides
approaches employed by one research lab, specific impacts on technical and
artistic projects within, and principles that may guide future such work. The
background section reports on choreography, somatic perspectives,
improvisation, the Laban/Bartenieff Movement System, and robotics. From this
context methods including embodied exercises, writing prompts, and community
building activities have been developed to facilitate interdisciplinary
research. The results of this work is presented as an overview of a smattering
of projects in areas like high-level motion planning, software development for
rapid prototyping of movement, artistic output, and user studies that help
understand how people interpret movement. Finally, guiding principles for other
groups to adopt are posited.Comment: Under review at MDPI Arts Special Issue "The Machine as Artist (for
the 21st Century)"
http://www.mdpi.com/journal/arts/special_issues/Machine_Artis
Creative interactions between visual technology and sound art in a live performance context
For introducing this thesis, it is important to place it in a context of: models of
interactivity â systems, systemic work, mediation, participation, collaboration,
interfaces, dance, drawing, video, sound, interaction, multimedia, Digital versus
analogue, layers, physical time versus performance and film time, physical space
versus virtual space, material (paper ink etc.) versus light projection and sound,
wearable technology, and to briefly pinpoint artists who are working in relevant ways
for the discussion arising.
Within dance itself the use of new technology is also varied and has seen the creation
of different contexts for Dance
The main question is on how to achieve a creative solution for nonintrusive
technology for dance expression and a dialogue between different parts like drawing,
video, dance improvisation, interactive performative dialogues and sound. By nonintrusive
technology one means technology that does not physically interfere with
the ability a dancer has to move freely like cables, wires or heavy suits that restrict
movement instead of promoting it. Finding a research framework that goes towards
this idea is at the forefront of this research as well as testing a system that goes
towards this idea of allowing the dancers to perform freely without physical
constrictions or barriers. The main research question is therefore split into several
smaller items that will be looked at within the body of this research like where did
the interaction between Dance and Technology had its roots?
This research focuses on finding a way to marry video technology, drawing, sound
and live performance from the performerâs point of view, to enhance the performerÂŽs
ability to interact with the elements, for the performers freedom to move without
technological constrictions. This project is about creating a situation that allows for
observation of the performers, exploring and educating themselves through
experimenting and experiencing technology brought together thinking about
movement itself. It uses improvisation as a language tool to facilitate a dialogue
between technology and live performance. âLFPFâ is proposing to develop a new approach to relationship between performer,
stage and sound better still between performance and its special
environment/context. It offers innovative possibilities without being intimidating.
Once in place (once set up) it provides a new approach for artists to collaborate, it
provides a common ground for Dance Performance and Fine/Sound Artists to merge
their skills through experimentation with a live performance as the ultimate goal.
âLFPFâ â Live Film Performance Facilitator tests and provides a new approach to the
relationship between live performance, film and sound when combined in live
performance situations. It enables the use of improvisation as performance
language, giving birth to a constructive dialogue between video technology and live
performance.
âLFPFâ is a structured environment for exploration of movement through film
concepts with the input given by drawings. It enables a live video to develop in front
of the audience. It enables the performers to inhabit a truly responsive environment
that changes depending on their reaction. It is a twoway
dialogue between
performers and spatial context powered by a second performer inputting drawings.
It also frees the performers from directly having to manipulate any technology and
deal with just the artistic result of it. It is therefore a human mediated technological
environment.
âLFPFâ was tested in a series of performances.
There are various ways in which Video and Technology are nowadays integrated into
Live Performance. It is only natural that the marriage between these elements is
going to create an increasingly fluid language for the future. I feel it is essential to
think about creating a performance language which supports the ideas of artists,
therefore the technology at the service of the artists and never the other way around.
That is the idea when I refer to technology in the introduction as a tool for developing
creativity.Para realizar a apresentação desta tese serå necessårio, antes de mais, colocåla
no
seu devido contexto: modelos de interactividade â sistemas, trabalho sistĂ©mico,
mediação, participação, multimédia, representação digital versus analógica,
camadas, tempo fĂsico versus tempo de performance e vĂdeo, espaço fĂsico versus
espaço virtual, material (papel, tinta, etc.) versus projecção de luz e som, tecnologia
vestĂvel, e salientar resumidamente quais os artistas que se encontram a desenvolver
trabalho relevante na presente årea em discussão. Dentro da årea da dança em si, jå
se assiste também à utilização de variadas novas tecnologias e à criação de diferentes
contextos.
A principal questão que aqui se coloca, é como alcançar uma solução criativa relativa
às tecnologias não invasivas para a expressão na dança, e como estabelecer um
diĂĄlogo entre as diferentes partes, como o desenho, o vĂdeo, a improvisação na dança,
os diĂĄlogos interactivos e performativos e o som. Quando fazemos uso do termo
âtecnologia nĂŁo invasivaâ, estamos a referirnos
concretamente a qualquer
tecnologia que nĂŁo interfira com a integridade fĂsica de um dançarino e com a sua
capacidade de se mover livremente, tais como cabos, fios ou roupas pesadas, que
restrinjam os movimentos em vez de os fazerem fluir. Esta constitui a base do meu
projecto: encontrar um quadro de investigação que vå ao encontro desta ideia, assim
como encontrar um sistema de ensaio que permita ao dançarino actuar livremente,
sem condicionantes ou barreiras fĂsicas.
O tema principal de investigação encontrase,
como tal, dividido em vĂĄrios pontos,
que irĂŁo ser analisados individualmente ao longo da tese, como por exemplo: quando
é que surgiu a interacção entre a dança e a tecnologia?
O enfoque principal desta investigação Ă© o de tentar casar a tecnologia de vĂdeo,
desenho, som e performance ao vivo do ponto de vista do performer, de forma a
melhorar a sua capacidade de interacção com os outros elementos, com total
liberdade de movimentos e sem constriçÔes tecnológicas. Este projecto pretende
criar uma situação que permita a observação dos performers, explorando e
educandose
a si mesmos, através da experimentação e do uso de tecnologia aliadas
ao movimento. A improvisação é utilizada como uma ferramenta de diålogo, de
forma a facilitar a comunicação entre a tecnologia e a performance ao vivo. O âLFPFâ propĂ”e desenvolver uma nova abordagem para a relação entre o performer,
palco, som e ainda, entre a performance e o seu ambiente/contexto particular.
Oferece possibilidades inovadoras sem se tornar intimidante. Uma vez colocado
(devidamente configurado), proporciona novas possibilidades de colaboração entre
os artistas e uma base comum para que o espectåculo de dança e os artistas
plåsticos/sonoros possam fundir artes, através da experimentação e do objectivo
Ășltimo: a performance ao vivo.
O âLFPFâ (Live Film Performance Facilitator) testa e oferece uma nova abordagem Ă
relação entre a performance ao vivo, filme e som, quando combinados em
performances ao vivo. Permite a improvisação como linguagem de performance,
dando origem a um diĂĄlogo constructivo entre a tecnologia de vĂdeo e a performance
ao vivo.
O âLFPFâ Ă© um ambiente estruturado, destinado Ă exploração do movimento atravĂ©s
da projecção de vĂdeo, cujo input Ă© fornecido por desenhos. Desta forma Ă© possĂvel
desenvolver um vĂdeo em directo para uma audiĂȘncia, permitindo que os performers
se movam num ambiente verdadeiramente interactivo, que se altera de acordo com
a sua reacção. Ă, portanto, um diĂĄlogo nos dois sentidos, entre performers e contexto
espacial, complementado por um segundo performer que nos vai apresentando
desenhos. Esta dinùmica liberta também os performers de manusearem
directamente qualquer tipo de tecnologia, lidando apenas com o respectivo resultado
artĂstico.
Tratase
assim de um ambiente tecnológico mediado pela acção humana.
O âLFPFâ jĂĄ foi testado em vĂĄrios espectĂĄculos.
Hoje em dia, as componentes de vĂdeo e tecnolĂłgica encontramse
integradas de
vĂĄrias formas nas performances ao vivo. Ă, por isso, perfeitamente natural que o
casamento entre estes elementos vĂĄ criar uma linguagem cada vez mais fluĂda no
futuro. Creio que Ă© fundamental pensar em criar uma linguagem de performance que
harmonize as ideias dos artistas, no sentido de colocar a tecnologia ao seu dispor e
nĂŁo o inverso. Ă este o princĂpio base que defendo quando, ao longo da introdução,
faço referĂȘncia Ă tecnologia como uma ferramenta para desenvolver a criatividade
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Never Odd Or Even: Using Temporal Structures In Composing Music For Dance
This study engages the collaboration of dance and music, focusing primarily on experiences in the production of a large scale collaborative concert entitled Never Odd or Even. Famous historical collaborations offer archetypal collaborative models, the more unconventional of which are applied to the pieces of the concert. Issues and observations regarding cross-influence, project evolution, and application of the collaborative models are engaged to determine effective means of collaboration given different circumstances. The key focus of the study, the temporal relationship between music and dance, is explored in great detail to determine three models for relating time between music and dance. These temporal relationship models are applied to the pieces and evaluated on effectiveness and potential strengths when applied to dance
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