Interfacing Dance

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Interfacing Dance

• Choreographing (by) gestural controls

Sound Moves Roehampton, Centre for Dance
Research, 6 November 2005
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sonification of movement

• Theremin, Ondes-Marthenot (1928)
• By operating the available control devices, the
  agent in effect plays the system as if it were
  a new kind of music instrument. (Agostino di
  Scipio 2003269)
• MAX/FTS

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David RokebyThe Very Nervous System (1986-1990)
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David RokebyThe Very Nervous System (1986-1990)

• David Rokeby The self expands (and loses
  itself) to fill the installation environment, and
  by implication the world. (http//homepage.mac.co
  m/davidrokeby/vns.html)
• Alan Kay (1989) What McLuhan was saying is that
  the personal computer is a truly new medium then
  the very use of it would actually change the
  thought patterns of an entire civilization
  (Packer Jordan 125).

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David RokebyThe Very Nervous System (1986-1990)

• Agostino di Scipio (2003) The only source of
  dynamical behaviour lies in the performers ears
  and mind. (271)
• Arjen Mulder (2004) Interactivity artists make
  actualization hypermedial they allow virtual
  behavior to design itself, develop itself to such
  a degree that its users experience all its
  incomprehensibility and thereby learn to
  consciously deploy it. (192)

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choreographing interactive space
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Sarah Rubidge Alistair MacDonaldSensuous
Geographies (2003)
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Sarah Rubidge Alistair MacDonaldSensuous
Geographies (2003)

• Video tracking (Max4/MSP, VNS, BigEye)
• Sarah Rubidge (2001) The movement of a body
  through a space changes the balance of that space
  to the eye, and also the experience of the body
  as it inhabits the space. (2)

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sound moves movement sounds
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Todor Todoroff Michèle NoiretMes Jours et mes
Nuits (2002)
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Todor Todoroff Michèle NoiretMes Jours et mes
Nuits (2002)

• Contact microphones (MAX/MSP)
• Pressure sensors
• Todor Todoroff (2003) But before getting to
  that stage, an even larger amount of time has to
  be invested by the composer, the designer of the
  interactive system, the choreographer and the
  dancers in order to define, realise, program and
  experiment the interactions. (37)

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Todor Todoroff Michèle NoiretMes Jours et mes
Nuits (2002)

• Umberto Eco (1989)
• The poetics of the work in movement (and
  partly that of the open work) sets in motion a
  new cycle of relations between the artist and his
  audience, a new mechanics of aesthetic
  perception, a different status for the artistic
  product in contemporary society. . . . It poses
  new practical problems by organizing new
  communicative situations. In short, it installs
  a new relationship between the contemplation and
  the utilization of a work of art. (174)

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experiencing choreography sonically / visually
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• Todor Todoroff (2003) Their movements should
  keep a choreographic value and a meaning beyond
  the control issue. (37)
• Arjen Mulder (2004) Interactive art is art
  whose autonomy must be disturbed by the visitor
  for it to be art at all. An interactive work of
  art is a system that seeks to become a network
  (or vice versa). (Brouwer Mulder 5)

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• Umberto Eco (1989) The work in movement is
  the possibility of numerous different personal
  interventions but it is not an amorphous
  invitation to indiscriminate participation.
  (172)
• Open works, insofar as they are in
  movement, are characterized by the invitation to
  make the work together with the author and . . .
  the addressee must uncover and select in his act
  of perceiving the totality of incoming stimuli.
  (174)

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http//home.medewerker.uva.nl/p.m.g.verstraete