Interactive dance performance : movement data and the 'materiality' of the system

Vincs, Kim 2005, Interactive dance performance : movement data and the 'materiality' of the system, in WISP 2005 : Workshop on interactive systems in performance (WISP), HCSNet SummerFest, ARC Research Network in Human Communication Science, North Ryde, N.S.W..

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Title Interactive dance performance : movement data and the 'materiality' of the system
Author(s) Vincs, Kim
Conference name Workshop on Interactive Systems in Performance (2005 : Macquarie University, Sydney)
Conference location Macquarie University, Sydney
Conference dates 15-17 December 2005
Title of proceedings WISP 2005 : Workshop on interactive systems in performance (WISP), HCSNet SummerFest
Publication date 2005
Publisher ARC Research Network in Human Communication Science
Place of publication North Ryde, N.S.W.
Summary This paper describes a recent performance work I made using dance and live feed video
processing, 1 + x: mid-range projections, commissioned by the Seoul Contemporary Dance
Company and first performed in Melbourne in July 2005. This work forms a basis for discussing
my interest in creating performance images that reveal 'interiority'. I am interested in how you
embed the 'feel' of the human systematically in an interactive structure, and how that process
can produce a poetic that arises from the detailed and nuanced play between real and virtual
images on the same screen. How do you abstract and play with a performer's movement, play
with it in real and virtual time, so that it gives the work an emotional charge? Its like playing with
the process of 'becoming virtual' - and I'm being deliberately Deleuzian about that - how do you
'become virtual' in the sense of melding performer and image so that the meaning exists
between - in the connection between the two?

This quest to get the energy, the 'lived', 'felt' quality of the movement into the imagery gives rise
to research questions about how 'presence' is perceived in movement. What elements of the
raw movement data do you need to keep and what can you throwaway, and still keep the
personality, the emotion, the 'life' of that movement? How do you make a virtual, interactive
performance system that has its own 'materiality'?
ISBN 1741081211
Language eng
Field of Research 190299 Film, Television and Digital Media not elsewhere classified
HERDC Research category E3 Extract of paper
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Document type: Conference Paper
Collections: School of Communication and Creative Arts
Higher Education Research Group
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