HOW TO CREATE A CHOREOGRAPHY
IN FUTURE, WE DESIGN DANCE THIS WAY
WHERE HOLOGRAMS ARE HOPPING AGAIN
HOW HOLOGRAM WORK WITH DANCE
MAKING FEELINGS VISIBLE— DIGITAL EMOTION IN DANCE
A HIGH-TECH PERFPRMANCE MELDS HUMAN BODIES WITH CODE
NUVE: A COMBINATION OF MEDIA ART AND CODE
57 COLOPHON
Computer Choreog raphy
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MOTION AND MOVEMENT Images created by Tim Motley (Motley Cat Studio) as part of a larger series of experimental images exploring motion and movement in dance photography.
COMPU T ER C H O R EO GR A PH Y
How to Create a Choreography Designing dance is always a hard process for dancers. Dancers just use their brain or videos to memorize the dance moves. For the choreographers, they need to think of some dance moves they can do and make the moves fit the lyrics and beat.
Select Music Look for music with lots of changes. Slow par ts, fast par ts, drummy bits and swoopy bits are easier to choreograph than a pop song with one constant driving beat. Research your music The next step is take some time finding out a little more about this piece of music— while listen to it over and over! Internet is the best friend for this par t, although some CDs have wonder ful liner notes as well. Divide your piece into manageable sections 20-30 second “bits” are easiest to manage, but look for logical places to divide. Listen for structure/repetition.In the ver y beginning, be sure to et a little music go by. 20 seconds or so is just about per fect. Enter with a nice traveling step. If it ’s at all possible with your music circle the stage once or twice to “greet ” audience at the beginning of piece. Keep things slow and simple in the beginning. It will make people seem more calm and in possession of the stage, and gives the audience time to take in your costume and appearance.
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Write out the steps for each section. Suppose people need a smooth traveling step going toward center backstage for the section beginning at 1:20, for example— just pick one and write it down. It doesn’t have to be The Per fect Step. If you have itunes or a similar music program on your computer, you can set it up to play just one section. In itunes, right click on your song title, choose ‘get info’ then click on the ‘options’ tab. Set your star t and end times. Then you can choose ‘repeat one’ from your ‘controls’ menu to make that section play over and over. Keep dancing until something you like comes out of your body. Write it down. Some people like to count out the measures.
Dont ’ worr y too much about how to write
I do this when I’m choreographing for my
each step. Use whatever words are mea-
group, but not so much for myself. To do it,
ningful to you. If an example would help,
I just play the section and see how many beats
you can check out the choreo notes I give
I count out (usually in sets of 8). So I might
my students here.
write down that there are 10 sets of 8 in this
Flesh it out
section, and I want to travel for 4X8, stand
You now have a choreography ‘rough draft.’
still for 2X8, then travel for 4X8. I don’t need
The details come with practice/repetition.
nearly that much structure to communicate
You’ll discover new accents and richness in
with myself.
your music as you practice, feel free to add
Work on one small section at a time. It ’s much
flourishes.Videotape yourself if you can!
less daunting to come up with steps for 20
Do your dance 3X in a row with the camera
seconds of music than for 3 minutes!
running, then watch them all in a row and makenotes about what you see. Listen for structure/repetition. In the ver y beginning, be sure to et a little music go by. 20 seconds or so is just about per fect. Enter with a nice traveling step. If it ’s at all possible with your music circle the stage once or twice to “greet ” audience at the beginning of piece. Keep things slow and simple in the beginning. It will make people seem more calm and in possession of the stage, and gives the audience time to take in your costume and appearance.
COMPUTER CHOREOGRAPHY
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PA S T
Choreography
F U T U RE
Choreography
GR A PHI C E MOT I O N A L DA N C E
In Future, We Design Dance in This Way All of the process of creating a choreography is by brain and notes. In our real world, architectures could be designed by computer, interior and books could be designed by computer, music could be designed by computer, how about choreography? Merce Cunningham has said: “...Life Forms is not revolutionizing dance but expanding it, because you see movement in a way that was always there—but wasn’t visible to the naked eye.” Now it could be visible. From the legacy of Life Forms animation software, Credo Interactive presents the first
visualize and chronicle dance steps
choreography software designed with dance teachers and choreographers. DanceForms 2 inspires you to
or entire routines in an easy-to-use 3D environment. For choreography, interdisciplinar y ar ts and dance technology applications.
Sketch out your choreographic ideas using an assor tment of poseable dance figures and the new software could save time by mixing, matching, and blending sequences from DanceForms’ existing libraries and palettes of dance movement. It could edit animate single figures, or large groups. Use the many innovative features to bring your dance ideas to three dimensional life.
COMPUTER CHOREOGRAPHY
A choreography could be easier to create in this new technology way. The choreographer Merce Cunningham was the original inspiration behind the produc tion of Credo’s DanceForms, a sof t ware program for choreographers. Af ter years of research, Janet Randell, international choreographer and dance animator, has writ ten, animated and produced The Tutorial Guide To DanceForms. The Guide has been created to enable users to unlock the digital way to work with dance and choreography. One of the aims of The Guide is to make this new and complex subject of 3D animation more accessible to the dance world and to encourage a whole new way of approaching dance and choreography. Another aim is to explore the innovative possibilities involved in creating live and animated versions of a dance sequence set to music. The Guide has been created for choreographers, dance teachers, students and dancers of all ages and physical abilities.
DanceForms interface Images from Credo Interactive. Example of creating a choreography by using DanceForms.
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“ DanceForms is a wonderful new choreographic tool for any dancer, choreographer or anyone interested in dance. DanceForms appeals to all ages and also to those who are physically challenged through disability.�
COMPUTER CHOREOGRAPHY
V ia inter ac t i ve t u tor ial mo dule s , c hallenge s , demons t r a t ions , voice - over s and mov ie s , R andell ’s approac h in eac h t u tor ial is to t ake t he indi v idual on a f as c inat ing jour ne y to dis cover c hore o gr aphy and animat ion , t alk ing to t he us er as i f he or she were wor k ing and pro gre s sing on a one to one basis w i t h her. H er obje c t i ve is for us er s to lear n more ab ou t t he ar t of dance and c hore o gr aphy by mas ter ing Dance F or ms . In 1999, Randell was direc tly inspired and challenged by dancers from The Merce Cunningham Dance Company to find an alternative way of choreographing and working with dance by using DanceForms. For many years, Merce was the creative mentor for the DanceForms development team led by Tom Calver t, President of Credo Interac tive Inc., also Professor Emeritus and Graduate Program Chair in the School of Interac tive Ar t s and Technology at Simon Fraiser Universit y in Vancouver, Canada. Randell discovered that DanceForms is an innovative and ar tistic sof t ware program for choreographers. She decided to find a prac tical method of presenting DanceForms from the point of view of a dancer and choreographer, to make the program more easily accessible to the dance and education world. With
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PREVIEW THE
DA N C E
GR A PHI C E MOT I O N A L DA N C E
Based in Vancouver, Credo is a leader in creating innovative content, products and solutions for 3D character animation applications. Her passion for making the ar t of dance and choreography available to ever yone, she writes:“ Dance F or ms is a wonder- f ul ne w c hore o gr aphic to ol for any dancer, c hore o gr apher or anyone intere s te d in dance . Dance F or ms app eals to all age s and als o to t ho s e w ho are phy sic all y c hallenge d t hrough dis abili t y.� Leveraging our roots in award-winning products, Credo
Y
also provides customized strategic solutions to create
Z
DanceForms interface
X
Images from Credo Interactive. Example of creating a choreography by using DanceForms.
COMPUTER CHOREOGRAPHY
comp elling content and te c hnolo g y for applic at ions . O ur e x p er t is e r ange s from consul t ing to implem ent at ion of e ver y t hing hav ing to do w i t h 3D c har ac ter animat ion . T his inc lude s 3D v ir t ual env ironm ent s , c har ac ter s and av a t ar s , gaming de velopm ent , w irele s s communic at ion or any t hing in b e t we en . C re do is ac t i ve in proje c t consul t ing, pro duc t ion s er v ice s , cont r ac t s of t w are de velopm ent and te c hnolo g y par t ner ship s .
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Dancers
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Hologram Dancers
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GR A PHI C E MOT I O N A L DA N C E
April 15: Snoop Dogg and a hologram of Tupac Shakur perform onstage during the 2012 Coachella Valley Music & Arts Festival in Indio, California.
HOLOGRAM DANCERS
Where holograms are hopping again
H
olograms haven’t been cool for a long time. I’m old enough to remember when they were, at least to a
1980s kid raised on “Star Wars” and “Jem and the Holo -
grams.” Somehow they ’ve been lef t out of the great 3 -D revival, confined to credit cards, scanners and other useful but dull items. Coachella festival had ever yone talking about holograms for a millisecond. But it turned out that Tupac wasn’t actually a hologram; he was a digital animation projected on glass, using a 19th-centur y magician’s trick, no less. “Pictures From the Moon: Ar tists’ Holograms 1969-2008,” at the New Museum beginning on July 5, should restore some of the hologram’s original techno -futuristic cachet. Accompanying a larger sur vey of ar t and technology called “Ghost s in the Machine,” it will explore the various ways ar tist s have used holograms since they were introduced in the 1960s. Bruce Nauman, one of the earliest adopters, reacted to the hologram’s eerie compression of three dimensions into two with awkward self-por traits in which he pretends to press up against the picture plane. More recently, James Turrell has been using holograms to create abstract compositions with the shimmering, fugitive qualities of his light-and-space installations. The show will include works by both of these ar tists, and some others whose interest in the medium may surprise you (Ed Ruscha, Louise Bourgeois). So while ever yone else is donning 3-D glasses for the big summer blockbusters, I’ll be going back to the future at the New Museum.
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GR A PHI C E MOT I O N A L DA N C E
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Cameras
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Processing Unit
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3D Holographic Printing System
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Laser
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Data Link
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Photosensitive Polymer Screen
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Light Source
HOLOGRAM DANCERS
How does hologram works?
Unlike the view you see through a conventional scope, what you are seeing through a hologra phic sight is not real. It ’s a reconstruc tion of the view. What ’s more, the reticle that you see is not ac tually in the sight, but is a projec tion of a reticle image. Before you star t scratching your head, think about watching a movie. The movie camera has recorded the light reflec ted from the objec t s in a scene onto film. When the film is projec ted onto a movie screen, you see the scene that was originally recorded. The process of holography involves reconstructing the light waves that are reflected from an object. What we commonly call “light ” is a spectrum of waves. The holographic sight encodes the wave patterns reflected from the view of the target area, and projects these wave patterns onto a clear window within the sight. The projected wave patterns are then illuminated by a laser, which reconstructs the wave patterns. The result is a three-dimensional image of the view of the target area. Unlike a film, though, the holo sight is recording and then projecting the light waves in real time onto the clear window within the sight. As you move your sight up or down, or left or right, the sight is reconstructing the view instantly.
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GR A PHI C E MOT I O N A L DA N C E
“Untitled #2” (1995), a reflection hologram on glass plate by Eric Orr. Dean Randazzo, Private Collection
HOLOGRAM DANCERS
The reticle is actually a laser beam that ’s being projected onto that same clear window within the sight. A reticle mask defines the shape of the reticle. The mask may be a dot, a triangle, a circle, or whatever other shape the manufacturer offers. When the holographic sight is attached to the gun, the laser beam is projected along the same axis as the gun. Thus, when you move the muzzle of the gun to the left, the projected reticle image on the clear window moves to the left on the same axis. Up, down, left, right: the reticle image is always following the direction of the muzzle. So, when you look through a holographic sight, you’re actually seeing two things: the projected view of the target area, which changes as you move the sight; and the projected reticle, which moves along with the axis of the gun. The result of this combination is that, as long as you can see the view of the target area through the sight, and as long as you can see the reticle, you can get your gun on target. The laser reticle is essentially per forming the same function as a laser sight, except that the laser is projected onto the clear window, and not onto the target itself. This offers several advantages, one of which is that the laser beam is not visible to anyone but the shooter. Another advantage is that most holographic sights allow the user to var y the brightness level of the laser reticle, while the dots from laser sights may be hard to see on the target in bright sunlight. With advances in technology, holographic sites have become more compact and more affordable, thus leading to their increased popularity with the shooting community.
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GR A PHI C E MOT I O N A L DA N C E
HOLOGRAM DANCERS
Since hologram technique could appear dancing movement by a 3D way, this technique could be applied to a choreography.
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How Hologram Works with Dance
HOLOGRAM DANCERS
Since hologram technique could appear dancing
Montgomer y says the exact technique behind the technology is still a little bit
movement by a 3D way, this technique could
in the dark, so to speak. “You don’t know whether or not they hired an actor
be applied to a choreography. By using holo-
to por tray him and then sor t of put digital clothing over this actor in post-pro-
graphy technique, the holography dancers
duction, or they built it in a computer,” he says.
could dance without the limitation of human body. Also, when someone is absent for a choreography, the hologram technique will be helped to complete the whole dance.
When one of the dancer is absent for a routine or get injured in previous rehearsal, a substitutable dancer is not needed, just use holography dancer could solve this problem.
So, how it works? James Montgomer y explained
A hologram of Michael Jackson had danced across the stage at last year’s Bill-
it to us, “ There’s an overhead projector that
board music awards. This isn’t the first time Jackson has been reincarnated as a
sor t of reflects down onto basically a tilted
digital projection. A hologram of the singer is used as par t of Cirque du Soleil’s
piece of glass that ’s sor t of on the stage floor,”
show Michael Jackson: One. This production has been accused of employing
Montgomer y says. “That then reflects the, well,
the same technology as the Tupac illusion, without paying the companies that
reflection onto a mylar sor t of screen, and it
patented it.
projects in this sor t of 3-D kind of thing where it allows the other per formers to sor t of walk
Despite the Rimmer-evoking talk, neither Coachella’s Tupac nor the potential
in front of the holography objects and basically
Jackson per formance are actually holograms. Musion uses an old illusion tech-
interact [with] him.”
nique called Pepper’s Ghost with an original display device. Although Slave to the Rhy thm appears on Jackson’s new posthumous album, Xscape, it would be a strange choice for this television appearance. Leaked as par t of a Februar y commercial for Sony Mobile, the track was passed over as a single. Instead, Love Never Felt So Good, co-written with Paul Anka, was released on 2 May. It ’s currently at No 24 on the UK char t, with an official remix due this weekend.
A holographic image of Michael Jackson performs onstage during the 2014 Billboard Music Awards at the MGM Grand Garden Arena on May 18, 2014 in Las Vegas, Nevada. Kevin Winter/Billboard Awards 2014/Getty Images
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03
l n
Emotional Expression
E E
Performing of ‘Deep Trip’ by Art Color Ballet during International Dance Day in Teatr Groteska, Kraków, Poland
EMOTIONAL EXPRESSION
Making Feelings Visible— Digital Emotion in Dance
Dancing and Emotion Dance, the movement of the body in a rhy th-
One of the most basic motives of dance is the expression and
mic way, usually to music and within a given
communication of emotion. People—and even cer tain higher
space, for the purpose of expressing an idea
animals—often dance as a way of releasing power ful feelings,
or emotion, releasing energy, or simply taking
such as sudden accesses of high spirits, joy, impatience, or
delight in the movement itself.
anger. These motive forces can be seen not only in the spontaneous skipping, stamping, and jumping movements often
The English ballet master John Weaver, writing in 1721, that “Dancing is an elegant, and regular movement, harmoniously composed of beautiful Attitudes, and contrasted graceful Posture of the Body, and par ts thereof.”
per formed in moments of intense emotion, but also in the more formalized movements of “set ” dances, such as tribal war dances or festive folk dances. Here the dance helps to generate emotions as well as release them. Showing emotion is a way to get audiences involved to a show.
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EMOTIONAL EXPRESSION
In future, audiences not just feel dancer’s emotion by the atmosphere that the stage created, but also feel their emotion in a more intuitionistic way— to see the mood from dancer’s clothes.
Mood Clothes A new clothes from San Francisco-based design lab Sensoree uses wearable tech to advance extimacy, or externalized intimacy. The futuristic garment is dubbed the GER Mood Sweater. The GER Mood Sweater uses Galvanic Extimacy Responder sensors that read the wearer’s excitement levels, similar to that of a classic lie detector test. The garment itself looks like an avant-garde, loose-fitting white fabric tur tleneck. The signals travel from the sensors in the wearer’s hands to the bowl-shaped neck where LED light colors illuminate according to specific emotions. These include teal for tranquil/zen, blue for “Instead of intelligent technology, we create ‘sensitive’ or Sensoree technology that is intuitive, responsive and illuminates the senses,” Sensoree founder and lead designer Kristin Neidlinger told Mashable. “I believe technology can make us more aware. With responsive clothing, you can animate your body and heighten communication with yourself.”
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GR A PHI C E MOT I O N A L DA N C E
Mood Costumes In future, the new technology clothes could be applied in the costumes of dancers. There’s now a lot of neon costumes for dancers to achieve a better effect of stage. A new combination of neon clothes and mood clothes will be a future dancing costume. The lights “appeared” on people shows their mood. Therefore, lighting is intended to create moods and emotions in a scene that will only
EMOTIONAL EXPRESSION
Heart Sync is a heart synchronizing game to listen to each other and find when our hearts beat as one. Here we see the lef t cor set ’s hear t illuminated and being receivedilluminated in the right ’s hat .
scene that will only reinforce that par ticular moment, which may include the actor, actress, and special objects as its assisting reinforcements. The mood helps to direct the audiences’ emotions so that they may feel what the director’s motivation of the per former to por tray and or convey, through words, actions, etc.
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SENSOREE GER: Mood Sweater
kristin neidlinger design concept / Defne Beyce red/nervous photos
EMOTIONAL EXPRESSION
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GR A PHI C E MOT I O N A L DA N C E
STEP 1
STEP 2
STEP 3
How does holograms work?
STEP 4
EMOTIONAL EXPRESSION
1 The GRE hand sensors reads excitement levels. Like a classic lie detector test. GRE: The Galvanic Extimacy Responder.
2 The GRE Convey signals to the bowl shaped collar.
3 Creating a visual light display, an external blush, that is also reflected back onto the wearer.
4 The effective color display conveys extimacy— externalize intimacy.
C ALM TRANQUIL, ZEN
CALM, RELA XED
RUFFLED, AROUSED, EXCITED
NERVOUS, IN LOVE
NIRVANA, ECSTATIC , BISSFUL
EXCITED
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ce
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Media Art and Dance
GR A PHI C E MOT I O N A L DA N C E
A High-Tech Dance Performance Melds Human Bodies With Code
French per formance ar tists and choreographers Adrien Mondot and Claire Bardainne, known as Adrien M/Claire B, combine digital projection with human bodies in motion to beautifully disorienting results. Their most recent piece, Pixel enmeshes dancers, ice skaters and per formance ar tists in a world of holographic white lines. Appearing to affect the digital graphics that surround them (and vice versa), the dancers appear to affect the graphics that surround them and vice versa, the dancers evoke a video game come to life. In some ways, this is what dance has always done: using the human body to give life to empty space. Mondot and Bardainne are merely taking advantage of the most recent technology to enhance their vision, creating a spectacular fusion of physical and vir tual spaces.
MEDIA ART and Dance
“Pixel,� by French choreographer Mourad Merzouki and digital designers Adrien Mondot and Claire Bardainne.
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“Pixel,� by French choreographer Mourad Merzouki and digital designers Adrien Mondot and Claire Bardainne.
MEDIA ART and Dance
The approach has started seeping into the mainstream, too— Beyoncé’s performance at the 2011 Billboard Music Awards, used similar techniques to striking effect.
The group’s choreography extends beyond its dancers—by projecting light onto the stage and backdrop behind it, the company creates dynamic vir tual worlds that respond to and interact with the people among them. In this latest spectacle, dancers spin inside vir tual rings; they hold umbrellas that shield them from pixelated rainfall. At its best, the distinction between the physical and digital evaporates entirely. Adrien Mondot and Claire Bardainne have been exploring the intersection of projection mapping and dance since 2004. Their effor ts have become increasingly complex, thanks in par t to a custom tool called emotion that lets them easily craft vir tual scenes that behave with realistic physics. The approach has star ted seeping into the mainstream, too—Beyoncé’s performance at the 2011 Billboard Music Awards, for one example, used similar techniques to striking effect. Just think how good your holiday par ty running man would’ve looked if your company had invested in an elaborate projection rig. But even for the professionals, the the approach opens new frontiers. Digital environments can come alive in ways physical sets cannot. Still, despite whatever the company dreams up, their work is constrained by the technology itself. When someone recently asked Bardainne what she wanted most for a per formance, if any thing were possible, she answered without hesitating: to be able to project in daylight. The high-tech dance trend will be applied increasingly more in dance per formance in future. Dance is an ar t work, the stage is an ar t work. When two forms of ar ts work together, the effect will suprise people.
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GR A PHI C E MOT I O N A L DA N C E
“ Pixel” came about when a meeting with the digital designers lef t him with “ the sensation that I no longer knew how to distinguish realit y from the vir tual world, and ver y quickly I had the desire to exploit these new technologies with and for dance .” Photo by Raoul Lemercier
MEDIA ART and Dance
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GR A PHI C E MOT I O N A L DA N C E
MEDIA ART and Dance
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Nuve: A Combination of Media Art and Dance
MEDIA ART and Dance
NUVE is an ar tistic project that aims to explore the ar tistic possibilities offered by the digital dance per formances in the interaction between the individual and his vir tual double. In NUVE we conceptualized, developed and implemented a digital ar tifact, resulting in a fluid digital per formance based on the theme of the analog body versus the digital vir tual body. The digital ar tifact is intended to create a vir tual character, a vir tual persona, or a vir tual per former, which will interact with the real per former, aiming to explore new fields in the area of digital ar t. The motivation for this project is to create a scenic spectacle driven by an interactive and generative digital ar tifact, designed to reveal the emergence of vir tual characters, auto discovered and experienced in moments of ar tistic creation, exploring ar tificial extensions of what makes us human. The motivation for this project is to create a scenic spectacle driven by an interactive and generative digital ar tifact, designed to reveal the emergence of vir tual characters, auto discovered and experienced in moments of ar tistic creation, exploring ar tificial extensions of what makes us human.
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GR A PHI C E MOT I O N A L DA N C E
Introduction Contemporar y ar t sets the scener y for a body exploration based on movements, actions
Implementation
and behaviors. Among the different crossings,
NUVE is prototyped in the processing plat-
the digital ar t is still under expansion on the
form, an open source JAVA programming
dance domain. Despite the ar t of dance has
language, and developed with the open-
appropriated a variety of new technologies,
Frameworks platform, an open source C++
it is still a domain to explore with the po-
programming language toolkit. Communica-
tential at an aesthetic and at an ar tistic level.
tion between processing and openframe-
NUVE emerges from a line of work being
works is made via OSC (open sound control).
developed by the first author [1] that explores
It relies on a hand modified infrared firewire
full body interaction and expressive ges-tures
camera to capture the image of the stage 30
to compose immersive audio and visual flows
frames per second. Appropriately infra-
suppor ting ar tistic expressiveness. In the
red lights are employed to obtain the best
author’s previous work physical expressive
possible image of the dancer. A combination
gestures are rendered in digital compositions
of standard image processing techniques is
formed by musical and movements, compos-
then used to capture the silhouette and the
ing an enriched audio-visual experience.
movement of the per former. At some points during the choreography the per former interacts with a par ticle based system that flows in the scene. This seamless interaction between the full body of the dancer and the vir tual par ticles is possible by computing the different speed of the different areas of the body and feeding it those to the par ticles physics system. The sound composition was created with the software SuperCollider, a system to program generative sound. In opposition to previous work in this project the audio is not generated in real-time, instead the sound aesthetics was carefully crafted specifically for NUVE.ng an enriched audio-visual experience.
MEDIA ART and Dance
NUVE: Pictures of exbition
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End In Future, the choreography will applied in more digital things. These digital techniques are not just about high technology, but also about having more connections with new media art. Humans are also the center of the choreography.
COLOPHON
CHAPTER 1 HOW TO CREATE A CHOREOGRAPHY ARTICLES IMAGE
http://www.bellydancestuff.com/howtochoreograph.html PAGE. 03-06 Images created by Tim Motley (Motley Cat Studio) as par t of a larger series of experimental images exploring motion and movement in dance photography. PAGE. 07-12 ht tp://w w w.credo-interactive.com/
CHAPTER 2 PAGE. 13-14 https://www.flickr.com/photos/richardmber-
WHERE HOLOGRAMS ARE HOPPING AGAIN
ry/6944857777/ (Created by Zonglan Luo) ARTICLES
http://www.nytimes.com/2012/06/22/arts/design/picturesfrom-the-moon-holograms-at-the-new-museum.html?_r=0
IMAGE
PAGE. 19-20 http://www.vh1.com/music/tuner/2012-04-16/2pac-hologram-coachella/ PAGE. 23 http://www.nytimes.com/2012/06/22/arts/design/picturesfrom-the-moon-holograms-at-the-new-museum.html
HOW HOLOGRAMS WORK WITH DANCE ARTICLES
http://www.theguardian.com/music/2014/may/15/michael-jackson-hologram-billboard-music-awards-2014
IMAGE
PAGE. 27 ht tp://m.usmagazine.com/enter tainment/news/ michael-jackson-hologram-per formance-rocks-billboard-music-awards-2014185
CHAPTER 4 A High-Tech Dance Performance Melds Human Bodies With Code ARTICLES
http://www.wired.com/2014/12/high-tech-dance-performance-melds-human-bodies-code/
IMAGE
PAGE. 43-50 The “Pixel” Performance
NUVE: A Combination of Media Art and Dance ARTICLES IMAGE
CHAPTER 3
http://jmartinho.net/nuve/ PAGE.51-54 From 2010 “Nuve” Performance
MAKING FEELINGS VISIBLE ARTICLES
ht tp://w w w.britannica.com/EBchecked/topic/150714/dance ht tp://itsallabout thelight.weebly.com/
IMAGE
PAGE. 31-34 https://www.flickr.com/photos/ilvic/5675856023/ ht tps://w w w.flickr.com/photos/ilvic/5676419198/ in/photostream/ PAGE. 35-38 Photo by Sensoree Company ( www. sensoree.com)
Designer: Zonglan Luo Softwares: Photoshop, Illustrator, Indesign Typefaces: Caecilia, Sinova, Bauer Bodoni Paper: Epson Premium Presentation Paper Matte Printer: Epson Stylus R3000
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