Download - Senior Thesis in Computing and the Arts
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8/9/2019 Senior Thesis in Computing and the Arts
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Ugoku: Using Physical Computing and Interactivity to
Explore Gesture as Language and Dance
Presented to the Department of heater !tudies to"ard
fulfillment of the re#uirements for a $achelor of %rts degree at
&ale College in Computing and the %rts on %pril '() '*+,
!ho -atsu.aki
%dvised /y Elise -orrison
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TABLE OF CONTENTS
I0 he ProgramII0 he ConceptIII0 he Performance
I10 he 2utureI. THE PROGRAM
3hat if a dancer4s /ody "ere a/le to alter music instead of only respond to it5 I
first entertained this #uestion after "atching an art installation /y David 6oke/y entitled
Dark Matter 7'*+*80 6oke/y) "ho speciali.es in interactive electronic art) has pioneered
the movement to"ards incorporating physical computing into installation art0 9is 1ery
;ervous !ystem)< a net"ork of cameras and computers that captures /ody movement and
translates it into sound related to the #ualities of the movement) "as the first motion=
sensing system of its kind "hen it "as created in +>?@0 + !ince then) physical computing
has evolved /y leaps and /ounds) and 6oke/y has continued to integrate ne" innovations
of the field into his art0 In Dark Matter ) 6oke/y uses technology similar to his 1ery
;ervous !ystem< to create empty spaces "ithin a room that trigger various sounds
"henever someone reaches his or her hands into one of them 0' 9e refers to these spaces
as sound sculptures< /ecause one is capa/le of sensing the precise /oundaries of the
sculptures /y gently feeling around themA unlike tangi/le sculptures) "hose form must /e
admired from afar) 6oke/y4s sound sculptures can only /e taken in /y getting up close0 B
6oke/y4s "ork introduced me to the concept of sound produced exclusively /y a
traversal through space0 ;ever /efore had I seen such a graceful approach to
+ David 6oke/y) 1ery ;ervous !ystem 7+>?@=+>>*8)< ', ;ovem/er '*+*) David 6oke/y) +' %pril '*+,http: """0davidroke/y0com vns0html 0
' 9E-U!EU-tv) David 6oke/y Explains FDark -atter4)< +@ ;ovem/er '*++) &ou u/e) +B %pril '*+,https: """0youtu/e0com "atch5v HE>;E>nB9 I 0
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interactivity) in "hich the participants could impact the "ork "ithout the aid of any
external device impeding their movements0 I felt that this a/solute freedom of motion
lent itself not only to simple reaching movements) /ut also to complex dance as a means
of interactivity0 In my mind) the causality /et"een dance and sound "as entirely
unidirectionalA the tempo) tim/re) and style of the sound governed every aspect of a
dancer4s movement0 9o"ever) using a method similar to 6oke/y4s) one could design a
space in "hich dance impacted or even created the music playing0 In such a space) ho"
is interactivity redefined5 Is dance also redefined) or is such movement that influences
sound instead of responds to it perhaps not dance at all5 I decided to follo" in 6oke/y4sfootsteps in order to explore these #uestions0
David 6oke/y4s "ork not only prompted me challenge my conception of
interactivity and dance) /ut also reinforced the notion that interactive art could alter one4s
"ay of living outside the gallery or performing space0 6oke/y strongly /elieves that his
installations can make one more a"are of one4s /ody movement and connection to the
surrounding environment0 9e often descri/es his installations as virtual realities in "hich
the interface through "hich one interacts "ith the "orld is different than that of the real
"orld0 , 9e uses the phrase virtual spillage< to refer to the sensation of feeling "ithin a
virtual reality even after one has left it 0( 2or example) people "ho interact "ith 1ery
;ervous !ystem< for an extended period of time /ecome acclimated to an interface in
"hich their /ody movements produce sound) so after leaving the "ork) they still feel
directly involved in the sounds around them0 @ his level of immersion is only possi/le
, David 6oke/y) he Construction of Experience: Interface as Content)< Digital Illusion: Entertainingthe Future with High Technology ) Ed0 Clark Dods"orth) 7;e" &ork: %C-) +>>?8 '0( I/id0@ 6oke/y) 1ery ;ervous !ystem 7+>?@=+>>*80 his form
seems to gro" naturally from some internal passion rather than /e logically constructed0
It is far less predicta/le and often harder to directly translate0 I found the unplanned
#uality of this gesture to /e particularly /eautiful0 Despite the hand movements /eing
visceral) they are ust as complex if not more so than communicative gesture0
3hereas communicative gesture is reminiscent of choreography) there is a strong
connection /et"een emotional gesture and freestyle dance0 In /oth types of gesture) the
thoughts of the speaker provide the music for the movement0 9o"ever) communicative
gesture takes from a voca/ulary of "ell=kno"n movements) "hereas emotional gesture is
often a spontaneous synthesis of ne" movements0 In ;otes on Gesture)< part of Infancy
and History: The Destruction of E!"erience /y the Italian philosopher Giorgio %gam/en)
%gam/en employs the "ords of the ancient 6oman scholar -arcus erentius 1arro to
distinguish gesture from other types of movement: Qa poet makes a play) /ut does not
> -c-eel) +,0
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act itA on the other hand the actor acts the play /ut does not make itQ3hereas the
imperator of "hom the expression Fres gerere4 7to carry something out8 is used neither
makes nor acts) /ut takes charge) in other "ords carries the /urden of it0< +* he Latin
"ord gerere< is the origin of the "ord gesture)< implying that a gesture is something
that is carried out from /eginning to end 0++ %gam/en uses 1arro4s #uote to explain ho"
unlike a play) a gesture is performed /y its author0 !omething I /elieve is missing in
%gam/en4s analysis) ho"ever) is the fact that the authoring and performing of gesture
occur almost simultaneously0 1arro4s comparison /et"een gesture and
play"riting playacting highlights in my mind the improvisatory element of gesture andspeaks to the connection /et"een gesture and freestyle dance0
he resem/lances /et"een gesture and the common notion of dance indicated that
perhaps dance in a /roader sense of the "ord could still enter into the performance)
despite the Leap -otion4s ina/ility to record the full /ody0 I "as reassured of the
connection I dre" /et"een gesture and dance during a conversation "ith &vonne 6ainer)
a prominent %merican dancer) choreographer) and filmmaker0 6ainer speciali.es in
experimental "ork in "hich she challenges all /orders of dance) often employing
minimalist tactics0 +' Kne of her films) entitled Hand Mo#ie ) is a five=minute film that
includes only a single shot of 6ainer4s hand moving in intricate "ays0 +B !o it should not
have /een a surprise "hen I mentioned to her my hypothesis that gesture "as in itself a
form of dance) and she responded immediately) $ut of courseR< 3ith her vote of
+* Giorgio %gam/en) ;otes on Gesture)< Infancy and History: The Destruction of E!"erience 7London:1erso) +>>B8 +B(0++ Gesture)< Def0 +a) The $!ford English Dictionary ) ' nd ed0 +>?>) 3e/0+' 1incent $onin) &vonne 6ainer)< '**@) Daniel Langlois 2oundation) +' %pril '*+,
http: """0fondation=langlois0org html e page0php5;umPage +? * 0+B Jinodan.) 9and=-ovie) de &vonne 6ainer 7+>@@8)< ' !eptem/er '*+*) &ou u/e) +' %pril '*+,
https: """0youtu/e0com "atch5v Cu%r#L r+3H 0
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confidence) I decided that framing gesture as dance "ould /e a focal point of the
performance0
Knce I had parsed out the linguistic and dance=like #ualities of gesture) I needed to
determine ho" to de=familiari.e gesture in the performance and place it at the center of
the audience4s attention0 In order to gain insight from the lineage of artists "ho have
"restled "ith the su/ ect of gesture or any form of non=traditional movement in
performance) I /egan /y researching the "ork of Paul Jaiser) a digital artist0 Jaiser has
"orked "ith -erce Cunningham and $ill 0 ones) t"o %merican dancers and
choreographers "ho "ere at the forefront of %merican modern dance and experimented"ith incorporating technology and unorthodox movement into their "ork0 In Jaiser4s
%idewalk Pro&ect ) the form of dance< that Jaiser incorporates into the "ork is the
movement of cro"ds0 +, 9e a/stracts the movement so spectators can vie" it outside of
its cultural context and appreciate it for its intrinsic #ualities0 3hen descri/ing %idewalk
Pro&ect ) Jaiser defines dance as a certain kind of grace that has /een stripped to its
essentials0
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to record and display gestures on the LED "all) the frosted glass alone "ould add a layer
of a/straction0 Given the sheer si.e and /rightness of the "all) the gestures "ould also
automatically /ecome a focal point of the performance0 he Ground CafO "as an ideal
setting for making gesture the center of attention and stripping it to its essentials)< /ut I
still had to find some "ay to clearly convey gesture as dance and as language0
he -c-eel) $ro"n) and Longley article introduced me to the option of
incorporating more than one /ody into the performance as a means of depicting gesture
as dance0 he article discusses a gestural performance that took place "ithin the
$usiness !chool /uilding at the University of %uckland0+
In the performance) t"odancers< conduct everyday gestures) such as checking a cell phone) stretching) or
ya"ning0 +? If one performer "ere alone) the movements "ould not /e conspicuous in any
"ay0 9o"ever) the synchroni.ation of /oth performers conducting the same gesture at the
same time creates a sense of choreography) a duet of sorts0 I "as interested in the
concept of incorporating gesture into a duet to convey its performative aspects) /ut I
"anted to highlight the freestyle component of gesture ust as much as the choreographed
one0 he University of %uckland performance gave me the idea to create a duet /et"een
a gesturer and a traditional dancer) rather than having t"o /odies mirror one another0
Instead of highlighting the dance=like #ualities of gesture /y treating gesture explicitly as
choreography) I could visually link the movements of gesture to the movements of
traditional dance /y having a dancer and gesturer interact "ith one another0 he second
/ody "ould /e crucial for depicting gesture as danceA ho"ever) it "ould also add ne"
layers to the performance that "ould not come "ithout its complications0
+ -c-eel) ?0+? I/id0
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Despite the rich implications of the gesturer=dancer relationship) some of the
pro ects I had read a/out discouraged me from incorporating live dancers into the
performance0 he first pro ect I investigated that com/ined live dance and technology
"as 'hostcatching ) a colla/oration /et"een Paul Jaiser and $ill 0 ones0 +> Jaiser)
"hen descri/ing the effect of transferring the movements of a live dancer to a computer
or television screen) states in looking at performers on the stage) "e are seduced /y the
charisma of the /ody rather than /y the /eauty of the movement0< '* he de/ate /et"een
live and mediated /odies in performance has /een prevalent ever since technology
entered the stage0 9er/ert $lau) a director and theoretician perhaps makes the strongestargument for "hy live /odies are so charismatic: In a very strict sense) it is the actor4s
mortality "hich is the actual su/ ect Mof any performanceN) for he is right there dying in
front of your eyes0< '+ I did not "ant the liveness of the dancer to distract from the pure
movements of the gesturer0 $y including the live dancer) the performance "ould involve
t"o live /odies and one mediated /ody 7the image of the gesturer on the LED "all80 In
order to decide "hether or not the live dancer "as a good idea) I needed to analy.e
'hostcatching more closely0
%s I "atched clips of 'hostcatching ) I often found myself forgetting that ones
"as a real person and therefore /elittled the difficulty of his movements0 2or example)
although I might have marveled at the control "ith "hich ones "ould steadily lift one
leg in the air "ithout "avering) I "as not phased "hen the animation of ones
+> Jinodan.) Ghostcatching S $ill 0 ones)< + !eptem/er '*+*) &ou u/e) +B %pril '*+,https: """0youtu/e0com "atch5v aL("T/=2?ig 0 In 'hostcatching ) Jaiser animates the dancing /ody
of ones as a three=dimensional collection of crudely dra"n lines0 ones4s movements dra" additional linesin the artificial space) creating an intricate sketch that outlines the movements of the dance0'* De !pain) '+0'+ 9er/ert $lau) (looded Thought: $ccasions of Theatre 7;e" &ork: Performing %rts ournalPu/lications) +>?'8 +B,0
+*
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accomplished the same featA only in the presence of the human "ould I see grace) and the
lack of a physical human in 'hostcatching trou/led me at times0 Jent de !pain touched
on a similar point in his discussion of the animations in 'hostcatching : hey don4t
#uite communicate a sense of "eight or momentum) /ut there is present a level of
movement detail) fragments of #uirky and unintentional shifts and /alances caught /y the
motion=capture system) that lends them an eerie verisimilitude0< '' De !pain4s mention of
verisimilitude< "ould seem to /e in favor of the animations effectively depicting ones4s
movements0 9o"ever) de !pain refers to the verisimilitude as /eing eerie< /ecause he is
acutely a"are of the technology creating it0 Despite the #uirky and unintentional shiftsand /alances)< the animation still lacks a sense of "eight or momentum)< meaning that
the technology is not #uite advanced enough to fade into the /ackground0 %s a result) its
eeriness distracts from the movements ust as much as a live /ody "ould0 De !pain4s
comments pushed me more in favor of including a live dancerA ho"ever) I still had the
mediated /ody of the gesturer on the LED "all to consider) and I "as unsure ho" the
com/ination of live and mediated /odies "ould play out0
In order to /etter understand the relationship /et"een liveness and mediati.ation)
I looked to Philip %uslander) a professor at Georgia ech) for insight0 %uslander) in )i#e
Performance in a Mediati*ed +ulture ) discusses 9er/ert $lau4s performance theory and
makes the claim that although media "as originally created to mimic live performance)
no" the live and the mediati.ed are /ecoming more and more similar: $lau4s claim that
a performance com/ining live /odies and filmed images can produce a Fconfusion of
realms4 presupposes that live and recorded images are perceived as /elonging to different
'' De !pain) >0
++
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realms0
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dancer "ould in turn respond) $irringer4s concept of movement=as=interface "ould /e
flipped0
he addition of live dancers "ould create a relationship /et"een performers that had not
existed in the concept /efore0 Kne performer "ould /e in control of the music to "hich
the other performers "ould react0 In one sense) this relationship "ould /e that of a duet
as I stated earlier) in "hich one dancer4s movements "ould complement the other4s0 his
aspect of the relationship "ould speak to the role of gesture as dance0 he gesturer "ould
also /e partially in control of the dancer) assuming that the dancer "ould respond directly
to the music that the gesture "as manipulating0 9o"ever) in a some"hat contradictory"ay) the dancer "ould also /e in control of the gesturer in that the dancer4s movements
"ould dictate the emotional meaning of the gesture0 his complex relationship "ould /e
conveyed in the performance /oth in ho" the dancers and gesturer communicated "ith
one another non=ver/ally as "ell as ho" the "all of LED lights "ould frame the dancer
"ith the hand movements of the gesturer0
I "as confident in my portrayal of gesture as dance) /ut I had not yet fleshed out
ho" I "as going to convey the linguistic element of gesture0 he inspiration for this
aspect of the performance came from a description in the -c-eel article a/out a gestural
computer application called the Gesture -achine0< he Gesture -achine< is a design
tool that records physical gestures to create uni#ue three=dimensional images0 '
Kriginally) the development team used discrete gestures for specific operations in the
program0 '? 9o"ever) the gestures "ere eventually scrapped in exchange for a more open=
ended interface that allo"ed users to play around in the program and learn ho" gestures
' -c-eel) +,0'? I/id0
+B
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corresponded to manipulations of the BD space0 '> !uch an open=ended interface gave me
the idea to create a learning environment in my performance in "hich audience mem/ers
ac#uired the gestures necessary to manipulate the sound0
In order to explore gesture as language) I decided it "as important that audience
mem/ers and not myself use Ugoku in order to simulate the "ay in "hich specific
gestures ac#uire meaning0 $y having audience mem/ers control the Leap -otion and
also not provide them "ith prior instructions as to "hich gestures the Leap -otion could
recogni.e) they "ould have to try out different hand and finger movements in order to
gradually learn "hich movements corresponded to "hich audio effects) like a /a/yexperimenting "ith language0 %lso similar to language ac#uisition) once the audience
mem/er grasped the proper movements) the emotional significance of those movements
"ould not /e defined /y the audience mem/er /ut /y others interacting "ith the audience
mem/er) namely the dancer0 he process of experimenting "ith different movements)
o/serving the resulting changes in the environment) and "atching ho" those changes
affected others "ould illuminate the "ay in "hich gestures are formed and ho" they
ac#uire meaning0
!ince audience mem/ers "ould not have prior instructions for ho" to use Ugoku) "ith
the exception of perhaps a demonstration I "ould conduct at the /eginning of the sho") I
had to rethink the specificity of the gestures that ran the program) similar to the Gesture
-achine0< he final customi.ation of the program involved mapping certain #ualities of
the music /eing played to the position of one or /oth of the hands0 2or example) the
num/er of high fre#uencies permitted in the song "as directly related to the .=axis
position of the right hand 7"ith the .=axis pointing to"ards the user from the sensor80 %
'> -c-eel) +(0
+,
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clock"ise circular movement of either hand resulted in the song speeding up) "hereas a
counterclock"ise circle slo"ed the song do"n0 Perhaps the only highly specific gesture
"as that of a single finger extended generally for"ard) "hich "ould cause the music to
shift from one speaker to the other /ased on exactly "here the finger pointed0 I hoped
that all of the gestures "ould not /e too specific to pick up so that the audience mem/ers
"ould /e inspired to learn them0
I eventually had to decide on "hat type of music "as going to play during the
performance0 I did not "ant the message of any particular genre to impact the
performance) so I "as inclined from the start to play a variety of genres0 In order to mixgenres) I needed to find dancers that had different dance /ackgrounds and "ould /e a/le
to respond "ell to "hatever "as thro"n at them0 %n eclectic com/ination of music and
dancers appealed to me more and more as the sho" concept developed furtherA the
inclusion of numerous techni#ues of expression spoke to the universality of gesture and
of dance0
In order to dra" the audience4s attention to gesture) I /elieved it "as crucial that
as many elements of the performance /e connected to gesture as possi/le0 he gesturer
already influenced the music) the dancers) and the content of the LED screen0 9o"ever) I
"anted the gestures not only to appear on the screen /ut also affect the overall mood of
the screen and performing space0 I experimented "ith mapping the position of the hands
to parameters of various /lurring) tessellating) and colori.ing effects using the video
manipulation program Isadora0 I added additional code to Ugoku so that information
collected /y the Leap -otion "as processed in Ugoku and sent directly to Isadora for
interpretation0 Isadora "ould receive the values from Ugoku and use those values to
+(
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control the filters a/stracting the image of the gesturer0 In the end) /ecause the frosted
glass in front of the LED lights "as already a/stracting the image slightly) the most
effective video filter "as a simple colori.er0 %s an audience mem/er "ould move his or
her hands around the Leap -otion) not only "ould the music in the room change) /ut
also the color of the lights "ould change0 2inally) every aspect of the room "as under the
control of gesture0
III. THE PERFORMANCE
he final performance occurred almost exactly as planned) "ith a fe" surprises
along the "ay0 2rom the changing colored light that reflected off the "alls to thedramatic movements of the dancers) it "as clear that everything in the performing space
responded to the hand movements of the person at the motion sensor0 he dancers
performed spectacularly using styles that ranged from lyrical to hip=hop0 Kne of the most
pleasing elements of the performance "as that the audience felt a collective responsi/ility
to al"ays have someone manipulating the music0 %s a result) the LED screen "as al"ays
changing faces) as "ere the audio effects that "ere activated0 !ome people chose to
conduct the music using purposeful and graceful movements) "hereas others attempted to
test the limits of the program /y moving their hands in a dramatic and) at times) "ild
fashion0 his variation) according to Grayson Cooke) a professor at !outhern Cross
University) is the cornerstone of interactivity: Qlive media performance is premised on
a dialectic /et"een control and uncontrol) or a /alance /et"een intent and accident0< B*
he unpredicta/ility of the performance "as ultimately "hat made it special0 Everyone
B* Grayson Cooke) !tart -aking !ense: Live %udio=1isual -edia Performance< International Journal of Performance Arts and Digital Media @0' 7'*+*8 '**0
+@
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"ho sat /y the sensor im/ued their personality into their gestures) so that every set of
gestures had a uni#ue character to it0
he most interesting discovery I made during the performance "as of the po"er
dynamics that existed /et"een the gesturer and the dancer0 I kne" /eforehand that the
relationship /et"een the t"o performers "ould /e a layered one0 9o"ever) I did not
anticipate ho" the relationship "ould change from person to person0 $y default) the
dancers played a su/servient role) given the sudden changes in music that they had to
cope "ith and the gigantic display of the gesturer that loomed over them0 Like a
puppeteer) if the gesturer decided to suddenly speed up a song) the dancer had no choice /ut to follo" along0 hat /eing said) the electric personality or) as Paul Jaiser "ould say)
charisma< of the dancer often overpo"ered the timid audience mem/ers sitting /y the
sensor0 !ome of the dancers "ould even stare at the gesturer and motion to him or her to
make the music more challenging0 he dancers also had an advantage over the gesturer
in that they kne" ahead of time "hat sorts of effects to anticipate) and the songs that
played during the sho" "ere songs "ith "hich the dancers "ere very familiar0
hroughout the performance) ho"ever) some of the most /eautiful moments occurred
"hen /oth dancer and gesturer "ere sympathetic to"ards one another and a true duet
arose from it0
2or the audience mem/ers "ho "ere not sitting at the sensor) it "as informative
to "atch "here they cast their eyes0 Kccasionally) the audience mem/ers "atched either
the person at the sensor or the LED screen0 9o"ever) most of the attention "as fixed on
the dancers0 %lthough the dancers "ere placed in the center of the performing space) I
"as surprised that more people "ere not looking at the LED screen) given its sheer si.e
+
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and /rightness0 9o"ever) especially for the hip=hop dancers) there "ere so many fast=
paced changes in motion that if one looked a"ay even for a second) one "ould easily
miss something impressive0 he "ay in "hich the dancers stole the sho" is perhaps a
testament to Jaiser4s hesitation a/out using live dancers0 9o"ever) I /elieve the lack of
attention given to the LED lights "as also a result of my earlier hypothesis that figures on
a screen appear less human and therefore harder to connect "ith0 %ll things considered) I
"as not disappointed that the live dancers "ere the focal point) since they provided the
emotional interpretation for the gestures that "ere underlying all aspects of the sho"0
IV. THE FUTURE
here are a fe" changes to the sho" that I "ould make if I "anted to continue
this exploration of gesture0 2irstly) I "ould try to expand on the possi/le audio effects of
the program0 he panning effect of moving the sound from one speaker to the other did
not register clearly in the performing space since the speakers "ere set up as a mono
channel instead of stereo0 In addition) the volume control functioned "ell) /ut it did not
elicit many ma or changes in the dancers4 movements0 I "ould have liked to experiment
"ith further manipulation of the music4s fre#uencies to create a more distorted sound to
"hich the dancers could respond0 I also "ould like to expand my concept to include
audio synthesis as "ell as manipulation0 I "ould map gestures to specific sounds and
essentially convert the gesturer4s /ody into an instrument0 I /elieve the effect of using
gestures to create the music "ould /e truer to the concept of gesture as language0 In
addition) the connection /et"een dancer and gesturer "ould /ecome even strongerA the
gesturer "ould have more control over the dancer4s movements) /ut the dancer "ould
more fully em/ody the emotional content of the gestures0
+?
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Kne final change to the concept that I "ould like to explore "ould /e to someho"
track the gestures of everyone in a room simultaneously instead of singling out one
person0 %t one point in the process) I had toyed "ith the idea of trying to engage
audience mem/ers in conversation and use their natural gesticulation to control the music
in the room0 his idea /ecame too difficult to achieve in a practical sense) /ut capturing
gesture "hile audience mem/ers "ere not monitoring their movements "ould /e ideal for
examining ho" gesture functions in everyday life0 o that end) I "ould love to remove
all formal aspects of the performance and instead design a party or other social event in
"hich one or multiple sensors could pick up on all of the gestures occurring at the sametime0 hat "ay) all audience mem/ers "ould /e implicit in changing the music and
lights) and no one "ould /e self=conscious enough to filter their movements0 his ne"
element "ould truly /ring /ack 6oke/y4s concept of virtual spillage0 $y masking the
virtual reality in an informal setting) participants "ould /e a/le to fully give in to the
rules of the space and hopefully return to the real "orld "ith a slightly altered experience0
+>
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$i/liography
%gam/en) Giorgio0 ;otes on Gesture0< Infancy and History: The Destruction of
E!"erience 0 London: 1erso) +>>B0
%uslander) Philip0 )i#e Performance in a Mediati*ed +ulture 0 London: 6outledge) +>>>0
$irringer) ohannes0 Interactive Dance) the $ody) and the Internet0< Journal of ,isual
Art Practice B0B 7'**,8: +@(=+ ?0
$lau) 9er/ert0 (looded Thought: $ccasions of Theatre 0 ;e" &ork: Performing %rts
ournal Pu/lications) +>?'0
$onin) 1incent0 &vonne 6ainer0< '**@0 Daniel Langlois 2oundation0 +' %pril '*+,http: """0fondation=langlois0org html e page0php5;umPage +? * 0
Cooke) Grayson0 !tart -aking !ense: Live %udio=1isual -edia Performance0B=
'*?0
De !pain) Jent0 Dance and echnology: % Pas de Deux for Post=9umans0< Dance
esearch Journal B'0+ 7'***8: '=+ 0
De !pain) Jent and Paul Jaiser0 Digital Dance: he Computer %rtistry of Paul Jaiser0?>0
Jinodan.0 Ghostcatching S $ill 0 ones0< + !eptem/er '*+*0 &ou u/e0 +B %pril
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