Human to Dancer Interaction: Designing for Embodied Performances in a Participatory Installation

Human-to-Dancer InteractionDesigning for Embodied Performances in a Participatory Installation
David A. Shamma
Renata M. Sheppard
JürgenSchible

Autonomous Expressionism by me
Shamma, D. A. Autonomous expressionism: a framework for installation directed network arts. International Journal of Arts and Technology 2, 1 (2009), 62–81.

Media is often consumed and reused

We actually do this in an everyday context

Mobisprayby JürgenSchible

Remix for everyone

Telepresence in Dance by Renata Sheppard

Need Feedback? Add motion.

Ecosystem

Laban Movement Analysis

Dancers
Christy Funsch
Erin Mei-Ling Stuart
NolSimonse

Graffiti Dance
Allow people to create political/news charged graffiti
Allow local and world images and texts
Simplify the technology, focus on the work
Have Meaningful and Observable Phenomena: not random or free flowing. Movement from dancers to reflect activity on the projection. (Think Richard Coyne Tuning)
Have Professionals in a close interaction with participants
Score Creation from Log Analysis (which didn’t quite happen)

Berkeley Art Museum 2010

Dancing via a public display

Rehearsal

Performance

Controlling Relationships

Controlling Relationships
We can’t quite see the relationship between what were doing and what the dancers are doing but I think that might be the idea of it. If you knew, if you could directly see the connection between the dancing and the controlling then you might start to try to manipulate it. But right now we cant quite do that. (A1)

Who’s in control?

Who’s in control?
They thought we were controlling the images, once they learned that they were controlling it was interesting to see their delight in that and how it brought them to a new place of play with the phones and then they got a little bit more engaged and excited. (D3)

Body Moving

Body Moving
“I want to just start moving my body so much even though I know it doesn’t make a difference.” (A3)

Not afraid

Not afraid
I think this audience was definitely not afraid of approaching us to find out how everything worked, ya the seemed to enjoy figuring out they could make us do stuff. (D1)

Amateur-to-Professional interaction

Amateur-to-Professional interaction
We worked really close to the people watching the performance and installation and we were able to hear their own responses to what was going on. (D3)

Movement is not a proxy.

Thanks!
To my fellow artists (Renata & Jürgen). Also to our amazing dancers Christy Funsch, NolSimonse, and Erin Mei-Ling Stuart; their contribution, advise, and patience during many a rehearsal section.

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Human to Dancer Interaction: Designing for Embodied Performances in a Participatory Installation

by David Shamma on Aug 27, 2010

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Human to Dancer Interaction: Designing for Embodied Performances in a Participatory Installation — Presentation Transcript