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Languages for augmented choreography


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Languages for augmented choreography

  1. 1. Languages for Augmented Choreography Andrea Bene – Matr. 731338 Laurea Magistrale in Teoria e Tecnologia della Comunicazione a.a. 2010/2011Supervisor: Prof. Giorgio De MichelisCorrelators: Prof. Francesco Tisato In collaboration with Ph.D. Diego BerniniEx. Rev.: Prof. Natale Stucchi and
  2. 2. Languages forAugmentedChoreography20 February 2012
  3. 3. Languages for Augmented Choreography “What matter is not the type of functions the system is able to perform, but how much the functions it performs fit with the interactions of its users and support them adequately.” (De Michelis, 2003)20 February 2012
  4. 4. Method A Multi-Disciplinary Participatory process to design Augmented Spaces Dance Notation Systems State of Art Fieldwork (Transcription Techniques) (Informatic Tools) (Practices and Languages) Benesh Notation Manuscript Credo Interactive. (2006). William Forsythe (2008). Lines extracted from Voluntaries by Dance Forms 2.0. Studio Avoidance. Glen Tetley (1975). Window20 February 2012
  5. 5. Notation Systems Timeline20 February 2012
  6. 6. Notation Systems Labanotation (1928) Benesh Notation (1956) Eshkol-Wachmann (1958) Extracted from Dance of the Little Benesh Notation Manuscript Extracted from Diminishing Series Swans by Balanchine (1970) extracted from Voluntaries by by Noa Eshkol (1978) Glen Tetley (1975)20 February 2012
  7. 7. Dance Forms 2.0 ® (Credo Interactive, 2006)20 February 2012
  8. 8. Fieldwork New systems are not created from nothing. (Nonaka & Takeuchi, 1995) • Watching • Focus Group • Interview • “Fieldwork”20 February 2012
  9. 9. Results20 February 2012
  10. 10. End-User Language Syllabus Movement Modulation Parameters20 February 2012
  11. 11. …past, present, future…20 February 2012
  12. 12. Publications• Bernini, D., De Michelis, G., Plumari, M., Tisato, F., & Cremaschi, M. (2011). Towards Augmented Choreography. Proceedings of ArtsIt 2011. Springer.• Bene, A., Bernini, D., De Michelis, G., & Tisato, F. (2012). Languages for Augmented Choreography. Proceedings of ECLAP 2012. SUBMITTED20 February 2012
  13. 13. References• Acquarone, S. (1991). Invito alla coreografia. Torino: Promolibri.• Anne Blom, L., & Tarin, C. (1982). The Intimate Act of Choreography. Pittsburgh: University of Pittsburg Press.• Bernini, D., De Michelis, G., Plumari, M., Tisato, F., & Cremaschi, M. (2011). Towards Augmented Choreography. Proceedings of ArtsIt 2011. Springer.• Credo Interactive. (2006). Dance Forms 2.0. extracted 12 03, 2011 from Credo Interactive:• De Michelis, G. (1998). Aperto Molteplice Continuo. Gli artefatti della fine del novecento. Milano: Dunod.• De Michelis, G. (2003). The Design of Interactive Applications: A Different Way – First Notes, in P: Spirakis, A., Kameas, S. Proceedings of the International workshop on Ambient Intelligence Computing, Santorini (Greece), June 2003, 101-114. Nikoletseas.• Forsythe, W. (2009, Aprile 1). Syncronous Objects. Extracted 12 02, 2011 from• Hutchinson Guest, A. (1989). Choreo-graphics. A Comparison of Dance Notation Systems From the Fifteenth Century to the Present (1998 ed.). Amsterdam: Gordon and Breach.• Laban, R. V. (1956). Principles of Dance and Movement Notation. Londra: MacDonald and Evans.• Nonaka, I., and Takeuchi, H. (1995). The knowledge-creating company. New York: Oxford University• Press.20 February 2012
  14. 14. 20 February 2012