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Human-to-Dancer InteractionDesigning for Embodied Performances in a Participatory Installation<br />David A. Shamma<br />R...
Autonomous Expressionism by me<br />Shamma, D. A. Autonomous expressionism: a framework for installation directed network ...
Media is often consumed and reused<br />
We actually do this in an everyday context<br />
Mobisprayby JürgenSchible<br />
Remix for everyone<br />
Telepresence in Dance by Renata Sheppard<br />
Need Feedback? Add motion.<br />
Ecosystem<br />
Laban Movement Analysis<br />
Dancers<br />Christy Funsch<br />Erin Mei-Ling Stuart<br />NolSimonse<br />
Graffiti Dance<br />Allow people to create political/news charged graffiti<br />Allow local and world images and texts<br ...
Berkeley Art Museum 2010<br />
Dancing via a public display<br />
Rehearsal<br />
Performance<br />
Controlling Relationships<br />
Controlling Relationships<br />We can’t quite see the relationship between what were doing and what the dancers are doing ...
Who’s in control?<br />
Who’s in control?<br />They thought we were controlling the images, once they learned that they were controlling it was in...
Body Moving<br />
Body Moving<br />“I want to just start moving my body so much even though I know it doesn’t make a difference.” (A3)<br />
Not afraid<br />
Not afraid<br />I think this audience was definitely not afraid of approaching us to find out how everything worked, ya th...
Amateur-to-Professional interaction <br />
Amateur-to-Professional interaction <br />We worked really close to the people watching the performance and installation a...
Movement is not a proxy.<br />
Thanks!<br />To my fellow artists (Renata & Jürgen).  Also to our amazing dancers Christy Funsch, NolSimonse, and Erin Mei...
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Human to Dancer Interaction: Designing for Embodied Performances in a Participatory Installation

Abstract: In this article we describe the creation and exhibit of a participatory installation performance. Graffiti Dance allows the audience to graffiti paint with light onto a building’s side and receive immediate local feedback from a set of dancers choreographed to respond to the movement on the public display. The installation is a holistic experience using a plurality of sources (syndicated news Images and Twitter) and local influences (from mobile uploads) that reflect our understanding of the world around us, how we speak out in public forums, and how we interpret the creative act. We present the results of the performance from the perspective of the audience and the dancers and present new directions for future performances.

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

  1. 1. Human-to-Dancer InteractionDesigning for Embodied Performances in a Participatory Installation<br />David A. Shamma<br />Renata M. Sheppard<br />JürgenSchible<br />
  2. 2. Autonomous Expressionism by me<br />Shamma, D. A. Autonomous expressionism: a framework for installation directed network arts. International Journal of Arts and Technology 2, 1 (2009), 62–81.<br />
  3. 3. Media is often consumed and reused<br />
  4. 4. We actually do this in an everyday context<br />
  5. 5. Mobisprayby JürgenSchible<br />
  6. 6. Remix for everyone<br />
  7. 7. Telepresence in Dance by Renata Sheppard<br />
  8. 8. Need Feedback? Add motion.<br />
  9. 9. Ecosystem<br />
  10. 10. Laban Movement Analysis<br />
  11. 11. Dancers<br />Christy Funsch<br />Erin Mei-Ling Stuart<br />NolSimonse<br />
  12. 12. Graffiti Dance<br />Allow people to create political/news charged graffiti<br />Allow local and world images and texts<br />Simplify the technology, focus on the work<br />Have Meaningful and Observable Phenomena: not random or free flowing. Movement from dancers to reflect activity on the projection. (Think Richard Coyne Tuning)<br />Have Professionals in a close interaction with participants<br />Score Creation from Log Analysis (which didn’t quite happen)<br />
  13. 13. Berkeley Art Museum 2010<br />
  14. 14. Dancing via a public display<br />
  15. 15. Rehearsal<br />
  16. 16. Performance<br />
  17. 17. Controlling Relationships<br />
  18. 18. Controlling Relationships<br />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)<br />
  19. 19. Who’s in control?<br />
  20. 20. Who’s in control?<br />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)<br />
  21. 21. Body Moving<br />
  22. 22. Body Moving<br />“I want to just start moving my body so much even though I know it doesn’t make a difference.” (A3)<br />
  23. 23. Not afraid<br />
  24. 24. Not afraid<br />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)<br />
  25. 25. Amateur-to-Professional interaction <br />
  26. 26. Amateur-to-Professional interaction <br />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)<br />
  27. 27. Movement is not a proxy.<br />
  28. 28. Thanks!<br />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.<br />

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