Dance and Media Technologies

Birringer, Johannes

doi:10.1162/152028101753401811

Cited by 39 publications

(22 citation statements)

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“…The use of motion capture specifically for dance performance works and cinema, however, has its own separate history. Distinguished artists such as Merce Cunningham and Bill T. Jones have engaged in ground-breaking 'virtual dance' projects utilising animation and optical motion capture since the 1990s; the creation process was described by Birringer (2002) as "The manipulated data become the ghost of the dance." More remarkable was the translation of Cunningham's 1971 'Loops' into a motion capture animation from 2001-2011 (OpenEnded Group 2019).…”

Section: A Brief Overview Of Motion Capture For Dancementioning

confidence: 99%

Ghost in the Virtual Reality: Translating the human essence with motion captured dance

Kim

2019

Electronic Workshops in Computing

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In the world of dance and its related disciplines, the ability of a performer to successfully 'move' audience members enough to elicit an emotional reaction is vital. Certain factors such as the proximity of audience to performer and viewing a performance in real-time affect how this effect is achieved. When dance movement is digitised through moving image or animation, there is potential for loss in translation of the emotional feeling experienced during a live performance versus recorded live performance or animated performance. Conversely, a heightened sensation might occur through the use of cinematography, editing and special effects. This translation issue may be encountered when creating a virtual reality animation dance using motion capture since the technologies involved can both interfere or enhance the presentation of movement. Assuming that human essence needs to be captured along with physical motion in order to generate an emotional reaction, then the choreography and motion capture data become the 'ghost' that is transplanted from human into a new digital body. This separation then raises the question of how to maintain the subtleties required for communication that lead to generating empathy in viewers for a virtual performer's narrative. To address these issues, I engaged in a series of dance motion capture sessions for a virtual narrative about mental health as the basis for examining how a choreographer and motion capture dancer can work with the limitations of technology, rather than be limited, to produce useful data. Specific limitations included use of contemporary and somatic dance, a relatively low number of cameras and dots, no facial or hand data and the use of abstract humanoid figures. Although a universally applicable solution was not discovered, I was able to identify a set of strategies that would be useful to contemporary dance choreographers using motion capture technology for the first time. Furthermore, the strategies are intended for movement narratives rooted in portraying emotion rather than physical spectacle dependent on virtuosity and visual effects.

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Section: A Brief Overview Of Motion Capture For Dancementioning

confidence: 99%

Ghost in the Virtual Reality: Translating the human essence with motion captured dance

Kim

2019

Electronic Workshops in Computing

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“…These include research in networked choreography (Galloway and Rabinowitz 1992;Lovell and Mitchell 1995;Garland and Naugle 1997;Naugle 1998;Parrish 2001Parrish , 2005Birringer 2002;SWIPT 2004;Crawford 2004;Naugle 2002;Calvert, Wilke, Ryman, and Fox 2005;Simmons 2005); interactive live performance (Wolfram 2003;Happel 2004); web casting rehearsals and workshops (Parrish and Lindholm Lane 2003;Parrish 2006); research in innovative videoconferencing for dance technique practices including improvisation and choreography (Garland and Naugle 1999;Mandile 2004;Jansen 2005;TPL 2005); and performance coaching (Jansen 2004;TPL 2005). A few notable dance education projects include Interactive Gateway (IG); Dance in Australia and New Zealand (DANZ): International Partnership in Technology-Rich Education; Bridging the Gap: Connecting High School and University Dance Worlds (BGCU); and The Performance Lab (TPL).…”

Section: Videoconferencing In Dance Educationmentioning

confidence: 99%

Dancing the distance: iDance Arizona videoconferencing reaches rural communities

Parrish

2008

Research in Dance Education

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Regardless of geographical limitations, community partnerships can flourish through videoconference technology. This article presents iDance Arizona (iDA) research as a tool for supporting the teaching and learning of dance in rural settings. This research focuses on university/K-12 collaborations and examines the pedagogy of videoconferencing in dance and in the design and implementation of a standards-based dance curriculum with elementary and middle school students in Eloy, Arizona. The accessibility of videoconferencing makes it possible to educate students in a broad spectrum of dance contexts: composition, performance, technique and analysis. Videoconferencing presents unique opportunities for teaching students in rural settings. This article considers the benefits, challenges and discoveries of using videoconferencing. The discussion section addresses the need for additional research in this area and determines the application of videoconferencing dance instruction as the technology becomes more available for school use.

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“…In the dance performance, the motion-sensing technology [3] is essential as the body language is the crucial point of dance to express the performer's expression. In this case, the motion-sensing interactive performance becomes the new form of dance performing to enhance the performance on stage.…”

Section: Introductionmentioning

confidence: 99%

Design of Textile Knitted Stretch Sensors for Dance Movement Sensing

Stewart

Bryan-Kinns

2019

International Conference on the Challenges, Opportunities, Innovations and Applications in Electronic Textiles

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This paper presents research about design a textile-based stretch sensor for making a reliable sensing system for dance movement sensing. We examined sixteen textile-based conductive stretch sensors that were made with commercially produced conductive materials. Through the analysis of their sensitivity, linearity, hysteresis, responsiveness, and fatigue, a silver-plated conductive fabric, Technik-tex P130B, shows the best performance for dance movement sensing. Then, we tested the bonding technique, and washability of Technik-tex P130B-made sensors. The finding shows that bonding makes a noticeable impact on sensor performance. Both bonding and washing increase the sensor’s resistance. Technik-tex P130B on one side bonding has the best performance for dance movement sensing. This reliable and washable textile-based stretch sensor is utilised for dance bodysuit making for further development.

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Dance and Media Technologies

Cited by 39 publications

References 0 publications

Ghost in the Virtual Reality: Translating the human essence with motion captured dance

Ghost in the Virtual Reality: Translating the human essence with motion captured dance

Dancing the distance: iDance Arizona videoconferencing reaches rural communities

Design of Textile Knitted Stretch Sensors for Dance Movement Sensing

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