choreographic coding lab (dancer notes)
In April I spent a fabulous few days at the Choreographic Coding Lab facilitated by Scott and Florian from Motion Bank. Below are some notes on a few of the projects I was fortunate to engage with as dancer/choreographer. My notes include links to current projects within Motion.Lab including my PhD and other projects with which I am engaged as a dancer/research assistant.
Mark Pederson: spatialised sound
A few notes:
* shared interest to experiment with the potential of spatialised sound
* suggestion to work with materials at hand (therefore 'meta' score) rather than start from scratch - materials existing as reference points for the lab
* from a minimal design with little variation in the CG voice came a complex arrangement from Mark - working in this way challenged my attention, enabled another level of play in the moment of performance and perhaps created a greater presence for the "Agents" voice, I felt a heightened intensity and that the play/interplay between us all could offer a more complex relationship
Thanks Mark for the opportunity to experiment with spatialized sound. I'm excited by the potential and possible further collaboration.
Chris and Brad (Ethno Tekh):
"Motion Metrics" (?)
- looking at how qualities of movement may be interpreted and translated into sound
* use motion capture system to capture movement data - Chris had a series of tasks for me to interpret into movement
* working with Chris direction to generate movement possibilities for ideas such moving at a constant pace, quick movement close to the body and then away from the body, being really small and very large, reaching, spinning etc.
Looking forward to see the development of this too. And, also to see where their spin on 'meta' in VR goes.
For me, the connection of the concepts for movement for the Motion Metrics that would produce sound to some of the ideas we had (Motion.Lab) been working with to produce dance material for both John McCormick's AI Agent (for movement recognition) and the Dance Haptics (again movement recognition but with the complexity of translating this through different forms of interpreting systems - social haptics, sign language, and technological interfaces) project was particularly exciting.
Ryan McGoldrick: Unethical Tinkering (Dance Forms)
Ryan's methodology as I understand it:
* Take raw positional data from the motion captured movement of a dancer
* Use a basic bvh heirarchy to enable the system (Dance Forms) to think this is appropriate skeletal data for a human
* Work with the visualisation tools to create a form of "choreographic agent" for use in studio-based settings to elicit/trigger novel responses from dancers
A few crossovers with my own research project emerge here:
* the obvious is the Poser Project
* the lesser known is the starting point for my phd research - initially my project was about the concept of sampling both within music production techniques but also as a scientific term - the premise was to use motion capture to record and analyse a series of single movements "steps", from a biomechanical perspective and then apply some form of code to randomly select these movements into a choreographed phrase without any of their transitional movement (before/after (no preparation or logic for organised body movement)) included and see what this might mean for a human body to perform the same movements without any human physicological or aesthetic logics - the extension was then to add additional filters to disect and re-assemble a body through the sampling process so that multiple movements are being performed by individual limbs, torso and head at the same time on a humanoid form (the "choreographic agent") which I would then attempt to learn and/or use as a framework to riff off.
Ryan's synthesis of these concepts and the application of Dance Forms in this way offers a similar but much more accessible and practical solution. The different functions Ryan showed me in the studio offer many great opportunities to investigate movement and the maleability to use the same data and re-interpret in multiple forms is also for me a really nice function that again connects to the imagining of the endless perspectives of the same idea. Different visualisations might offer a pass/version of the data to be interpreted with a specific lens/focus and be layered upon over time, anything is possible and looking forward to seeing where this project goes.
Documentation of the Choreographic Coding Lab from Phillip Boltt
Thank you: Deakin Motion.Lab and Motion Bank!
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