Dear list, We should not forget the achievement of Scott Fisher in 80's in MIT Media Lab. He used motion capture system to dancers from Jeffery Ballet and figure out the motions of every dancers are almost same. BTW, in TOKYO, the fields, Robotics and Space Development are getting close to Dance. Some Japanese choreographers try to choreograph dancer's body in spance. Some robot designers try to apply dancer's movement to Japanese cyborgs. Warmest Regars, Yukihiko YOSHIDA International Advisory Committee(Digital Community), Prix Ars Electronica 2005 Liaison,Digital Culture Lab 2005,International Dance Technology - Lab 2005 Poject Xanadu(the assistant of Ted Nelson and Project Xanadu) Research and Documentation Network,World Dance Alliance Asia Pacific -----???????----- ???: dance-tech-bounce@xxxxxxxxxxxxx [mailto:dance-tech-bounce@xxxxxxxxxxxxx] ??? Birringer, Johannes ????: 2006?1?20? 9:19 ??: dance-tech@xxxxxxxxxxxxx ??: [dance-tech] history of dance & technology This discussion on the history ... is quite exciting to me, for various reasons (one of them being that I am finishing a book on "Dance Technologies", which was meant to look at the present and at how we work now, what ideas and practices are emerging, how do we understand these notions of the digital, the interactive, augmented reality, etc, it was not meant to delve too much into the history of the ""Periodic Convergences: Dance and Computers" sketched, for example, by Scott deLahunta, but after these comments we have received, and Simon's, Kirk's and Philippe's statements, I begin to wonder whether an introductory outline or reflection on these strands and convergences (even prior to the more recent emergence of what Lev Manovich called the "language of new media", the digital, art made from data bases, etc) might not be really useful, even essential to grasp the evolution of dance and technology experiments. Before i come back to the subject, a brief comment on Simon Biggs' post regarding the Sydney/Macquarie University - Workshop on Interactive Systems in Performance. <<<<< Of course during this aspect of the symposium I was thinking of Scott's work with Random at Cambridge, with its emphasis on neuropsychology and notation. The main thing here is that we are not just talking about the hybridisation of the utility of our practices (that is, the adoption of new tools and technologies along with some of the methodologies associated with their origins) but a situation where profoundly distinct disciplines are being brought together. The outcome of this might eventuate in further new technologies and approaches, but more importantly there are the likely questions raised about value and purpose...questions that often demand fundamental revision of established practices. Personally it is when I feel challenged in this way that things start to look exciting.>>>> Quite so. I really begin to sense that the rapprochement between dance research and science is qualitatively different from simple dialogue or hybridization (or what is often refered to as "interdisciplinary research), and it raises many questions. After we published the Yearbook last year (in Germany) on "Tanz im Kopf/ Dance and Cognition," (2005) i was asked by ballettanz (Berlin) to do a feature on this new research and where it is going, and I began to realize that 1) i don't know enough about the methods and objectives of researchers in neuroscience and the cognitive science fields, and 2) I cannot fully ascertain or speculate on the mutual benefits the joint research will have for the neuroscientists on the one hand (and the medical field), and creative dance practices or dance / digital media research (pedagogy, education, experimentation) on the other. When my writing comes out next month, I will provide a link to the essay (we are also reprinting an excerpt from the book, Corinne Jola & Fred W. Mast "Dance Images Mental Imagery Processes in Dance", and just recently the latest research from this field was published: Steven Brown/Michael J. Martinez/ Lawrence M. Parsons: "The Neural Basis of Human Dance", Cerebral Cortex (doi:10.1093/cercor/bhj057, 2005), and reading Brown/Martinez/Parsons was a complicated task, as I am not familiar with the assumptions that guide the questions of the experiment (not to mention the PET scan methodology and how to "read" the scans of the brain activity during the subject's enactment of the tango steps) . Looking at the research findings carefully, however, one can certainly realize the current interest in motor activities. Likewise, William Forsythe and Ivar Hagendoorn convened an international symposium on "Dance and the Brain" (Frankfurt 2004) which revealed the extent to which neuroscientific investigation, for example of the motor repertoire and the recognition of possible or "impossible movement" (Julie Grèzes) is based on neuroimaging technologies (PET, fMRI) which historically seem to evolve alongside very sophisticated digital tools and scanning/capturing techniques choreographers recently began to use for sensory "measuring" of action and qualities of gesture. And here the fields do meet in a productive exchange, and one, as Simon points out, that gives us much to think about as we continue, perhaps, to use a more multi-sensory/multimodal (not just perceptual) investigation of bodies in movement. Johannes Birringer This email is intended solely for the addressee. It may contain private and confidential information. 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