[dance-tech] Re: post / choreographic
- From: Marlon Barrios-Solano <unstablelandscape@xxxxxxxxx>
- To: mpgough@xxxxxxxxx, nathaniel stern <nathaniel.stern@xxxxxxxxx>
- Date: Wed, 2 Apr 2008 18:58:09 -0700 (PDT)
Hello list,
this is a very interesting and relevant discussion as an attempt to ground
the understanding of fundamental cognitive phenomena that support the
experience/action during improvisational performance and (real-time
composition) movement within real-time interactive systems.Cognitive potential,
training, skills, coupling with systems...cultural context...all embodied
I bring to this discussion some podcasts of interviews with improvisational
performers as a series called "embodied techne".
This is one with the Amsterdam based improvisation artist Katie Duck:
http://www.dance-tech.net/video/video/show?id=1462368%3AVideo%3A14567
(she is also member of the network!)
She elaborates from pop culture, Magpie, empathy, the internet, method and
real-time composition and space/time experience...and death
I am using Jump Cut to edit these video on-line...( the first one and a bit
clunky) more clips here with improvisers and teachers Liza Nelson, David
Zambrano...and Emmanuele Hyung (on Solo Adaptations by Debora Hay)
http://www.jumpcut.com/dancetechnet?subnav=mystuff&filter=clip
Feel free to edit on-line some of them and post them in the network....
http://www.dance-tech.net/group/collaborativeeditingfordancetechnet
You can collaborate editing the interviews on line and "adapating" them
Be well,
Marlon
PS: Lisa Nelson's interview is amazing and an edited version will be ready soon
thanks to Ashley Friend. Important relationship of Nelson's approach and J.J.
Gibson theories on ecological psychology is presented...
Matt Gough <mpgough@xxxxxxxxx> wrote: hello
firstly a correction (typo) it should be "causal" (cause and
effect/affect) rather than "casual":
"this leaves the performers with causal and patterned responses"
greetings to nathaniel, our previous dialogue seems relevant here;
hence the "effect/affect". i don't find massumi's concepts apply well
to (contact)improvisation ... 'effect/affect' still seems open to
debate.
perhaps we can talk about effect/affect and interaction via a simple,
real world example:
- physical touch and a track pad.
we all familiar with this interface, and members of the list have
performed / critiqued it. lets assume a single finger, and single
point tracking ... everything else 'is game'.
...
trackpads 'read' the capacitance (stored electrical charge) of the
surface. this is read through a matrix (gird) or field at 20-400 kHz
(approx.). the derived coordinates (and inferred motion) can be
mapped/used in a variety of ways.
human touch is 'read' via signals (chemical/electrical) from sensory
receptors and neurons. the frequency of the signals increases with the
strength of the stimuli. the amplitude (strength) of the signal
remains constant.
...
the basic perception/actions of touch i work with are:
- sensation (experience)
- communication (intention)
i'm not going to describe the experiential here, you can do that for
yourself. the framework for sensate touch is:
- absence of touch
- accidental touch
- receiving touch
- for self (but not other)
- for other (but not self)
- shared synchronous (same sensation)
- shared asynchronous (different sensations)
this comes from (contact)improvisation work, but seems to apply to all
touch. one example of 'touch for self (but not other)' would be using
your fingernail on the trackpad. the fingernail offers no capacitance
and thus will not 'register'. it is an unsubtle example, but useful
none the less.
communicative touch can be used to:
- asses your intention/interaction
- to convey intention (to others)
- to respond to intention (from others)
with regards to communication / intention we can:
- ignore
- yield
- resist
- redirect
- return
i can explain these if required, but i'd rather move on for now.
there is a (structural) complexity to the perception of touch. this is
before we start thinking about the 'effect/affect'. these modes of
perception inform the real-time reading and composition. they can
disrupt causal/patterned responses.
a single 'sensation' has many readings/responses
readings/responses to interactions/obejects can be framed as:
- representation (mapping)
- interpretation (abstraction)
of course, the trackpad cannot read all the subtleties of theses
perceptual modes. is doesn't need to. two discrete systems interacting
can lead to a 'combined' system with emergent properties.
so, who want to offer the 'perceptual' modes we can 'read' the
track-pad data through? nathan, tony? and perhaps we can have some
commentary on the 'experience' of the modes of touch i have described?
or simply critique.
we can on expand (and implement?) this simple test case to explore the
'post-choreographic'.
best
matt
...
ps can i propose a 500 word limit per post? to keep everything flowing
and (relatively) quick to read?
Marlon Barrios Solano
unstablelandscape
http://www.unstablelandscape.net
social media projects
design/development/teaching/consulting
New York City
dance-tech.net
http://www.dance-tech.net
A dance and technology social network that aggregates and facilitates the flow
of information and the distributed intelligence among movement, new media
artist and theorists working in the confluence of embodied performance
practices and new media.
Dance New Amsterdam
http://www.dnadance.org/
New Media Specialist
cell phone in USA:614-4462175
Skype name: unstablelandscape
IChat name unstablelandscap
Second Life: mars barragar
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