Re: [-empyre-] Re: body as code net worked performance

Thanks Drew,  yes I know of Yacov, and have met  him many time in the dance
and technology international events,   he shares similar interest in the
expansion of the  body  into mediated virtual and physical spaces for
performance,    I was interested to find more info on the opera  but didn't
at thier site,  perhaps you can let us know how to experience  the online
opera  what is the link..

best wishes


> From: drew davidson <>
> Reply-To: soft_skinned_space <>
> Date: Thu, 11 Sep 2003 05:44:43 -0400
> To:
> Subject: [-empyre-] Re: body as code net worked performance
> this discussion reminds me of the work of the sharir+bustamante
> danceworks (based in austin, tx)
> they've been incorporating technology into their work for years,
> looking at how it can enhance/occlude the body...    they are also
> going to perform one of the premier internet operas honoria in
> ciberspazio..
> all relevant work to the discussion here it seems...
> best, drew
>> Message: 1
>> Date: Wed, 10 Sep 2003 15:25:42 +0000
>> From: cis <>
>> Subject: Re: [-empyre-] body as code net worked performance
>> To: soft_skinned_space <>
>> Message-ID: <>
>> Content-Type: text/plain; charset="US-ASCII"
>>> To: "soft_skinned_space" <>
>>> Subject: Re: [-empyre-] body as code net worked performance
>>> In the final scene
>>>> of that work, the avatar no longer takes on human form but is visible as
>>>> collection of geometric shapes  altered dynamically( and in real time) by
>>>> the movement of the performer.
>>>> The possibilities of relenquishing any direct representation of the body,
>>> in
>>>> 3DVR environments  while understanding the potential for creating
>>> presence,
>>>> interaction between shared realtime body data generating performers and
>>> the
>>>> interaction between other sets of codes,  artificial  intelligence  within
>>>> that world is something of a paradigm  shift  for live  performing arts.
>>> yes im wondering how mainstream dance audiences react to this!! most dance i
>>> see uses technology and  media  as backdrop rather than as the integral
>>> medium of the work itself.  i havent had the pleasure of ever attending one
>>> of your performances.. but  im wondering if  you only use motion captured
>>> data, or  you combine other datasets or sensor or triggered code  with the
>>> dancers body to produce visual /audio effects.. ? almost in a " the fly"
>>> like monstrous hybridisation?
>> The reactions by dance audiences have varied,
>> Mostly we are attempting to attract a broader audience, who are not
>> preconditioned to traditional dance forms.   there is a nervousness within
>> 20th century dance that the body will be come consumed by technoloyy.
>> specifically the exoskeleton wearable motion capture technology which
>> creates the symbiosis between the live  performer and the mechanics and
>> comptuer interface challenges the image of a dancer.    I like this... it is
>> a new place  to perform from requiring real time attention to  moment to
>> moment decisions, simultaneously being aware of your live augmented body
>> performance and the  breathing of life into  avatars as they engage within
>> the 3DVR world..
>> algorythmic data sets have been attached to specific loci on the exoskeleton
>> allowing her to create her own body sounds,  the amplification of voice has
>> been used to transform other avatars in the world.   this is as you point
>> out so much more that performing in front of a back drop, you are
>> interconnected to all of the dialogues and I believe it expands concepts of
>> the bodies senses as it senses in realtime the interconnectiveness of these
>> elements.
>> In overseas contexts where dance and technology  hybrid performance has been
>> an agenda, the work  is appreciated then on many levels of technology and
>> liveness.   to un dance audience  younger ones particularly they are able to
>> draw references to thier own experiences of engaging in gaming worlds etc
>> for film and animators other aesthetics conditioning and responces are
>> provoked
>>> its sort of interresting that direct represenation of the body remains a
>>> contested issue.. for instance i am quiet happy to see the body in wire
>>> frame as its seems quiet normal to me as i work with 3d, but when that sort
>>> of effect was used in the matrix it was highly exoticised and eroticised,
>>> (Like in the penetrating the body and pulling the bullet out scene// ).  or
>>> im also comfortable to visualise  the body as a gemome sequence in CAGT
>>> code.. or nice protien threads..which some would see as blashphemous
>>> repudiation of the essence and soul of humanity..   but im a technophile..
>> I too think  this is wonderful,  that is not to have to be burdened within
>> the imaginative spaces of 3DVR worlds to the replication of concepts of
>> image, borders and consequences of interaction in these virtual spaces... it
>> is possible to let motion files operate on their own within these worlds
>> and therefore not requiring them to be generated in real time,  ... at this
>> point  I still like the complexity of performing  with all  possible
>> elements in the coversations between the body the virtual space and the
>> physical architectures we inhabit. and with the other conversations with
>> artifical codes of behaviour that allow new outcomes and interaction which
>> engenders new  vitalities, between the performer and  AI elements.
>>> what about teh technophobes..  im wondering if  there is a moral delima for
>>> an audience in all of this.. that it is  somehow wrong to reduce  ( and
>>> reduce does have the  negative inference that we are loseing something
>>> vital ) - or prehaps  recode - the body into another more abstract state..
>>> also can the audience in any way influence the dancers body or is that a bit
>>> "stellarc" :)
>> we have donw some networked motion capture which allowed online audiences to
>> alter elements  in the  3dVR world, choose camera point of view, sounds, and
>> add in text commentry,  alter some of the parameters around the realtime
>> motion capture performer.  Originally the work was networked to another
>> motion capture performer who's data  could interact with the other remote
>> realtime mocap performer.   these concepts are currently being extended for
>> interactions to occer between sets of codes generated in realtime, however
>> they do not interact directly with the living body such as with stelarc
>> who's body was triggered to create  his body choreography.
>>> melinda
>>>> at this point in time we are researching these relationships.  the
>>>> technological frontiers being addressed through intelligent and
>>> responsive
>>>> programming,  but ultimately with  knowledge that the audience  live in
>>> situ
>>>> in physical space to  screens in view of live generating motion capture
>>>> performer will draw new sensibilities to concepts of choreography, and
>>>> movement of media between these  spaces.
>>>> we are interested to here of people thought on body as code, knowing that
>>>> daily online communications are building up digital representations of the
>>>> user through collection of their online identities accumulated while they
>>> do
>>>> their banking, search the web etc.
> -- 
> |  drew davidson, ph.d. 
> |  assistant professor
> |  communications media @ iup
> |  h) 724.349.4959
> |  w) 724.357.5967
> |
> | 
> |
> |
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