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Touching space: using motion capture and stereo projection to create a "virtual haptics" of dance

Published: 26 July 2010 Publication History

Abstract

This paper describes the work of a group of artists in Australia who used real-time motion capture and 3D stereo projection to create a large-scale performance environment in which dancers seemed to "touch" the volume. This project re-versions Suzanne Langer's 1950s philosophy of dance as "virtual force" to realize the idea of a "virtual haptics" of dance that extends the dancer's physical agency literally across and through the surrounding spatial volume. The project presents a vision of interactive dance performance that "touches" space by visualizing kinematics as intentionality and agency. In doing so, we suggest the possibility of new kinds of human-computer interfaces that emphasize touch as embodied, nuanced agency that is mediated by the subtle qualities of whole-body movement, in addition to more goal-oriented, task-based gestures such as pointing or clicking.

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References

[1]
A. Daly, "Dance History and Feminist Theory: Isadora Duncan and the Male Gaze," Gender in Performance, L. Senelick, ed. (Hanover, NH: Tufts University Press, 1992) 239--259.
[2]
L. Louppe, trans. S. Gardner, "Corporeal Sources: A Journey through the Work of Trisha Brown," Writings on Dance, Vol. 15, Winter, 6--11 (1996).
[3]
S. K. Langer, Feeling and Form: A Theory of Art (New York: Scribner, 1953).
[4]
S. K. Langer {3} p. 178.
[5]
J. Birringer, "Dance Media and Technologies," PAJ, A Journal of Performance and Art, Vol. 24, No. 1, 84--93 (2002).
[6]
S. Kozel, Closer: Performance, Technologies, Phenomenology (Cambridge, MA, and London: The MIT Press, 2007).
[7]
K. Vincs and K. Blashki, "Diegesis in Poesis: Real-Time Interactive Dance Performance," Proceedings of the 6th DAC Conference, Digital Experience: Design, Aesthetics, Practice, IT University of Copenhagen, December 1--3, 2005, 178--183 (2005).
[8]
K. Vincs and M. Delbridge, "The Silk Road Project, interactive media and live motion-capture performance," Deakin University, 2007.
[9]
A. Daly {1} p. 253.
[10]
M. Franco, Dancing Modernism/Performing Politics (Bloomington and Indianapolis: Indiana University Press, 1995).
[11]
S. K. Langer, Feeling and Form: A Theory of Art (New York: Scribner, 1953).
[12]
A. Daly {1} p. 239--259.
[13]
S. K. Langer, Feeling and Form: A Theory of Art (New York: Scribner, 1953).
[14]
J. Rovan, R. Wenschler, and F. Weiss, "Artistic Collaboration in an Interactive Dance and Music Performance Environment: Seine Hohle Form, a Project Report," COSIGN 2001, 1st International Conference on Computational Semiotics in Games and New Media, Amsterdam, September 2001, www.cosignconference.org/conference/2001/papers, accessed March 20, 2010.
[15]
H. Bailey, "Ersatz Dancing: Negotiating the Live and Mediated in Digital Performance Practice," International Journal of Performance Arts and Digital Media, Vol. 3, No. 2 & 3, 151--165 (2007).
[16]
J. Martin, The Modern Dance (New York: A. S. Barnes & Company, 1933).

Cited By

View all
  • (2015)Conceptualising interaction in live performanceProceedings of the 2nd International Workshop on Movement and Computing10.1145/2790994.2791003(60-67)Online publication date: 14-Aug-2015
  • (2015)OutsideMeProceedings of the 33rd Annual ACM Conference Extended Abstracts on Human Factors in Computing Systems10.1145/2702613.2732759(965-970)Online publication date: 18-Apr-2015
  • (2012)An enhanced stage performance of Noh-Kyogen using motion data and sensor interactionsProceedings of the 11th ACM SIGGRAPH International Conference on Virtual-Reality Continuum and its Applications in Industry10.1145/2407516.2407553(127-134)Online publication date: 2-Dec-2012
  • Show More Cited By

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cover image ACM Conferences
SIGGRAPH '10: ACM SIGGRAPH 2010 Art Gallery
July 2010
102 pages
ISBN:9781450303903
DOI:10.1145/1836786
Permission to make digital or hard copies of all or part of this work for personal or classroom use is granted without fee provided that copies are not made or distributed for profit or commercial advantage and that copies bear this notice and the full citation on the first page. Copyrights for components of this work owned by others than ACM must be honored. Abstracting with credit is permitted. To copy otherwise, or republish, to post on servers or to redistribute to lists, requires prior specific permission and/or a fee. Request permissions from [email protected]

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Publication History

Published: 26 July 2010

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Cited By

View all
  • (2015)Conceptualising interaction in live performanceProceedings of the 2nd International Workshop on Movement and Computing10.1145/2790994.2791003(60-67)Online publication date: 14-Aug-2015
  • (2015)OutsideMeProceedings of the 33rd Annual ACM Conference Extended Abstracts on Human Factors in Computing Systems10.1145/2702613.2732759(965-970)Online publication date: 18-Apr-2015
  • (2012)An enhanced stage performance of Noh-Kyogen using motion data and sensor interactionsProceedings of the 11th ACM SIGGRAPH International Conference on Virtual-Reality Continuum and its Applications in Industry10.1145/2407516.2407553(127-134)Online publication date: 2-Dec-2012
  • (2011)Teach me to danceProceedings of the 8th International Conference on Advances in Computer Entertainment Technology10.1145/2071423.2071477(1-8)Online publication date: 8-Nov-2011

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