splines in space

tumble blog

2007-05-15T19:17:00.000Z

splines in space is on hiatus, but you can follow my tumblelog at:http://quodlibet.tumblr.com/

2007-05-15T18:30:00.000Z

{ on hiatus }

networked choreography - ii

2006-03-11T00:43:00.000Z

this post follows on from networked choreography and explores the theory and practice of hyperchoreography.

Katrina McPherson & Simon Fildes propose that hyperchoreography is the natural extension of indeterminacy in mediated dance praxis. drawing on a range of texts and concepts they seek a structure in which the audience is "free to select, interpret and enjoy the work from their own perspective":

this ideal text is a galaxy of signifiers, not a structure of signifieds; it has no beginning; it is reversible; we gain access to it by several entrances, none of which can be authoritatively declared to be the main one; the codes it mobilises extend as far as the eye can reach, they are indeterminable ^{[Barthes *]}

whilst not aligning the concept with chaos theory let me define indeterminacy of meaning in dance praxis as 'interpretive dependence on initial conditions'. such a definition applies equally to the producer, process, performer, product & perceiver of a dance work.

if the initial conditions (the movement corpus) of a dance work are small and ring-fenced (the choreographer produces, selects and controls the material) then our bias for particular semiotic readings results in a low level of indeterminacy. the only way to achieve 'maximum' indeterminacy is for the choreographer to exert minimal control over the movement corpus.

'minimal control' of the corpus need not mean 'found' choreography in the tradition of 4'33", if we define choreography as 'making structures in which movement may occur' then the choreographer can still retain some ownership of contextual meaning. presented in an appropriate structure, divergent content forms the dissonant harmony of authored indeterminacy.

yet existing examples of hyperchoreography are 'fabricated' rather than 'found'. The presentation of a contiguous movement corpus via pseudo random, non-linear and asynchronous devices do not lead directly to indeterminability of meaning. exposure to post-modern narratives has developed our skills of discerning the 'difficult whole' from it's fractured parts; 'the author is dead, long live the author'.

between the 'found' and the 'fabricated' theoretical notions of hyperchoreography offer the 'facilitated'. the 'new' developments that hyperchoreography offers are of form rather than content, a networked mediation and visualization of motive intertexts; articulated intertwingularity.

in a networked environment where all links are revealed and 'new' links can added by users, multi directional - two way connection enhance the perception of intertexts. no longer must the author use chance procedures to disrupt their unconscious constructions of meaning, the provision of a mechanism to explore, expand and visualise the intertexts of their authored text performs the same function.

but we can go further ... i suggest we can best preserve the Dasein of 'filmed' motion by presenting it 'as is' - multiple representations reveal no more than a detailed examination of a single artefact. the intertwingularity of content on sites such as flickr is enhanced by user annotation, tagging and clustering. the audience is left navigate the interpretive space from their own perspective whilst divergent contexts are offered for further exploration.

by leveraging the developments of Web2.0 hyperchoreography can achieve it's conceptual promise. Users would upload video files of dance to a central server and annotate the files with relevant meta data and tags. each video would be converted into a common format and time code segmented to allow multiple points of entry (see google video example)

from here any user can make use of a basic on-line non-linear editor to organise multiple videos into a hyperchoreography, but what's important here is that the motive context and intertexts are preserved. i've drawn up a basic sketch:

so what you see is the editing layout ... the user can search for video files via tags etc., these can then be dropped into the time line. above the main window the previous and next video clips are shown in thier contextual time spaces. for example, if clip 2 is playing the user will be able to see clips 1 (prior) and 3 (next). the presentation of these clips is relative to the edit, so if the user only uses clip 3 from timestamp 00:30 the clip will preview in the 'next' window starting at the 00:00 timestamp 30 seconds before it occurs in the time lime. as each new clip enters the primary screen a clips in the search will will change to reflect it's motive intertexts

so far we have a tag assisted on-line video editor ... so how do we make the leap to hyperchoreography? well after the editing has been finalised we can save the work and go to the viewing screen:

it's important to note here that 'saving' the video does not create any 'new' material, we are actually transcluding the original video files. this means that each video is actually a string of references and connections that can be further annotated.

in the viewing interface the main, prior and next screens have the same functionality as in the editing mode. the intertexts panel shows active video thumbnails of videos based on annotations in the main, prior and next screens, clicking on these thumbnails will load other users video compilations. thus simply by watching and selecting or creating new connections and meanings the audience can freely assign their own perspective and interpretation. Hyperchoreography thus becomes the act of choreographing or navigating through motive intertexts as opposed to asynchronous web based dance for camera.

so i'm going to stop here for now, and continue later. if you are wondering about dance mashups then head over the Great Dance Weblog and read 'Spreading Dance with Mashups'. remeber that the difference between that and what i'm proposing with hyperchoreogaphy is the concurrent visualization of the motive intertexts and the ability to navigate those intertexts.

now with all this talk of video on the web let me point you to towards Dance Vids [via DA ... NCE], media rich david-o.net and if you want to keep up to speed with networked arts praxis, there is the excellent networked_performance from which the title of the series of posts is borrowed.

go-sees:

Tina Bausch

2006-02-23T10:48:00.000Z

amusing typo (well it made me laugh over my breakfast) in The Guardian, both online and in print.

I'd have Quentin Tarantino as the director, and, as a complete contrast, directors Kar Wai Wong and Alan Plater, and maybe Tina Bausch to choreograph it.^{[Akram Khan]}

i doubt kahn make this mistake, must be a non dance informed editor

What I'd do if I had the money: Akram Khan, choreographer/dancer.

kalte Hände

2006-02-06T23:10:00.000Z

i used to know a fantastic dancer called Sabrina, really hard-working dedicated and a real pleasure to be around. she always complained she had kalte Hände, and it's something i still say when it's chilly and i have no gloves. as usually happens, we lost contact ... but the other day i discovered how to contact her and sent of an email. i hope to hear back from her soon ... she seems to be doing very well for herself.

when i was a choir boy i used to warm my hands by putting them into the sleeves of my cassock. i had a great choir master called Malcolm Mckelvey, he taught me how to sing and lots more beyond ... including my love of JS Bach and Baroque music in general. my thoughts go to his family, as i know how deeply this news has affected me.

Malcolm McKelvey

networked choreography

2006-02-06T17:15:00.000Z

I've submitted a proposal to DTPA 2006 entitled 'Transcluded Composition; Realizing Hyperchoreography'. this paper is significant to me for two reasons; a) it is the product of my thinking on projective practise theory, and b) it marks a change in approach to my critical analysis of others work.

whilst my views on the shortcomings of hyperchoreography are a matter of public record, i no longer wish to criticise without making a positive contribution. i do believe that the notion of hyperchoreography and it's theoretical basis are sound, what i take issue with is the current implementation(s) [1] and supporting documentation [2]. i don't think that Miles' essay contextualises the practice with enough rigour whilst Popat & Smith-Autard's paper is significantly out of date (based on 1999 web technology). I've linked to Whyte's paper before, but whilst it is an excellent essay it doesn't support their practice. so, as part of developing my 'projective practice theory' i have written a paper that seeks to realign hyperchoreographic practice with it's theory.

my feeling is that the present examples are asynchronous dance for camera. if the goal is "non-literal/ non-representational/ non-narrative" that preserves the dasein of human movement and its physical properties of weight, mass and un-enhanced physicality" then some deep level reimplementation is required. However, what i find interesting is that most of the solutions lie within Nelsons original concepts of hypertext. The key principles that hyperchoreography must adhere to are:

transclusion
multi directional linking
user annotation.
user contribution

if we can ensure that these principles are adhered to then McPherson and Fildes goal of populism, pluralism, unorthodoxy and universalism will follow. i believe that this realignment of theory and practice is achievable now ...

Drawing on existing implementations of Web 2.0 technologies such as 'Flickr' and 'Goolge Video' we will illustrate how hyperchoregraphic practice could be realigned with its theoretical basis. This re contextualised application will reveal the possibility of distributed choreographic collaboration and (concurrent) visual representation of motive intertexts. Using an example of the proposed interface we will show how the 'user' will not simply a participant in the compositional process, but fully responsible for the choreography

i'll let you know what happens with the paper and post more details / content as i am able.Whatever happens i will also submit an essay to the hyperchoreography site that presents a deep contextualisation on the theoretical and practical issues involved.

[1] hyperchoreography works
[2] Writings about hyperchoreography

title of this entry with apologies to networked performance

race & gender (etc.) malarkey

2006-02-02T13:01:00.000Z

i tend to be on campus late into the evening, over the last week or so i have had the feeling people have regarded me with suspicion. now i find out why; a hoax email is being sent via the uni email that reads something like this ...

To: xxxxx@uea.ac.uk Subject: CCTV still of Rapist Hello, During the early morning of January 25 2006, a campus student was the victim of a horrific sexual assault within college grounds. Eyewitnesses report a tall black man in grey pants running away from the scene. Campus CCTV has caught this man on camera and are looking for ways to identify him. If anyone recognises the attached picture could they inform administration immediately

obviously there is no image, the file is a virus payload ... but the email seems to be spreading meaning that people are taking it seriously. Hoax and virus emails are designed to be plausible by fulfilling our stereotyped concepts of reality

its' sad people still believe all that malarkey

Keyboard Practice

2006-01-31T15:54:00.000Z

I'm an unreliable narrator. Everything I know about classical piano could be stored handily, uncompressed, in the lobotomized set-top box of an antique cathode television. Still, it falls to me to transcribe the events surrounding the Van Meegeren Piano Competition of 2023 and the alleged visitation by the late Stefan Janacek.^{J G McDaid}

you can read the online text at The Magazine of Fantasy & Science Fiction here; Keyboard Practice, consisting of an aria with diverse variations for the harpsichord with two manuals. Or you can listen (2 hours) to a reading; 60 Mb mp3 / torrent.

excellent

via: boingboing

mocap notes ii

2006-01-31T13:37:00.000Z

just a few links to motion tracking systems

Animazoo; gyroscopic
Ascension Technology Corporation; MotionStar Wireless 2 (magnetic), ReActor 2 (optical - active).
Measurand; ShapeWrap II (fibre optic)
Motion Analysis Corporation; Eagle-4 Digital (optical - passive)
Phasespace; Impulse (optical - active).
PhoeniX Technologies; Visualeyez (optical - active).
Polhemus; Liberty (magnetic).
Simi Reality Motion Systems; Simi MotionCap 3D (optical - passive), Simi MatchiX (optical - markerless).
Vicon Peak; Vicon MX (optical - passive).

Maureen Furniss has written a good overview of motion capture.

Nam June Paik (1932 - 2006)

2006-01-30T14:31:00.000Z

白南準

Nam June Paik 1932 - 2006

Paik studios

woof (wú - mu)

2006-01-29T21:41:00.000Z

元日やさらに旅宿とおもほへず
ganjitsu ya sara ni ryoshuku to omohoezu

New Year's Day --
that I'm still on this journey
unbelievable

Kobayashi Issa 1795

ramen recital

2006-01-27T23:42:00.000Z

some more notes on motion capture (mocap) [1], but first a few points;

the traces are the 'raw' data from which i generate my transcriptions, i believe motion capture is the fastest way to get somatically accurate transcriptions.
until i resolve the hand marker issue to an acceptable lvel of tracking (i.e. accurate and consistent) i'm usually tracking the palm, and sometime the thumb and index finger (metacarpless & phalanges).
i use the traces in two distinct ways, a) as the initial stage of my transcriptions, and b) as choreographic scribbles.

i've just started work on a new collaborative, mediated / multimedia performance. i'm using the mocap to record my choreographic scribbles as part of the development process. in this instance i'm not looking to convert the mocap into my own transcription but use it as a drawing tool.

ever since my early research into choreographic 'scribbles' i've had a renewed interest in drawing. clearly the concept of (dance) movement as a precursor to drawing is not new, nor is my usage particularly novel ... but i think it's important to our practice.

i tend not to use a full maker set when drawing my dances, i want a more refined noodle soup than everything in the cupboard. the particular combination and placement of makers will depend on my research (practice, task, development) goals. for example if was looking at diagonal - bilateral connectivity i might use a set of markers from the left foot to the right hand. i could then see the paths (shapes) that individual segments and connected whole took.

often i just want some interpretive documentation (so i can see at a glance how i'm using space / time) so i'll use a small set of offest markers (not located on skeletal landmarks) in distributed pattern. a set of eleven offset markers produce a scriible like this;

or you can just look at a single marker;

i can review these scribbles in two, three and four dimensions, with minimal practice you get deeper understanding of your movements cartography, allowing you to evaluate and refine these aspects almost immediately.

it's also possible to play around with the structures you see on the screen. normally what you look at is a set of links that approximate the human body. these links are derived from the markers and are customised by the user to suit their particular needs. often the markers are linked (virtually) to assist the template system the mocap software uses to identify the markers (by assessing the spatial relationship of the passive markers). this is how they look on the screen;

and here i have drawn the links onto a photo (of my back) to show how they relate to the physical markers / body;

when tracking the makers the software determines how much the links may 'stretch' before it breaks them. if we randomly lik the offset markers in differing patterns the software makes and breaks links dynamically, the effect is a kaleidoscope of geometric shapes. we can use the changing shapes as a tool to create more material, or to evaluate how often we repeat similar poses. i should also make it clear that the dancer (often me) does not look at the display screen whilst dancing

if you wanted to play with tools to turn motion into drawing there are a few applications you could adapt to your needs;

optica [195kb zip windows XP] by panajotis mihalatos.
flyt dig by ole kristensen (optica inspired)

i have other high and low tech methods of creating noodles (3d choreographic scribbles) but i save those for another time ...

[1] Motion capture is really motion tracking i'll talk about this more in forthcoming posts

noodle dance

2006-01-24T13:21:00.000Z

there are several different types of motion tracking technology; Magnetic, Gyroscopic and Optical (passive or active). My personal preference would be for high resolution, small sensor gyroscopic system that would allow me to track position and orientation of small bones such as the phalanges. At the moment i'm using a passive optical system with markers like this;

However, i really need to track the fingers for my motion transcriptions but optical marker miss-identification resulting from marker occlusion makes this difficult. For example, when fingers and thumb touch all makers can be seen;

clench the fist and markers are occluded (hidden);

as the tracking is passive the system does not always map the markers correctly when the reappear. With an active optical system (LED's instead of retroreflective markers) each marker is uniquely identified partially resolving this problem. However, given the large number of markers i want to use (100 +) an active system is not practical (identifying all the makers would cause the system to 'lag' behind 'real-time' tracking). SIMM solving in real-time already causes me problems as the live representation is slightly behind the action, but i can turn this solving off and post-process solve from the same data. With active tracking i would be forced to work through the system lag.

i'm also having issues with the EVaRT software, which makes it clear to me how far current technology is from satisfying our needs for accurate, simple dance documentation. i have a movement phrase (improv) that is 01.41 minutes long at 200 Hz (20305 frames) with 61 markers. Even with a four processor machine editing (system processing not the edit tasks themselves) take an age. The page file balloons ^{[screen shot]}until the application grinds to a halt and i have to shut it down and restart. the only solution seems to be a) turn off the undo buffer, or b) save after each edit and clear the undo buffer; neither option makes for a fast work flow.

Fortunately SIMM solving in post process mode (to generate the HTR data) is not quite so slow, the 1:41 minute clip mentioned in the previous paragraph takes around 02:25 minutes to solve. and if you were wondering what the motion paths look like for that clip ... welcome to the noodle dance;

motion capture (dance)

2006-01-23T14:37:00.001Z

the basic marker set i'm using has 61 (passive) markers ^{[marker set front & back]} tracked using a Motion Analysis system.

The image below shows the paths (coloured lines) of the markers and a htr skeleton^[Lulewicz] derived from SIMM (Software for Interactive Musculoskeletal Modeling)^{[Neuromuscular Biomechanics Lab]} solving within the Motion Analysis software^[ma-simm].

The movement is a torso spiral with an extended right arm. An eight camera setup was used to tracked the motion at 200 Hz, marker noise was cleaned using a 20 Hz Butterworth filter^[Wikipedia].

dance podcast

2006-01-20T09:23:00.000Z

Doug Fox ^{[Great Dance Weblog]} has started a dance podcast, roll on over to his site for more info or use this link; Great dance podcast (requires itunes). It's great that doug has started this of and i feel privileged to have been the first interview.

i'll post some notes about issues discussed in the interview after the weekend.

lunacy nicked

2006-01-15T15:45:00.000Z

Lunacy Nicked strikes the balance between playfulness and sentimentality in the non-stop Hear Me In. The audience are thrown into a game-show like atmosphere right from the start thanks to the recorded voices. The dance is artistically energetic, utilizing the entire stage. The performance leads us down lots of blind alleys, with an exaggerated narrative leaving us with much to guess at. The high kicks and leg gestures thrown by the three female dancers in their dresses have echoes of Busby Berkeley and the can-can. The exploration of relationships through archetypal movement challenges the original momentum of the dance to create a captivating tenderness. ^{[Laura Griffiths]}

a few shots from Ear Me In (2006) by Lunacy Nicked , performed as part of Resolution! 2006. photos by me.

new year - new sharing

2006-01-03T11:04:00.000Z

happy new year!

some food for thought ...

All we want to do is dance. But if we continue to work in isolation from each other and from practitioners in other forms, if we continue to pursue personal ambitions without recognizing the value of contributing to the whole and sharing resources, if we do not proactively rethink the framework that favors the success of individual, and most importantly if we do not understand what it is contemporary dance has to offer the wider community then we will not reach critical mass.

from throwdisposablechoreography; A Critical Masse

crossing the line

2005-11-07T15:16:00.000Z

when you have to keep close to the edge, when do you know you have crossed the line without someone to guide you. self governance would be ideal, but when travelling the unfamiliar it may not be enough.

we often return to our teachers and mentors at such times, seeking sage advice or quiet words of comfort. be it actual or imagined our guru's presence reassures. it hard knowing what you should do, but not knowing which way to go about it. and failing at the tasks we desire most to achieve.

as both sensei and padwan i feel both positions keenly. subtle shifts of engaging, sharing, developing and challenging knowledge raise the stakes of self development. next week i am giving a lecture a laban on my methods of practice, it is with humility that i approach my fellow students. i remember the challenges of my own MA like home-made lemonade, the best of our visiting lectures simply shared their practice. there was no need to hawk their wares, its richness was self evident.

looking at the tapestry of tutors into which i have been woven my presence is surprising yet welcome. warp or weft, how i contextualise myself is not significant; the students wider exposure to different methods of practice is the primary goal.

the students i see on a regular basis are starting to understand how my expectations of them. however, given the opportunity to express themselves they are unsure of what they wish to say. there are some real 'diamonds in the rough' who are beginning to facet themselves into something quite special. it will be a pleasure to share some of the process with them.

jūgatsu

2005-10-18T09:52:00.000Z

Wrapped up tight;
slender body,
pumpkin face!

Openended group

2005-10-11T10:49:00.000Z

i was looking for kaiserworks and got redirected ...

The OpenEnded Group creates digital artworks for stage, screen, gallery,and museum, with a present focus on art for public spaces. The collaborating artists in the group are Paul Kaiser, Shelley Eshkar, and Marc Downie

OpenEnded Group

extending Interlingua

2005-10-11T09:24:00.000Z

PREPRINT – THE PUBLISHED PAPER MAY DIFFER FROM THIS VERSION

Gough, M. (2005). Graphical and Interpretive Notations for Laban Interlingua . Proceedings of 24th Biennial Conference of the International Council of Kinetography Laban (ICKL), 29 July - 5 August. (preprint).

Graphical and Interpretive Notations for Laban Interlingua

Although Labanotation remains the primary method for documenting dance works, it is not designed to handle avant-garde choreographic processes (i.e. graphical dance nota-tion and improvisation). The Laban Dancer project [1] and proposed Laban XML “Interlingua” [2] reveal a need to develop Labanotation derived (or compatible) solutions to handle these increasing common approaches. We propose a system in which functionality for graphical notation, improvisation and “unique” reconstructions could be embedded within an Interlingua description. The Human interface of this proposal should also fit within the Labanotation framework allowing handwritten scores to be scanned and automatically processed into Interlingua.

Improvised dance works cannot always be documented using motif, Ad Lib or Freedom of Interpretation notations. Whilst it is possible to record a single performance of an improvisation, reconstructions based on fixed examples lack authenticity and spontaneity. The documentation of the concept and ideas surrounding an improvisation allow the reader to interpret rather than translate meaning. By describing the core motive elements of the improvisation (effort shape, phrase, path, etc.) the improvisation map can be navigated anew each time it is read. Such facility is vital to Laban Dancer if it becomes the primary tool for interpreting Labanotation scores. Furthermore, Laban Dancer should also be able to interpret the choreographers own graphical dance notation if such an approach is used in the choreographic process.

Analogous to graphical music notation [3], graphical dance notation requires the interpretation and transformation of abstract marks into human movement. Some choreographers score their entire works graphically, only using Labanotation when concrete descriptions of movement are needed; others use graphical sections inside a Labanotation score. As we believe that Laban Dancer and all future Labanotation editors will utilise the Interlingua standard we suggest that Interlingua be design from the outset to enable improvisation and interpretation of graphical notations. Our suggestions for how this may be enabled are drawn from our work on Æma (Affective – Esoteric, Motive Attribution) [4] a Laban analysis derived, computer based movement description.

Examining both the improvisational and graphical notation problem from a motive perspective we propose a shared solution. Whilst describing movement as sequential fixed points in space works for Labanotation and prescriptive movement traces its rigidity is unsuitable for interpretive applications. Rather than describing “pose” we need to identify the motive action. Although vector notation [5] may seem an obvious candidate it only offers linear solutions and requires a continuous trace. To specify curves and lines in space with their position and orientation we must use splines [6], a mathematical construct regularly used in computer graphics applications. With such a construction the movement description is map with multiple points of exit and entry that may be navigated via many divergent paths (a trace can only be followed).

With a set of core movement parameters combined into a single spline based movement map (or model) Laban Dancer can generate a “new” interpretive reconstruction each time the score is “performed”. To fully integrate the notion of “splines in space” with the Interlingua schema and concepts of Laban Movement Analysis we must ensure that choreutic concepts are aligned with their computational counterparts. For example, we can accommodate notions of direct and indirect (flexible) by adjusting the splines for tension, bias or continuity. It is also important to ensure correct equivalents for motive solutions i.e. Inverse kinematics = distal movement, Forward Dynamics = release tech-nique (momentum driven).

In order to provide additional functionality at minimum development cost we suggest applying the same concept of splines to the graphical dance notation problem. Although the graphical notion will initially exist in 2D we propose that the same xml based spline description and improvisation mechanism would be the most effective solution. Thus, the main issue is how to convert 2D abstract marks (2D splines) into 3D movement maps (3d splines). Traditionally the X and Y axis have been applied to the page orientation with the Z axis projected or inferred from the drawing or frame. In order to maintain an open and “abstract” interpretation we suggest that the X, Y and Z axis be defined by the interpreting application. The initial two axis will be aligned with the page whilst the third axis will be generated via a library of vector functions chosen either by chance or predefined. By following this process unique movement can be created via an Epikinetic [7] process for each performance.

Whilst the rotating axis frame solution may work for pure graphical notation scores it presents significant difficulties if we intend to embed Labanotation within the graphical frame. To process multimodal movement scores we must be able to identify its component parts. We identify three aspects to the multimodal score; strokes (2D marks), signi-fiers (words, predefined movement, movement modifiers etc.) and Labanotation. The strokes can be interpreted “as” and expressed Scalable Vector Graphics (SVG) within the Interlingua; SVG is an XML specification for expressing 2D vector drawings. The data for strokes can be created in SVG editors or as part of the document scanning process. Signifiers are words, effort shape diagrams, predefined movement (movement macros) etc and can be processed via text and symbol recognition [8]. Whilst the text should be stored as editable text, diagrams should be encoded in SVG with additional metadata. The Labanotation symbols themselves should also be stored as SVG with metadata in the Interlingua format, the object of such encoding is to ensure that the symbols have “meaning” rather simply being an image. If the Labanotation has embedded meaning the modifying effect of one symbol on another could be more accurately processed by the interpreting application.

An additional benefit of embedding SVG representations of Labanotation symbols with metadata (meaning) is that hand written scores could be scanned and automatically processed in to Interlingua via symbol recognition. For the purposes of reading Labanotation within the graphical notations rotating frame it allows us to find the “normal” orientation of the symbol and interpret then in three distinct ways; absolutely, relatively and tracked. Absolute interpretation reads the Labanotation as if on a vertical stave regardless or the symbols orientation of the axis frames rotation. Relative interpretation interprets the Labanotation relative to the axis frame rotation, and thus is a more “open” reading. Tracked interpretation allows for curved staves and symbols, which are inter-preted relative to the axis frame and whilst the staves curve is used to specify the movement path.

The proposed approaches would add significantly to the development time of the Interlingua and any Interlingua based applications. However, we argue that if we intend to apply a new technological solution to the interpretation and editing of Labanotation scores it should be able to handle current and emerging movement practices. Creating a notation rendering system that can “perform” rather than “translate” is vital to improving the quality of avatar based visualisations. The capability of handling graphical notation may also encourage more artists to use Labanotation alongside graphical notation as a creative tool, facilitating more articulate dialogue between notators and choreographers. Encoding the Labanotation symbols in SVG with Interlingua metadata would also simplify the conversion of the existing notation archive into the new data format and allow scores to be printed at various resolutions without loss of quality. Future Labanotation editors utilising symbol recognition would allow notators to draw scores directly onto touch sensitive screens rather than “drag and drop” selection. Finally, applying the “splines in space model” to Interlingua would give more realistic turns and rotations than are presently available in dance visualisation systems. This feature is due to the use of asynchronous rotations on a helical axis, rather than synchronous rotations on a linear axis (where the whole body turns as a single unit).

We hope that the development of the Laban Interlingua will fulfil the needs of 21st century dance practitioners and exploit the full capabilities of a computer based movement notation (whilst conforming to the agreed standards of Labanotation). Whilst the Interlingua standard should be extendable and adaptable is should not be subject to major revisions that have no backwards compatibility. Therefore foresight as to future usage and applications of Interlingua is imperative. We wish the International Council of Kinetography Laban/Labanotation every success with this seminal project.

[1] Calvert, T., Wilke, L., Ryman, R., & Fox, I. (2005) Applications of Computers to Dance. IEEE Computer Graphics and Applications, Vol: 25, No: 2, , March-April 2005 (pp. 6-12).

[2] Fox, I. (2004). International Conference Exploring Research and Programming Potential for Labanotation. New York, Dance Notation Bureau. [http://dancenotation.org/DNB/news/Ohio_report/Ohioreport.pdf]

[3] Cage, J. (1969). Notations. New York: Something Else Press.

[4] Gough, M. (2005). Splines in space; quantifying esoteric dance. Proceedings of Immeasurable? The Dance in Dance Science, 23rd July 2005. London: Laban.

[5] Longstaff, J. S. (2001). Translating ‘vector symbols’ from Laban’s (1926) Choreographie. In Proceedings of the twenty-second biennial conference of the International Council of Kinetography Laban (ICKL), 26 July - 2 August (pp. 70-86). Ohio State University, Columbus, Ohio. USA: ICKL

[6] Bartels, R. H., Beatty, J. C., & Barsky, B. A. (1998) An Introduction to Splines for Use in Computer Graphics and Geometric Modelling. San Francisco, CA: Morgan Kaufmann.

[7] Gough, M. (2005). Towards Computer Generated Choreography: Epikinetic Composition. In Proceedings of the Hothaus seminar series. Birmingham: Vivid.

[8] Hse, H., Shilman, M., & Newton, A.R. (2004). Robust Sketched Symbol Fragmentation using Templates. International Conference on Intelligent User Interfaces, Jan. 2004 (pp. 156-160). Madeira, Portugal.

K2

2005-10-08T19:46:00.000Z

if you have not noticed already, i've given splines in space a quick make over via Blogger Templates port of the wordpress K2 theme by Michael Heilemann and Chris Davis. i hope you like the new wrapper.

just to let you know; that the number beside the heading both counts, and links to the comments section.

ArchiKluge

2005-10-08T19:05:00.000Z

ArchiKluge is the first of a series of small experiments written in Javawhich explore ‘artificial creativity’, automatic design and generative approachesin architecture. ArchiKluge is a simple Genetic Algorithm that evolves architecturaldiagrams. It explores the qualities of design made by machines, devoid of any intention,assumptions or prejudices, and which often display a very peculiar form of mindlesslybut relentlessly pounding against obstacles and problems until overcoming them, amanner of acting nature and machines commonly exhibit.

ArchiKluge via: Protein^®Feed.

adaptivity

2005-09-28T22:10:00.000Z

One day when I was across the hall visiting Sonya Sekula, I noticed thatshe was painting left-handed. I said, “Sonya, aren’t you right-handed?” She said,“Yes, but I might lose the use of my right hand, and so I’m practicing using my left.”I laughed and said, “What if you lose the use of both hands?” She was busy paintingand didn’t bother to reply. Next day when I visited her, she was sitting on the floor,painting with difficulty, for she was holding the brush between two toes of her leftfoot.^[Cage]

how adaptive is our practice, do we make provision for eventualities that may affect the manner in which we work, are we mindful of the future? is it more suitable to transfer our existing methodology to new techniques or should we re-explore the entire working process. whilst painting with the feet may be a change of manipulator, the tools and creative process remain (generally) the same. as 'new' techniques are designed to replicate 'unavailable' techniques most foot (and mouth) panting is no different from works created by hand ^[mpfa]. even paintings created by mechanical manipulators are analogous to 'hand crafted' works due to human creation of the generative algorithms ^[Verostko].

with mechanical / technological systems the problem of 'similarity' can also be found in their predictable function, more than unique instructions or algorithms, 'glitches' of varying severity can skew the process and production in unexpected, and innovative ways ^[Scott]. it is these post-conceptual interventions that both replicate the chance discovery (that can be developed into a new technique) and help to retain 'aura' in the age of mechanical reproduction ^[Benjamin].

however, the glitch is not the answer, just a single solution. there must also be a shift from aesthetic conformity when evaluating 'new' forms. even if there is 'nothing new under the sun' ^{[Ecclesiastes 1:9-11]} concepts of intertextuality ^[litencyc] and intertwingularity make the notion of radical shifts redundant.

Intertwingularity is not generally acknowledged, people keep pretendingthey can make things deeply hierarchical, categorizable and sequential when they can't.Everything is deeply intertwingled. ^[Nelson]

if the skill is in perceiving subtle conceptual (and practical) shifts and revealing (some) of the interplay within the larger 'everything' then a generalist stance is the most obvious, and suitable approach. as a mode of specialisation, generalism is one way to re-unite the arts and sciences.

After a certain high level of technical skill is achieved, science andart tend to coalesce in esthetics, plasticity, and form. The greatest scientists arealways artists as well ^[Einstein]

dance needs a new generation of artist-scholars who are capable of developing new research (practical & theoretical) that is valid across multiple research domains. there are too few dance & science collaborations in which the dance practitioners have imparted significant knowledge of dance (to science), developed new constructs (in either field) or expanded existing knowledge. indeed, sometimes even the creative aspects of these sci-art collaborations is questionable. i particularly have deep misgivings about the motion^e project ^[ASU] in terms of cost, creativity and theory. A reading of the projects publications reveals elementary flaws in their understanding of dance praxis and minimal critical engagement with dance theory. i also question why a live version of How long ... ^[Brown] failed to make it to the uk (a video was shown instead).

yet (current) sci-art praxis should not have to bear any fruit, sometimes the act of engagement itself is important. nor should overly concern ourselves with theoretical flaws if the creative product is engaging (i.e. Constant Speed ^[Baldwin]), but we must identify any such flaws in our scholarly publications. dance theory is still seen as an overly subjective disapline that extensively borrows from other fields in order to validate itself. we can only defeat this notation by demonstrating the value of movement praxis by engaging with and effecting change in multiple disciplines. there is some great sci-art research that has clearly achieved this, but in general such collaborations need to acknowledge that dance more than a vehicle for demonstrating or validating concepts.

It is not the wind that moves, it is not the flag that moves; it is yourmind that moves. ^[Hui-neng]

we must be adaptive in our perspectives both practical and conceptual. the false oppositions of science vs. art, theory vs. practice, embodied vs. virtual must be thrown away. all practices are intertwingled yet can still remain 'pure'. adapting to new approaches of perceiving, producing, performing and participating in dance can only strengthen dance praxis. exploring the multiple intersects of dance and wider contexts will further reveal the integral role movement plays in our lives.

Rotosketch (video + pen)

2005-09-28T12:35:00.000Z

zach lieberman has posted a beta version of Rotosketch a tool developed with Scott DeLahaunta and Susan Rethorst as part of the Dance Theater Workshop’s Digital Fellows Program ^[dtw].

Rotosketch is quite simply an intuitive tool for sketching, doodling and notating on top of video,such that the marks that are made are linked in time with the video. This allows theuser to draw strokes along the the axis of time, as well as the normal x and y axes,and for those strokes to augment, analyze, interpret, or even obliterate a video sequence.

via: networked_performance

vvvv

2005-09-14T15:27:00.000Z

vvvv is a toolkit for real time video synthesis and connecting physicaldevices. [...] main features include runtime graphical programming, the effortlesshandling of a multitude of objects, support for a lot of exotic hardware, live integrationof directx shaders and support for the clustering of standard PCs (for creating seamlessmulti-projection or multi screen systems).

vvvv - a multipurpose toolkit

hwæl-weġ

2005-09-14T14:44:00.000Z

In Zen they say: If something is boring after two minutes, try it forfour. If still boring, try it for eight, sixteen, thirty-two, and so on. Eventuallyone discovers that it’s not boring at all but very interesting. ^[Cage]

much to do and re-do, marking time to aid progression ... sometimes i forget myself.

there is a need (for me) to move beyond the experiential and (further) into the technical and functional. there are limits to our cognitive and experiential exploration that can be expanded and stimulated by algorithmic processing. what has become problematic are the contextual (and theoretical) issues of culture.

for much of computer science (CS) the socio-cultural impact of technological advances is relatively unimportant; a moral issue secondary to pure research. yet the affect technologies will have on dance praxis is largely underestimated. for me the key issue is developing technologies that will develop dance practice in new dimensions (physical, cognitive, virtual etc.). April Nunes got to the core of my 'real world' thinking;

I’d be really interested in investigating the effects of the programmeon the thought processes of performers especially in the context of improvisation.To me, it seems that data from this programme could serve as another layer in thecyclical mind-body feedback loop: The performer repeats an image in their mind untilthe body responds -- the performer perceives the body’s form/movement and envisionsthe image seen in the computer programme – the form/movement of the body respondsto this new image -- and so the cycle continues. ^[Nunes]

this kind of computer-augmented dance praxis is much more subtle that most practitioners and theorists would imagine, and relies (somewhat) on allowing digital dance culture to speak 'for itself' (and possibly) outside our preconceived aesthetic ideals. this is not synthetic stimuli but as valid as any other method we might use to re-visualise and re-imagine our dance practice.

what becomes problematic is how to explore digital culture to develop tools, this is more the realm of individual practice or socio-anthropological study than computer science. i'm not saying that is how it should be, but how 'established' patterns of research are playing out. taking a challenging research stance is not purely the preserve of the arts;

art and science are important for the training they give each practitionerin an ethics grounded on joining the stance of the rebel with the stance of respect.When one has learned to do this, one can participate meaningfully in a community foundedon a shared ethics. In this community each individual is truly free, but each is boundto the community by the respect we feel for those others who are willing to put everythingat risk in every working day, in the knowledge that this is the only way to createsomething worth preserving. ^[Smolin]

practitioners of all disciplines run the risk of getting lost in a sea of specialisation that becomes a maelstrom of the mundane. rebels are dismissed out of hand even if they do participate positively with the greater community. specialisation should lead us on a journey that interacts with other fields of study.

thus i find myself assuming opposing stances, both embracing and rejecting cultural contexts in order to 'do new'. so for the moement code is 'king' ...

Towards Computer Generated Choreography

2005-09-11T10:26:00.000Z

PREPRINT – THE PUBLISHED PAPER MAY DIFFER FROM THIS VERSION

Gough, M. (2005). Towards Computer Generated Choreography: Epikinetic Composition. In Proceedings of the Hothaus seminar series. Birmingham: Vivid.

Towards Computer Generated Choreography: Epikinetic Composition.

Whilst Dance and technology practitioners embrace computer software for the production of dance works, there is a general desire to retain human authorship in the conceptual and creative process. Artificially creative technologies developed for algorithmic art and music have yet to make an impact on the dance making process other than to provide visual or aural accompaniment. We believe that not only can the choreographic process be simulated and automated, but that such a simulation would present a viable alternative to more traditional methods of dance composition. After examining existing methods of algorithmic choreography we present an alternative method (epikinetics) that facilitates both algorithmic choreography and autonomous dancing avatars.

Algorithmic options

In 1995 Lansdown called for 'more use [to be] made of the algorithmic approach to choreography' in order to find new 'narratives' and methods of composition [1]. Whilst methods of algorithmic composition have been developed for music [2] and the visual arts [3], issues such as modelling unique, expressive performance [4] have stalled the development of similar systems for choreography. Yet dance is essentially a motive response to stimuli, consisting of ‘movement invention' [5] (concept - ideas / stimulation; movement realisation) and the human body. These elements can be simulated using a combination of neurological and biomechanical models. For the purposes of modelling we consider choreography (performance and creation) to be a three part process:

Choreography: the organisation of the (composition) discrete structures into the larger 'whole'
Composition: the discrete movements and strucures
Improvisation: the 'navigation' between choreographic structures in the absence of instruction and the generation of 'novel' movement invention as it is realised (instantaneous choreography).

Existing methods of algorithmic choreography model one or two processes rather than all three and are achieved by several methods including:

Choreographic software: for choreographic stimulation
Performance technologies: enabling real-time choreography
Human implementation: algorithmic / generative dance
Simulation and Synthesis: autonomous virtual dancers

Choreographic software often takes the form of a multimedia 'sketch book' format such the Interactive Choreographic Sketchbook [6] or Limelight [7]. This group of applications allow the choreographer to enter images, music, dance notation, animation, motion capture data and other stimuli into a timeline based ‘stage’ and develop the choreography through rapid manipulation and pre-visualisation. Although such programs use a variety of algorithms to 'creatively' filter and process stimuli, they are incapable of autonomous composition and improvisation due to the relatively ‘static’ format of the data entered. The challenges of animating dance notation [8] and rapid capture, re-targeting and warping of motion capture data [9] severely limit the possibility of sweeping conceptual shifts though generative or emergent means.

A possible alternative to the sketch book concept is be a notation based 'pen and pad' model with animated 3D preview and Tanzkurven editing [10] that would allow increased interpretive and transformative freedom through the use of non-deterministic, context-sensitive genetic algorithms. This structure would allow movement scores to be generated from a notational lexis with minimal human intervention. A non-deterministic, syntactical, notation based approach could also be applied to performance technologies to facilitating real-time autonomous composition during a performance. The presence of algorithmic composition and improvisation in rule based performance technologies such as E-merge [11] and ChoreoGraph [12] would compliment the real-time choreography these ‘emergent’ systems already provide. Without this capability the advantage of performance technologies over generative dance (accumulation, chance procedures) is minimal due to a reliance on human composition and improvisation. Choreographic narratives remarkably similar to those generated by performance technologies can be found in traditional methods of composition and human implementations of algorithmic and cognitive models.

Davide Terlingo' has experimented with ‘fractal’ choreography with 'Nonlinear Generators' [13], a practical application of Genetic Algorithms for composition. Terlingo extends a set of 10 static positions and connecting movements through deterministic, context-free algorithmic composition to generate novel movement sequences. However, the dependence on human creativity results in a movement narrative influenced by the performer rather than the algorithmic procedure. Similarly, Hagendoorn's application of motor control, perception and cognition to dance improvisation [14] has also resulted in techniques and narratives similar to existing methods. The emphasis on organisation in Hargondorn and Terlingo's techniques (at the expense of movement invention) limits the possibilities for a computer based algorithmic implementation as they provide no mechanism for generating movement.

One approach to remove human movement bias (and allow new narratives) is through the use of virtual dancers. Virtual dancers can be used to pre visualise choreography generated by keyfame animation and motion capture data. Although these techniques generate ‘fixed’ movement material various 'noise' or 'motion texture' functions (layering pseudo random movement onto existing motion data) can be used to synthesise improvisation. Several methods of linking discreet segments of motion data (re-targeting, warping, chaotic selection, motion matching) can also be used to simulate compositional autonomy but do not facilitate a fully autonomous system.

To achieve compositional and improvisational autonomy for virtual dancers an algorithmic method for movement simulation is required. Nakata's 'automatic choreography' [15] uses an algorithmic approach to generate 'life like' movement without the need for motion capture data. However, his implementation of a somatically coordinated structure (limited of degrees of freedom to enable motive control) is unsuitable for improvised movement generation. Regardless of this limitation, algorithmically generated movement offers a method by which autonomous algorithmic choreography can be achieved.

Epikinetics

epi - "on, at, close upon (in space or time)"
kinetic - "moving, putting in motion"

Epikinetic motion simulation is related to Epigenetic Robotics (motion as genotype) but deals exclusively with the generation of raw, unstable movement rather than controlled motion. This raw movement is then processed by a series of algorithmic modules that shape the movement and present it as animation or notation. Generating unstable, rather than stable movement provides a high level of motive agility and responsiveness. Similar techniques can be found in advanced Aeronautics where adaptive motion control algorithms are used with unstable platforms (such as the F-117 'Nighthawk') to maintain level flight and keep the aircraft 'in the air'. It is through such adaptive algorithms, with differing methods of intervention that autonomous algorithmic choreography can creative distinct narrative forms.

An epikinetic system models the Somatic Nervous System (SNS) including effectors (muscle) receptors (nerves), and control systems such as the Premotor Cortex, Basal Ganglia and Cerebellum). Our system (chorea) consists of six principal modules:

vitus (epikinetic improvisation)
koan (choreography and composition)
magnesium (contact improvisation)
zanshin (event perception / memory)
hierarchical skeleton / dynamic environment
stimuli

vitus

The vitus module is the core of chorea functiality. An inversion of Nakata's coordinated whole it replicates the 'moment of movement' in multiple locations as an 'uncoordinated interrelated whole'. An epikinetic algorithm generates movement data by processing each joint and bone of the Hierarchical Skeleton concurrently, but individually in realtime. These uncoordinated motor images [16] are then passed onto the hierarchical skeleton and dynamic environment where they are bound by the rule of human physics and biomechanics (the related whole).

This method of producing motor images without first conceiving the motion to be generated provides a high level of improvisational fidelity and might be considered a simulation of neurological movement disorders such as chorea. The development of our movement disorder influenced method is distinct from recent choreographic research into Ataxia, the inability to coordinate movement [17].

Hierarchical skeleton / dynamic environment

The hierarchical skeleton / dynamic environment is used to process the motor images from the vitus module. Unlike existing approaches the movement simulation the skeleton does not 'drive' the motion but responds to the motor images. Rather than simulating the mechanical properties of motion we simulate the impulse, or ‘moment of movement’. This shift in perspective is reflected in the way the skeleton deals with bio mechanically impossible motor images, rather than stopping the movement at the human limitation it will arrange the surrounding limbs to accommodate the desired motion. Such adaptive reconfiguring can be found in numerous dance styles including salsa and contact improvisation.

The motor images are processed by a variety of existing methods for animation and movement simulation. Whilst some of these methods bear little relation to dance practice, other solutions have direct parallels:

Forward Kinematics : Proximal movement
Inverse Kinematics : Distal movement
Forward and Inverse Dynamics : Release Technique

By using a range of motion synthesis techniques it is possible to reveal the full range of movement styles available to the human body. Processed motor images are exported as motion data in the form of animation (rendered motion capture data) or notation to enable human performances of the choreography.

zanshin

All events occurring in the performance are stored in the zanshin (awareness) module for the duration of the performance. This allows koan and magnesium modules to ‘perceive’ events occurring within the performance and react with new motive responses. Data entered into the stimuli module is also passes through the zanshin module, only knowledge of current performance retained, the absence of a long term memory allows greater improvisational freedom.

Koan

Algorithmic composition and choreography is generated by the koan module which has the ability to override motor images from both vitus and magnesium. Koan utilizes a range of formal composition techniques (cannon, mirroring, unison etc) and is responsible for generating motive responses to internal and external stimuli such as music and limb arrangement. Koan defines its own concept(s) for the dance work, ideas for the realisation of concepts, and motor images for processing by the hierarchical skeleton.

magnesium

Points of contact that occur during the performance are monitored by magnesium. This module provides an artificially intelligent method for contact improvisation along with more general touching and lifting tasks. Magnesium generates motor images and performs adaptive motion control through a recursive process (based on the principles of contact improvisation) whilst maintaining compositional freedom.

stimuli

The stimuli section may be used to specifically influence the algorithmic choreography of koan. Data entered is flagged with a different level of importance as it passes through to zanshin to become a motive response. Apart from stimuli such as music and images the inclusion of motion capture data is facilitated, this allows chorea to 'see' the dancer in motion before creating them a specific choreography.

Algorithmic receptivity

To achieve computer generated choreography (autonomous rather than human assisted) the entire process, from conception, ideas (choreography / composition) to the moment of movement (improvisation) need to utilise algorithmic methods. The ability to create movement without the need for existing movement data (chorea reuses motor images) is an essential requirement for any choreographic software designed to automate and or stimulate the choreographic process.

Epikenetic systems deal exclusively with motive responses and are unencumbered by a cognitive or emotive understanding of the stimuli. As with work generated by chance procedures the resultant movement is disassociated from the stimuli, thus ‘information - contemporary receptivity - movement’ [18] becomes ‘information - algorithmic receptivity - movement’. Although any emotional content has been removed the choreography remains embedded in physical reality, allowing it to be mounted on ‘real’ dancers and via motion capture the computer can 'coach' the dancers’ performance. The loss of human ownership in both the choreographic and interpretive processes should allow the deployment of new narrative forms, and physical techniques. These developments may eventually become a part of general dance practice rather than isolated in specific performance works.

Towards the future

Systems such as chorea will not replace dancers and choreographers, autonomous choreography virtual dancers can and will exist alongside their physical counterparts, illuminating new narratives and forms beyond our conceptually biased imagination. A loss of authorship to the computer should only strengthen artistic resolve and refresh creative energies. The simulated Sensorimotor system and artificial body intelligence of chorea reveals the capabilities of the human body rather than the limitations to which we confine ourselves. If we are develop new narratives and forms we must let our bodies do the talking, through Epikinetics this dialog is technologically mediated.

[...] ways to connect [movement] can be algorithmically redefined infinitely.Since we're no longer restricted to the prescribed classical methods of connection,we're open to an extraordinary leap in connection, which is just a matter of definingconnective space. ... Where I'd start is with the score. What's been missing so faris an intelligent kind of notation, one that would let us generate dances from a vastnumber of varied inputs. Not traditional notation, but a new kind mediated by thecomputer. William Forsythe [19]

With thanks to Bernard Easterford and Anna Jattkowski-Hudson

[1] Lansdown, J. (1995) Computer-Generated Choreography Revisited. in Proceedings of 4D Dynamics Conference. A. Robertson. (pp 89-99). Leicester: De Montfort University.

[2] Cope, D. (2001). Virtual music: computer synthesis of musical style. Cambridge, Mass.: MIT Press.

[3] Roman V. (1990) Epigenetic Painting: Software as Genotype. Leonardo 23 (1), pp. 17-23.

[4] Camurri, A., Mazzarino, B., and Volpe, G. (2004) Expressive interfaces. Cognition, Technology & Work 6 (1), pp. 15-22. Heidelberg: Springer-Verlag

[5] Rainer, Y. (1968) A Quasi Survey of Some 'Minimalist' Tendencies in the Quantitatively Minimal Dance Activity midst the Plethora, or An Analysis of Trio A. In Buttcock, G. (ed.) Minimal Art: A Critical Anthology (pp 263-73). New York: E. P. Dutton.

[6] deLahunta, S. (2004) Interactive Choreographic Sketchbook. Retrieved October 2004 from http://www.sdela.dds.nl/sfd/icsketch.html

[7] Griesbeck, C. (1996) Limelight. Retrieved October 2004 from http://user.uni-frankfurt.de/~griesbec/LIMEE.HTML

[8] Neagle, R.J., Ng, K.C., and Ruddle, R.A., (2004) Developing a Virtual Ballet Dancer to Visualise Choreography. In Proceedings of the AISB 2004 on Language, Speech & Gesture for Expressive Characters (pp 86-97). Brighton: AISB

[9] Zordan, V. B., and Horst, N. C., (2004) Mapping optical motion capture data to skeletal motion using a physical model. In Proceedings of the 2003 ACM SIGGRAPH / Eurographics Symposium on Computer animation (pp 245 - 250). Aire-la-Ville: Eurographics Association

[10] Nakata, T. (2003) Digital Tanzkurven. Retrieved October 2004 from http://staff.aist.go.jp/toru-nakata/tanz/tanzkurv.html

[11] Willcock, I. (2004) eMerge performance scripting. Retrieved October 2004 from http://www.unsafesound.com/Docs/eMergelanguage.doc

[12] deLahunta, S. (2002) Duplex / ChoreoGraph: in conversation with Barriedale Operahouse. Retrieved October 2004 from http://www.sdela.dds.nl/sfd/frankfin.html

[13] Terlingo, D. (2003) Nonlinear Generators. Retrieved October 2004 from http://www.choreograph.net/forum/showthread.php?threadid=121

[14] Hagendoorn, I.G. (2003). Cognitive Dance Improvisation. How Study of the Motor System Can Inspire Dance (and vice versa), Leonardo 36 (3), pp. 221-227.

[15] Nakata, T. (2002) Generation of whole-body expressive movement based on somatical theories. In Proceedings of the second international workshop on Epigemetic Robotics pp.105-114 [16] Gallagher, S. (2001) From Action to Interaction: An Interview with Marc Jeannerod. Institut des Sciences Cognitives web site Retrieved October 2004 from

[17] deLahunta, S. (2004) Choreography & Cognition: Experiments. Retrieved October 2004 from http://www.choreocog.net/exper.html

[18] Franko, M. (1995). Dancing modernism/performing politics. Bloomington: Indiana University Press

[19] Kaiser, P (1998) Dance Geometry: A conversation with William Forythe. http://www.openendedgroup.com/ideas/pdf/forsythe.pdf

korsakow-system

2005-08-27T20:19:00.000Z

the folks at Hyperchoreography might want to take a good look a the Korsakow-System [via futurefeeder], a set of software for creating interactive films or interactive database narratives. Korsakow-projects are

interactive - the viewer has influence on the film.

rule-based - the author desides on the rules scenes relate to each other, [they do] not create a fixed order.

generative - the order of the scenes is calculated while the viewer looks at a Korsakow-project.

[only viewable] on a computer. They can be delivered via internet-streaming, DVD-Rom or CD-Rom.

there are several projects online including 13terStock and [7sons], you can also download the software and use it for yourself. whilst much closer to the nonlinear concept and examples than the hyperchoreography examples is it not 'the' solution for a 'true' hyperchoreographic solution. it does however show a path that could and should be expanded on from a dance perspective... well impressed.

Bibliomania

2005-08-26T17:54:00.000Z

after visting an exhibition that included Bibliomania (a project by Simon Morris) i construted my own list;

Adshead-Lansdale, J. (1999). Dancing texts: intertextuality in interpretation. London: Dance Books
Alberro, A. (1999). Conceptual art: a critical anthology. Cambridge, Mass.: MIT Press
Asimov, I. (1982). The complete robot. London: Granada
Beckett, S. (1984). Collected shorter plays. 1st ed. New York: Grove Press
Hesse, H. (1998). Siddhartha. (H. Rosner [Trans]), London: Picador
Hesse, H. (1987). The glass bead game. (R. Winston [Trans]), London: Picador
Joyce, J. (2002). Finnegans wake. London: Faber
Levi, P. (1996). The periodic table. (R. Rosenthal [Trans]), Everyman's library 218. New York: Alfred A. Knopf
Melville, H. (2003). Moby-Dick, or, The whale. Penguin classics. New York: Penguin
Wells, H.G. (1933). The scientific romances of H.G. Wells. London: V. Gollancz
Yamamoto, T. (199u). Hagakure: the book of the samurai. (W.S. Wilson [Trans]), Tokyo: Kodansha International
Zalewski, M. (2000). Feminism after postmodernism: theorising through practice. New York: Routledge

In the Shadow of Leaves

2005-08-26T14:04:00.000Z

under willows shade
dragonflies dance ...
crushed grass.

a week of borking other peoples systems, trying to discover how easy/hard it is to implement some key aspects of the Æma construct. well it's not as simple as i would have wished. the big picture is getting bigger and bigger, and that worries me. there ~~seems~~ is so much work to do, what do i start with first ...

trying to finsh papers and code and ... ...

Cognitive Daily asks 'How does colour tell us about motion?' and 'What’s going on when we see objects in motion?' it strikes me (even more) that an entirely perceptual solution would be much simpler that the physical approach i'm taking. however, doing so would result in a solution totally to divergent to physical practice. But it would open up new avenues of visual (dance) aesthetic and enrich digital dance culture.

i'm not a fan of red wine, but after our Stormhoek tasting Sheila was keen to try the Stormhoek Shiraz. well i found it rather enjoyable, if a little strong (14% abv - seemed more); so it took a few days to finish the bottle. interestingly, the wine improved over the days it had been open, it nice to have a wine you can take you time over.

Interdisciniplinary Computer Science

2005-08-23T13:32:00.000Z

Why computer students must also be renaissance geeks by Steve Lohr, is an article in the NYT and IHT commenting on an emerging trend in computer science;

On university campuses, the newest technologists have to become renaissance geeks. They have to understand computing, but they also typically need deep knowledge of some other field, from biology to business, Wall Street to Hollywood. And they tend to focus less on the tools of technology than on how technology is used in the search for scientific breakthroughs, the development of new products and services, or the way work is done. [...] "There isn't the buzz and excitement about computer science that there should be," [Bill] Gates said. "We're on the threshold of extraordinary advances in computing that will affect not only the sciences but also how we work and our culture. We need to get the brightest people working on those opportunities."

freshness matters

2005-08-18T14:38:00.000Z

change is good ... something fresh to clear the cobwebs. however unexpected the move from Article19 has been positive (for me at least). Marc has been kind enough to blogroll me again so if you are visiting via DA ... NCE greetings.

so to commemorate the old and celebrate the new i thought i would get another bottle of Stormhoek Sauvignon Blanc to compliment my freebie. However it was not to be and i ended up with the Piont Grigio.

However, when i got home a flicked through the booklet that came from Hugh i realised that i had an 'old' bottle of Piont Grigio and not the relaunched range.

The Sauvignon Blanc was stunning and went down well, very well it's a shame that Sainsburys had sold out. and no one else was selling it (they did have the Chiraz). The Piont Grigio was much less exciting .. not a great smell or taste. i can only hope that the modification they have made to the new line bring it closer to the quality of the Sauvignon Blanc.

well i fully intend to work my way through the Stormhoek line, with friends and family so thanks Hugh (and orbital). i was kinda bugged that A19 took my blog away from with with zero notice esp as i had signed up to the wine offer on the basis of that blog . i felt like i should almost send the bottle back, but i'm glad i didn't. The url on the label (http://www.article19.co.uk/mathew/index.php) will always remind me of the blog that really got my work going. so regardless of how it ended ... thanks article19, it was fun.

So what can you expect from this new blog, well more fresh thinking but with a little more freedom than before. that means more divergent projects, stay tuned (!).

returning to UEA i have lots of work to do. i see a dark winter ahead writing code so i'm setting myself some divergent goals. there is also the matter of a few lectures that i need to prepare a deliver ... time is going to be short.

i should get back to work ...

hyperchoreography ( notes )

2005-08-18T11:22:00.000Z

a few notes on hyperchoreography whilst i write a paper on the subject.

hyperchoreography is NOT:

dance 'hypertext'
interactive
'open'
non-linear
collaborative

hyperchoreography is:

linear
reactive
hypermedia
intertextual
generative

i do not consider hyperchoreography (in it's present state) is a 'new' mode of choreographic practice, but a relocation of existing constructs. the use of hypermedia does not make it novel or sufficiently different to warrant a new category.

however, the notion of hyperchoreography is valid, and properly contextualised and developed along the 'true' concept of hypertext will present a radically new way of exploring choreographic practice.

Dr. Atomic

2005-08-12T19:03:00.000Z

Wow! i just found out (via boingboing) that John Adams and Peter Sellars have been working on an opera called Dr. Atomic. After reading up on the project (@ NewMusicBox) and listening to some midi samples i can't wait to see this. The world premiere is in San Francisco on October 1st 2005. Whilst i doubt i'll get to the USA that soon i hope to catch it at the De Nederlandse Opera (probably 2006). i'm sure the cd (when released) will be high on my play list, can't wait.

Stormhoek

2005-08-10T20:30:00.000Z

Neat, my bottle of Stormhoek has arrived. i've really been looking forward to this so i'm going to get another bottle (or two) from the supermarket, cook up some great food, and company ... then make an evening of it. i'm trusting Hugh and the other freebie wine bloggers that the wine is going to be ~~good~~ great but i'll let you know how it goes.
if you want to to be part of the 'wine blogging marketing disruption' you can still sign up (UK and Eire only)

Splines in space (preprint)

2005-08-10T19:03:00.000Z

PREPRINT – THE PUBLISHED PAPER MAY DIFFER FROM THIS VERSION

Gough, M. (2005). Splines in space; quantifying esoteric dance. Proceedings of Immeasurable? The Dance in Dance Science, Laban 23rd July 2005. (preprint)

Splines in space; quantifying esoteric dance

Abstract

Existing movement notations for digital dancers (avatars) are specified according to visual effect (geometry). This external approach to the description of movement has poor motive fidelity that prevents ‘expressive’ interpretation of movement scores. The limited realism of exoteric notations reinforces the belief that expressive movement cannot be defined quantitatively.

Adopting a generalist perspective we have examined the interface between science and the arts to establish quantitatively qualitative (Qq) principles of expressive movement. The Qq principles were then used to create Æma (Affective – Esoteric, Motive Attribution), a computer based movement notation (Because it is not the purpose of this paper is to detail Æma the Qq principles are expressed implicitly rather than explicitly).

We propose to use combination of Functional Magnetic Resonance Imaging (fMRI), Electromyography (EMG), Motion Capture (Mocap) and experiential observation to generate synthetic motor images (Æma transcriptions). In order to evaluate Æma we will transcribe and simulate movement derived from Steve Paxton’s ‘Material for the spine’. Our intention is to demonstrate that even ‘internal’ dance practices can be replicated through quantitative notation.

Identify

Human movement is the emergent product of a Complex Adaptive System. Whether the body is operating as a ‘coordinated interrelated’ whole (Bernstein 1935), or an ‘uncoordinated interrelated’ whole (Gough 2005) the resultant movement will exhibit weighted distribution. This ‘heavy tail’ distribution is due to skeletomuscular function and reveals the unsuitability of Brownian motion as a metaphor for improvised movement. The Brownian model is best replaced with the Lévy flight whose scale invariant properties and heavy tail distribution are more representative of human motive probability.

We consider movement to be active (still) or motive (moving) rejecting the concept of motion as a product of two static positions. In order to establish a position we must make a transition, and in order to make a transition we must have formed a position, the two are interdependent. Furthermore, we argue that both transitions and positions are context dependant; repeated actions are self similar, but not exact replications.

The process of movement cognition and production can be simplified into three separate stages: Impulse, Intention and action. Movement impulse is an unconscious motive concept or stimulus. Communication of external movement impulses is impossible, what is commonly referred to as movement impulse is the initial vector of a movement action. Motive intention is a subconscious idea (representation) of how to realise the motive impulse; 'The concept and idea are different. The former implies a general direction while the latter is the component. Ideas implement the concept.' (LeWitt, 1993). Motive action is the motive effect of movement intention (motive affect). A conscious, adaptive process motive action differs from the intention for a variety of environmental, physiological or psychological reasons.

All human movement is without embedded meaning, other than that imposed by the spectator or performer. Because the range of potential movement is so large (limited only by the constraints of the human body), movement techniques reduce the number of possible solutions to provide a usable classification system.

There are no fixed points in the motive space, the ‘centre’ may located and relocated at the will of the performer.

Measure

Computer science ontology for notating and animating human movement bears little relation to the experiential and scientific knowledge found in dance practice. By drawing parallels between the synthetic and somatic approaches we were able to re-define the computer science approach to measuring human movement.

Human movement can be expressed as a series of points in space without a fixed, single frame of reference. Whilst ‘points in space’ are useful for navigating the kinespheric space they do not address the transitions between points. Laban’s vector symbols offer an alternative model of movement conception by replacing ‘points in space’ with discrete movement vectors (Longstaff, 2001).

Although movement vectors are an obvious candidate for computer implementation, their linearity limits the range of motive transitions available. Kandinsky's Tanzkurven (dance curves) span the conceptual gap between ‘points in space’ and vectors through the use of figurative and symbolic representations to show the dancer and their movement trace (Kandinsky, 1926).

We have combined points, vectors and tanzkurven to express effort, shape and space with a single construct: the spline (a curve defined piecewise by numerical functions). Through the use of ‘splines in space’ we can measure and transcribe discrete movement quantitatively whilst retaining it’s qualitative features. Affective–Esoteric, Motive Attribution (Æma) uses multiple splines in a time centric structure to specify the position, orientation and movement curve for discrete bones (Muscle contractions and motive solutions are detailed where required).

Sets of splines for a movement are categorised into two classes: clusters and constellations, and sub classes (open and globular). Gross or global movement are defined as clusters and must use the sacrum as the significant segment (node), fine or modular movements are defined as constellations and may use any segment as the node. Open sub classes are visually bound descriptions (e.g. right thumb left thumb) whilst globular subclasses are physically bound (e.g. right thumb, right palm, right wrist).

Physics (dynamics) and effort-shape profiles can be inferred from skeletomuscular mass and the movement transcription.

Æma transcriptions are maps, not traces: 'The map is open and connectable in all its dimensions; it is detachable, reversible, susceptible to constant modification [...] A map has multiple entryways, as opposed to the tracing, which always comes back to the same' (Deleuze and Guattari, 1987, pp.3-25). Æma transcriptions facilitates topological and topographic descriptions without adaptation; partial navigation and map insertion are also possible.

However, Æma only provides a structure for measuring movement; it does not define the bounds for movement segmentation.

Segment

Merleau-Ponty’s statement that ‘Movement is a displacement or change of position, even if it cannot be defined as such.’ (Merleau-Ponty, 1942/1962 p.273) attests to the indeterminacy of movement segmentation. Somatic–cognitive integration and a state of ‘constant motion’ create a level of observational uncertainty when defining movement boundaries. In experiential observation, uncertainty is due to the act of observation altering the ‘state’ of the movement. An external observer’s accuracy is equally limited as they can only perceive the features of a continuous movement stream rather than discrete impulses.

Whilst it is possible to automatically segment movement by statistical means, such decomposition of human motion is arbitrary. Whilst automatic phrase structure detection has been demonstrated (Dyaberi Sundaram, James, and Qian, 2004) their theoretical perspective is questionable. Movement segmentation systems trained to recognise motive features of specific domain are not performing gestalt recognition but probabilistic assessment of motive minima. With many movement domains (e.g. Ballet, T'ai Chi Ch'uan, Figure skating) being pluricentric, the difficulty of achieving accurate movement segmentation increases. Variation between the technical and applied forms adds additional layers of complexity.

Recent research on the mechanisms of movement cognition and production lends support to the concept of motor imagery (Calvo-Merino, Glaser, Grezes, Passingham and Haggard 2004). Motor images are neural encodings and representations of movement, they are integral to motor planning, action, perception and recognition. As a model of movement intention (Jeannerod, 1994), the motor image forms the basis of our segmentation approach.

We propse to use a combination of Functional Magnetic Resonance Imaging (fMRI) and Electromyography (EMG) to extrapolate and measure the durational and muscular features of motor images. Establishing the initial features of a motor model (timing, muscles, bones) helps to minimise the uncertainty of movement segmentation. Discrete measurements of movement geometry can be performed using a ground truth of cognitive-somatic intention. Validation of the movement geometry (splines) is achieved though the use of experiential observation, domain specific knowledge and motion capture.

Synthesize

Using movement derived from Steve Paxton’s ‘Material for the spine’ we will create a synthetic movement profile for a digital dancer. Unlike existing avatar notations Æma transcriptions are avatar specific and designed to be adapted rather than performed ‘as is’. The process of adaptation is emergent (each ‘performance’ will be unique) and requires the conversion of qualitative motive solutions into quantitative solutions with divergence parameters.

To construct the divergence parameters we measure the range and percentage of motive adaptation that occurs between the motive intention (affect) and the motive action (effect). The divergence parameters reflect the discrepancy between practical theory and application: ‘Arabesque will always remain primarily a prescription, an ideal. There is a good arabesque and a bad arabesque and a phenomenal arabesque, but arabesque is about passing through. It's more about time than it is about position.’ (Forsythe, 1998).

Because Æma transcriptions are interpreted by deterministic, context sensitive processing, biofidelic movement is dependant on the use of appropriate quantitative movement solutions. By drawing parallels between existing computational solutions and qualitative, somatic descriptions we can ensure appropriate usage;

• Inverse kinematics = distal movement
• Forward kinematics = proximal movement
• Inverse dynamics = release technique (time driven)
• Forward Dynamics = release technique (momentum driven)
• Kinetics = body centring

It is important to recognise that movement solutions are functions, not descriptions. Movement cannot be specified by function alone, thus motive solutions require the constraints of a pose or gesture for usefull application.

Exclude

We reject the notion that emotion should be measured and applied to the simulation and synthesis of movement. Most attempts to simulate emotion rely on subjective interpretation of visual cues rather than establishing a ground truth. It is our belief that emotion is too deeply encoded within the movement process to be extracted. We are not suggesting that emotion could not be measured or standardised, but that when creating discrete movement transcriptions such data is redundant. Detailed, affective moment transcriptions are the key to expressive simulation.

Visualise

Defining the ‘measurable’ of expressive movement is not enough, the dance in dance science must be visualised as well as quantified. We need to develop tools that go beyond avatar representations and let us detect ‘deep’ patterns, explore and reason about those patterns. The visualisation of quantitative movement data is integral to dance research, teaching, performance and medicine. Yet, effective and interactive tools for dance visualisation will only emerge through the cooperation of science and the arts; the qualitative and the quantitative are one and the same.

Acknowledgements

This work has been facilitated through the kind assistance of Gill Clarke, Steve Paxton and Independent Dance.

References

Bernstein, N. (1935). The problem of the interrelation between coordination and Localization. Archives of Biological Sciences Vol. 38, pp1–34.

Calvo-Merino, B., Glaser, D.E., Grezes, J., Passingham, R.E., and Haggard, P. (2004). Action observation and acquired motor skills: An fMRI study with expert dancers. Cerebral Cortex (pre print)

Deleuze, G., and Guattari, F. (1987). A Thousand Plateaus: Capitalism and Schizophrenia. (Trans. Massumi, B.) Minneapolis: University of Minnesota Press

Dyaberi, V. M., Sundaram, H., James, J. and Qian, G. (2004) Phrase Structure Detection in Dance. In Proceedings of the 12th annual ACM international conference on Multimedia, October 10 -16 (pp. 332 -335). New York: ACM

Forsythe, W. (1998). Interview with William Forsythe [Interview by Kaiser, P.] (Retrieved June, 20, 2005 from http://www.kaiserworks.com/ideas/forsytheframe.htm)

Gough, M. (2005). Towards Computer Generated Choreography: Epikinetic Composition. In Proceedings of the Hothaus seminar series. Birmingham: Vivid. (pre print)

Jeannerod, M. (1994). The representing brain: neural correlates of motor intention and imagery. Behavioural and Brain Sciences, Vol 17, pp 187-202

Kandinsky, W. (1926). Tanzkurven. Zu den Taenzen (Tanzen) der Palucca. Das Kunstblatt. Vol. 10, No 3, p117

LeWitt, S. (1993). Sentences on Conceptual Art. In Wood, P. and Harrison, C (Eds). Art in Theory 1900-1990: An Anthology of Changing Ideas (pp. 837-839). London: Blackwell.

Longstaff, J. S. (2001). Translating ‘vector symbols’ from Laban’s (1926) Choreographie. In Proceedings of the twenty-second biennial conference of the International Council of Kinetography Laban (ICKL), 26 July - 2 August (pp. 70-86). Ohio State University, Columbus, Ohio. USA: ICKL

Merleau-Ponty, M. (1962). Phenomenology of Perception (Trans. Smith, C.). London: Routledge (Original publication: Phénoménologie de la perception. Paris: 1945)

colophon

2005-08-08T14:07:00.000Z

welcome to 'splines in space' a weblog about dance and technology, contemporary dance and theorising through practice.

these are the musings of Matthew Gough, a dance artist and researcher based in the U.K. and currently a MPhil/PhD Student at the School of Computing Sciences, University of East Anglia, Norwich.

you can contact me at: mpg @ cmp.uea.co.uk

this blog was predated by a guest blog at Article19 which can found at http://www.article19.co.uk/mathew/index.php