Abstracting Dance: Detaching Ourselves from the Habitual Perception of the Moving Body

Aviv, Vered

doi:10.3389/fpsyg.2017.00776

Cited by 6 publications

(3 citation statements)

References 56 publications

(78 reference statements)

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“…Motion capture data of this dancer-cube entanglement then serves to bootstrap the learning of the robotic artefact. It comprises granular, discrete movement patterns, derived from short choreographic abstractions (Aviv 2017) that, in the machine learning process, take on the role of aesthetically and socioculturally coded biases and constraints. The latter allows the robotic artefact to learn to compose new movements that are both, grounded in its own unique material embodiment (see Gemeinboeck and Saunders 2018;Saunders and Gemeinboeck 2018) and embedded in our social and cultural scaffolds (see Lindblom 2020).…”

Section: Performative Body Mapping (Pbm)mentioning

confidence: 99%

Moving beyond the mirror: relational and performative meaning making in human–robot communication

Gemeinboeck

Saunders

2021

AI & Soc

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Current research in human–robot interaction often focuses on rendering communication between humans and robots more ‘natural’ by designing machines that appear and behave humanlike. Communication, in this human-centric approach, is often understood as a process of successfully transmitting information in the form of predefined messages and gestures. This article introduces an alternative arts-led, movement-centric approach, which embraces the differences of machinelike robotic artefacts and, instead, investigates how meaning is dynamically enacted in the encounter of humans and machines. Our design approach revolves around a novel embodied mapping methodology, which serves to bridge between human–machine asymmetries and socioculturally situate abstract robotic artefacts. Building on concepts from performativity, material agency, enactive sense-making and kinaesthetic empathy, our Machine Movement Lab project opens up a performative-relational model of human–machine communication, where meaning is generated through relational dynamics in the interaction itself.

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Section: Performative Body Mapping (Pbm)mentioning

confidence: 99%

Moving beyond the mirror: relational and performative meaning making in human–robot communication

Gemeinboeck

Saunders

2021

AI & Soc

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“…Importantly, these movement dynamics arise from choreographic abstractions (see below) or improvisations in which the dancer entangles with the “other body” of the machine to perform the identity of this other, machinelike “body”; through this entanglement, the performer is tasked with exploring the enabling constraints of the costume rather than anthropomorphizing or imprinting themselves onto the cube. Our motion data then capture the kinetic dynamics of the performer-cube entanglement and comprises granular, discrete movement patterns, derived from short choreographic abstractions, that is, movements that can only be observed “as movement per se, for the sake of motion itself” ( Aviv, 2017 : 4). In the machine learning process, this catalog of dynamic movement qualities serves as aesthetically and socioculturally coded biases and constraints.…”

Section: Designing With Bodying-thingingmentioning

confidence: 99%

The Aesthetics of Encounter: A Relational-Performative Design Approach to Human-Robot Interaction

Gemeinboeck

2021

Front. Robot. AI

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This article lays out the framework for relational-performative esthetics in human-robot interaction, comprising a theoretical lens and design approach for critical practice-based inquiries into embodied meaning-making in human-robot interaction. I explore the centrality of esthetics as a practice of embodied meaning-making by drawing on my arts-led, performance-based approach to human-robot encounters, as well as other artistic practices. Understanding social agency and meaning as being enacted through the situated dynamics of the interaction, I bring into focus a process of bodying-thinging; entangling and transforming subjects and objects in the encounter and rendering elastic boundaries in-between. Rather than serving to make the strange look more familiar, aesthetics here is about rendering the differences between humans and robots more relational. My notion of a relational-performative design approach—designing with bodying-thinging—proposes that we engage with human-robot encounters from the earliest stages of the robot design. This is where we begin to manifest boundaries that shape meaning-making and the potential for emergence, transformation, and connections arising from intra-bodily resonances (bodying-thinging). I argue that this relational-performative approach opens up new possibilities for how we design robots and how they socially participate in the encounter.

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“…The identification of key movement components in the choreography is also necessary for analyzing the synchronization between music and dance. People are fundamentally experts in analyzing human motions, including dance (Blake and Shiffrar, 2007; Aviv, 2017). Research has shown that a continuous movement is spontaneously segmented by the observer into movement-related events (Zacks et al, 2007; Kurby and Zacks, 2008).…”

Section: Synchronization Of Choreographed Movement Phrases To Differementioning

confidence: 99%

Dancers’ Somatic of Musicality

Marinberg

Aviv

2019

Front. Psychol.

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Dancers often perform while synchronizing their movements to music, as required by the choreographer. In this article, we introduce the concept of categorizing choreography (or segments of it), according to its relationship with either the rhythm or the melody of the accompanied music, or with both. We demonstrate this distinction through several examples for each category. In a pilot study, we composed choreographic sequences that were either melodic-based or rhythmic-based and taught them to professional dancers. The results showed that some dancers tend to synchronize their movements better to rhythm and others, to melody. We refer to this tendency as the “dancers’ somatic of musicality.” The findings highlight important differences in the somatic of musicality among dancers, requiring attention from both choreographs and dancers, since these differences have bearing on the way dancers learn, memorize, and perform.

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Abstracting Dance: Detaching Ourselves from the Habitual Perception of the Moving Body

Cited by 6 publications

References 56 publications

Moving beyond the mirror: relational and performative meaning making in human–robot communication

Moving beyond the mirror: relational and performative meaning making in human–robot communication

The Aesthetics of Encounter: A Relational-Performative Design Approach to Human-Robot Interaction

Dancers’ Somatic of Musicality

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