Virtual Reality and Choreographic Practice: The Potential for New
                        Creative Methods

Cisneros, Rosamaria Kostic; Wood, Karen D.; Whatley, Sarah; Buccoli, Michele; Zanoni, Massimiliano; Sarti, Augusto

doi:10.16995/bst.305

Cited by 20 publications

(9 citation statements)

References 8 publications

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“…In a digital performance, where technologies play a relevant role, these can be seen not as tools but as filters for our meetings with other people or us [4]. The integration of VR and interactive technology in dance performances leads to new insights and experiments with choreographic methods that may ultimately take dance in a new direction [5]. Brooks, a pioneer artist in using different performance interfaces, says that many of these artists used the body as a central element of the canvas, often abusing or decorating the flesh and provoking audiences -bringing them into the action [6].…”

Section: Performance and Media Artmentioning

confidence: 99%

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Embodiment in Virtual Reality Performance

Moura

Barros²,

Ferreira-Lopes

2021

Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering

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In this publication, we present artistic and technical developments in creating and presenting dance performances in media art, where embodiment is crucial in the artistic process. We study and compare three distinct performances with dancers and one choreographer in the same dance company between 2009 and 2020. The degree of immersion in performance is then compared between the three pieces, created at Balleteatro, in Porto, addressing the transition from the real to the virtual in the performance perspective, with practical cases and direct observations in the way the audience learns different states of body representation through technological means. We initially present the NUVE performance (2010), interpreted by Né Barros, Co:Lateral (2016-2019), a performance that crosses different realities, and, finally, the transition to the UNA work (2020) that takes place in total virtuality. This publication focuses on the developments, the public experience, and the results obtained in more than 20 exhibitions in different locations, either in theater or auditorium and in conference venues.

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Section: Performance and Media Artmentioning

confidence: 99%

“…3). The works NUVE 5 [31], introduced in 2010; Co:Lateral 6 [32], presented in 2016; and UNA 7 , presented in 2020, will be subject to our analysis.…”

Section: Three Performances Exploring the Concept Of Embodiment In Virtualitymentioning

confidence: 99%

Embodiment in Virtual Reality Performance

Moura

Barros²,

Ferreira-Lopes

2021

Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering

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“…In image processing, one of the actively explored fields is procedural generation [19,20], which applies algorithms to generate evolutionary art and images such as textures and multi-dimensional images. As the procedurally generated images tend to be random in nature, heuristic approachs have been employed to measure some of the perceived features of the images such that better improvements are feasible to be implemented in generating the images [21].…”

Section: Image Evolution and Perceived Characteritics Measurementmentioning

confidence: 99%

A review on sparse fast fourier transform applications in image processing

Ghani

Malek

Azmi

et al. 2020

IJECE

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Fast Fourier Transform has long been established as an essential tool in signal processing. To address the computational issues while helping the analysis work for multi-dimensional signals in image processing, sparse Fast Fourier Transform model is reviewed here when applied in different applications such as lithography optimization, cancer detection, evolutionary arts and wasterwater treatment. As the demand for higher dimensional signals in various applications especially multimedia appplications, the need for sparse Fast Fourier Transform grows higher.

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“…Chan et al (2011) took motion capture from the stage and into the classroom by proposing a dance training system. More recently, the WhoLoDancE (Whole-Body Interaction Learning for Dance Education) team in Europe uses motion capture and virtual reality (VR) to create an immersive database of dance for accessibility, education and preservation purposes (Cisneros et al 2019). These are but a few of the innovations taking place.…”

Section: A Brief Overview Of Motion Capture For Dancementioning

confidence: 99%

Ghost in the Virtual Reality: Translating the human essence with motion captured dance

Kim

2019

Electronic Workshops in Computing

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In the world of dance and its related disciplines, the ability of a performer to successfully 'move' audience members enough to elicit an emotional reaction is vital. Certain factors such as the proximity of audience to performer and viewing a performance in real-time affect how this effect is achieved. When dance movement is digitised through moving image or animation, there is potential for loss in translation of the emotional feeling experienced during a live performance versus recorded live performance or animated performance. Conversely, a heightened sensation might occur through the use of cinematography, editing and special effects. This translation issue may be encountered when creating a virtual reality animation dance using motion capture since the technologies involved can both interfere or enhance the presentation of movement. Assuming that human essence needs to be captured along with physical motion in order to generate an emotional reaction, then the choreography and motion capture data become the 'ghost' that is transplanted from human into a new digital body. This separation then raises the question of how to maintain the subtleties required for communication that lead to generating empathy in viewers for a virtual performer's narrative. To address these issues, I engaged in a series of dance motion capture sessions for a virtual narrative about mental health as the basis for examining how a choreographer and motion capture dancer can work with the limitations of technology, rather than be limited, to produce useful data. Specific limitations included use of contemporary and somatic dance, a relatively low number of cameras and dots, no facial or hand data and the use of abstract humanoid figures. Although a universally applicable solution was not discovered, I was able to identify a set of strategies that would be useful to contemporary dance choreographers using motion capture technology for the first time. Furthermore, the strategies are intended for movement narratives rooted in portraying emotion rather than physical spectacle dependent on virtuosity and visual effects.

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Virtual Reality and Choreographic Practice: The Potential for New Creative Methods

Abstract: The Open Library of Humanities and all its journals are digitally preserved in the CLOCKSS scholarly archive service.

Cited by 20 publications

References 8 publications

Embodiment in Virtual Reality Performance

Embodiment in Virtual Reality Performance

A review on sparse fast fourier transform applications in image processing

Ghost in the Virtual Reality: Translating the human essence with motion captured dance

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