Untitled
Symposium:
- ISEA2011: 17th International Symposium on Electronic Art
- More presentations from ISEA2011:
Session Title:
- Motion Capture and Dance: what it can do, what it can’t do, and what it should never attempt
Presentation Title:
- Untitled
Presenter(s):
Venue(s):
Abstract:
Chair Person: Kim Vincs Presenters: John McCormick, Ruth Gibson & Bruno Martelli, Sarah Whatley & Susan Kozel
Motion capture analysis offers dance new possibilities for re-conceptualizing movement in ways that are not intuitive, and not based on the traditions and ingrained movement grammars of specific dance genres and styles. Looking at dance as motion capture data can provoke a more radical deconstruction of existing movement discourses than is otherwise possible given the deep corporeal inscriptions embedded in dancers’ and choreographers’ bodies. The flip side is that the vast volume and detail of data motion capture generates means that the possible mappings and organizational paradigms multiply exponentially. Deciding what to highlight and what to value, and what to consider ‘noise’ and ignore, is a critical part of motion capture analysis. This inescapable reductionism is also, however, the antithesis of artistic method, which values the whole, the accidental, the inclusive. Analysis forces choices based on value judgments, which have the potential to distort and close down, as much as open up and explore, dance research. The panel will use a round-table format to address:
- What aesthetic and cultural choices are embedded in motion capture analysis?
- What are the benefits and pitfalls of using motion capture to analyse and create dance?
- What examples are there of translating motion capture analysis into new choreographic works?
- How can motion capture analysis inform live interactive performance?