Session Title:

  • Motion Capture and Dance: what it can do, what it can’t do, and what it should never attempt

Presentation Title:

  • Untitled




  • 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:

    1. What aes­thetic and cul­tural choices are em­bed­ded in mo­tion cap­ture analy­sis?
    2. What are the ben­e­fits and pit­falls of using mo­tion cap­ture to analyse and cre­ate dance?
    3. What ex­am­ples are there of trans­lat­ing mo­tion cap­ture analy­sis into new chore­o­graphic works?
    4. How can mo­tion cap­ture analy­sis in­form live in­ter­ac­tive per­for­mance?