Movement (15)

International Workshop on Movement and Computing (MOCO'16)
July 5-6 2016, Thessaloniki, Greece
MINES ParisTech, France
Paris 8 University, France
University of Macedonia, Greece
Aristotle University of Thessaloniki, Greece
Following on from the two previous successes of the International Workshop on Movement and Computing (MOCO’14) at IRCAM (Paris, France) in 2014, as well as MOCO’15 at Simon Fraser University (Vancouver, Canada) in 2015, we are pleased to announce MOCO'16, which will be hosted in Thessaloniki, Greece. MOCO'16 will be organized by MINES ParisTech, (France) in co-operation with the Paris 8 University (France), the University of Macedonia, Thessaloniki (Greece) and Aristotle University of Thessaloniki (Greece).
The vision of MOCO'16 is to bring together academics, researchers, engineers, designers, technologists, technocrats, creative artists, anthropologists, museologists, ergonomists and other practitioners interested in the phenomenon of the symbiosis between the human and the creative process, e.g. dancer-digital medias, musician-instrument, craftsman-object etc. This symbiosis takes the form of an interactional and gravitational relationship, where the human element is both a trigger and a transmitter, connecting perception (mind/environment interaction and cognition), knowledge (theoretical understanding of a process) and gesture (semantic motor skills).
MOCO'16 invites researchers that have experiences of capturing the combined key elements of perception, knowledge and gesture/movement. MOCO'16 will be of interest to artists who work on the elucidation of the intersection between art, meaning cognition and technology by unlocking the hidden components in human creativity. The workshop also provides a forum for industrial partners, for whom the movement and gestures of the workers/operators consist of key elements in terms of ergonomics and health, to see and present state-of-the-art technologies.
A key feature of the MOCO'16 Workshop will be to open some of its demonstrations and artistic activities to the public-at-large in order to provide this extended audience with the opportunity to be informed about current scientific issues and topics by experts in an informal setting. 
​​Suggested Topics
* Movement in Digital and Performing Arts, which focus on the use and interaction between arts and movement in the following domains: music, dance, song, graffiti, painting etc..
* Technical and Craftsmanship Gestures, highlighting the importance of gestures in the professional context, whether technical or cultural.
* Interaction, Communication and Design of User Experience, which put the emphasis on gestures and movement as interfaces between humans and machines.
* Analysis and Modelling, centred on the use of mathematical, statistical or methodological tools for a better understanding of gestures and movement.
These topics overlap and are in no way exhaustive, so we also welcome contributions focusing on other areas, with titles which might include any of the following keywords:
* Finger-based interaction
* Embodied and whole body interaction design
* Professional movement and gesture
* Movement analysis and analytics
* Movement expression in avatar, artificial agents, virtual humans or robots
* Sonification and visualization of movement and gesture
* Modeling movement, gesture and expressivity
* Sensori-motor learning with audio-visual feedback
* Motion-driven narrative
* Dance and technology
* Movement representation
* Embodiment and embodied cognition
* Mediated choreography
* Mechatronics and creative robotics
* Movement in affective computing
* Music and movement
* Somatic practice and design
* Dance and neuroscience
* Vocal tract movements in singing voice
* Design for movement in digital art
* Movement computation in ergonomics, sports, and health
​​Participation in the workshop
The workshop is an opportunity to present a research or study or details of collaborative work. Participants will have the opportunity to offer a presentation of the results of their research on one of the themes of the workshop and to interact with their scientific/ artistic peers, in a friendly and constructive environment.
If you are interested in offering an oral presentation of your work, please submit a paper and/or a demo and/or a poster. 
The submission categories are:
* Long paper with oral presentation (8 pages maximum) 
* Research note with oral presentation (4 pages maximum)
* Extended abstracts with poster presentation (2 pages maximum)
* Demonstration (one of the above papers (2 pages minimum + Demo proposal form).
All submissions should be in pdf format and should use the MOCO’16 template – adapted from ACM SIGCHI template 
It is possible for participating authors to submit a demonstration proposal in addition to their regular paper submission by completing the Demo proposal form and sending it along with their submission. Together with the demo proposal form, authors have to provide a link to a video about their work. The demo proposal form is mandatory for all demo submissions and must include details about technical set-up and space requirements.
Online submission: All submissions must be made through the Open Conference System (OCS)
All submissions must be anonymous and will be peer-reviewed. The MOCO proceedings will be indexed and published in the ACM digital library.  
​​Important Dates
Submission deadline for Papers & Demos extension : ​1 March 2016 (5:00pm GMT+2)
Notification: 20th April 2016
Early bird registration: 30th May 2016
Early program: 10th June 2016
University of Macedonia
156 Egnatia Street, GR-546 36 Thessaloniki, Greece
Aristotle University Research Dissemination Center
3rd September Avenue, GR-546 36 Thessaloniki, Greece
​​MOCO Steering Committee
 * Thecla Schiphorst, SIAT, SFU, Vancouver, Canada
 * Philippe Pasquier, SIAT, SFU, Vancouver, Canada
 * Sarah Fdili Alaoui, UPSud, INRIA, Ex-SITU, Orsay, France
 * Frederic Bevilacqua, Ircam, Paris, France
 * Jules Françoise, SIAT, SFU, Vancouver, Canada
Contact email:
​​MOCO'16 Organizing Committee
​​* Sotiris Manitsaris, General Conference Chair, MINES ParisTech, Paris, France
* Leontios Hadjileontiadis, General Scientific Chair, Aristotle University of Thessaloniki, Greece
* Jean-François Jégo, General ​​Artistic Chair, Paris 8 University, France
​* ​Vincent Meyrueis​, General ​Demo Chair​, Paris 8 University​, France
* Athanasios Manitsaris, Local Committee Chair, University of Macedonia, Thessaloniki, Greece
Contact email:
Cordialement | Regards | Με τιμή,
Dr. Sotiris Manitsaris

Senior Researcher | Research Project Leader
Centre for Robotics | MINES ParisTech | PSL Research University
A : 60, boulevard Saint Michel | 75272 Paris cedex 06 | France
T : +33 01 40 51 91 69 |  M :
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Participate at MOCO’16
3rd International Workshop on Movement and Computing
5-6 July 2016 | Thessaloniki | Greece
The CfP is now open!
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International Workshop on Movement and Computing (MOCO14)
> Intersecting Art, Meaning, Cognition, Technology 
June 16-17 2014, Paris France
Ircam - Centre Pompidou
MOCO is the first International Workshop on movement and computing. MOCO aims to gather academics and practitioners interested in the computational study, modeling, representation, segmentation, recognition, classification, or generation of movement information. We welcome research that models movement, technology and computation, and is positioned within emerging interdisciplinary domains between art & science. We invite participants interested in exploring how movement experience can contribute to computational knowledge through movement modeling and representation. The workshop references the challenge of representing embodied movement knowledge within computational models, yet it also celebrates the inherent expression available within movement as a language. While human movement itself focuses on bodily experience, developing computational models for movement requires abstraction and representation of lived embodied cognition. Selecting appropriate models between movement and its rich personal and cultural meanings remains a challenge in movement interaction research. Many fields, including Interaction Design, HCI, Education and Machine Learning have been inspired by recent developments within Neuroscience validating the primacy of movement in cognitive development and human intelligence. This has spawned a growing interest in experiential principles of movement awareness and mindfulness, while simultaneously fueling the need for developing computational models that can describe movement intelligence with greater rigor. This conference seeks to explore an equal and richly nuanced epistemological partnership between movement experience and movement cognition and computational representation.
MOCO will bring together people working in interdisciplinary intersections of Human Computer Interaction, Computer Graphics, Machine Learning, Artificial Intelligence, Robotics, Affective Computing, Cognitive Science, Neuroscience, Psychology, and Artists from Media Art, Choreography, Composition, Dance and Design. The workshop aims at promoting scientific and artistic collaborations within this inter-disciplinary boundary. It will offer opportunities to disseminate emerging research works through presentations, demonstrations, and group discussions.
= Keynote Speakers
  * David Kirsh, Professor at University of California San Diego
  * Norman Badler, University of Pennsylvania.
= Suggested Topics
  * Expressive movement-based interaction
  * Machine learning for movement 
  * modeling movement qualities
  * Gestural control
  * Movement generation 
  * Movement and sound interaction
  * Sensori-motor learning with audio/visual feedback
  * Embodied cognition and movement 
  * Visualizing movement 
  * modeling kinesthetic empathy 
  * Somatic practice and design 
  * Whole-body interaction
  * Expressive movement analysis and synthesis
  * Design for movement in digital art 
  * Semantic models for movement representation
  * Laban Movement Studies and computation
  * Dance and neuroscience
  * Biosensing and movement
  * Movement expression in avatar, artificial agents, virtual humans or robots.
  * Music and movement
= Participation to the workshop
The workshop is an opportunity to present a research or a collaborative work. Participants will have the possibility to make a presentation of the results of their research on one of the themes of the workshop, and to interact with their scientific, artistic peers, in a friendly and constructive environment.
If you are interested in an oral presentation of your work with an optional demonstration, please submit a paper. 
= Submission date and format
Technical papers with optional demo, 4 to 6 pages: 15th February 2014.
Notification 16 March 2014.
All submission will be peer-reviewed.
Please use the ACM template (alternate style):
All submissions must be done through EasyChair: 
= Venue
Ircam - Centre Pompidou, 1 Place Igor Stravinsky, 75004 Paris, France,
MOCO14 will be  co-located with the Manifeste Festival  
= Workshop Chairs
  * Frederic Bevilacqua, Ircam, Paris, France
  * Sarah Fdili Alaoui, SIAT, SFU, Vancouver, Canada
  * Thecla Schiphorst, SIAT, SFU, Vancouver, Canada
  * Philippe Pasquier, SIAT, SFU, Vancouver, Canada
  * Jules Françoise, Ircam, Paris, France
Contact email:
= Local Organization Committee
> Ircam - STMS joint research unit with CNRS and Université Pierre et Marie Curie - Paris
  * Sylvie Benoit, Ircam, Paris, France
  * Frédéric Bevilacqua,  Ircam, Paris, France
  * Eric Boyer, Ircam, Paris, France
  * Emmanuel Fléty, Ircam, Paris, France
  * Jules Françoise, Ircam, Paris, France
  * Norbert Schnell, Ircam, Paris, France
  * Diemo Schwarz, Ircam, Paris, France
  * Hugues Vinet,  Ircam, Paris, France


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THÆTA is the third performance of StratoFyzika’s Shadows Trilogy. With new collaborations in sound and interactivity (sensors building, coding), the concept still steeped in the subconscious realms and dealing with the ego: the dark and light shadow aspects of self (as in the first two parts of the trilogy) but also on the edge of the conscious, waking self; visions on the edge of sleep, whispy light shadows, multi-dimensional geometric objects, sudden sound as if from the halls of a mind in a dream state. 
This liminal zone is a state referred to as Hypnogogia. 

THÆTA embodies this borderland state. 

All merge onto the stage, interactively; body dynamics, auditory sensations and visuals function as the culmination of parts into one constellation in live performance.


Interactive Stratum

The aim of introducing interactivity in our work is to engage a live performative environment where the movement is able to affect the sound and the image as well as with those elements. To accomplish this task in a meaningful way, something beyond a 1 to 1 connection between sensors and effects parameters should be achieved. Data is not information until it is analyzed and transformed. In this direction, different pattern and gesture recognition algorithms are applied to the values coming from the sensors in order to extract the key steps out of the choreography. This technique allows the performer to establish a set of movements to create a new language within the scope of a particular performance.

Sensing Stratum

Body-mounted sensors: three-axial accelerometers and a gyroscope, are being used as the primary sensing mechanism for quantification of temporal variations in motion and gesture. THÆTA uses a specifically designed prototype of wearable electronic devices whose main module is based on Arduino Fio, and an x-bee module for wireless communication.

Sound Stratum

The soundtrack for THÆTA is composed of abstract atmospheres and drones which at a certain point morph into rhythmic patterns and lead the piece to its most intense conclusion. The sound synthesis process is connected to the sensors' signals and the overall quantity of movement is mapped to the occurrence of sound, which shapes refinements with movement data’s details. The sonification of images and movements aims to hypnotize the audience with various tricks, from noise cacophonies to otoacustic emissions - a physiological reaction to a couple of pure tones that makes the ear hair cells resonate and produce a tone.

The main sound sources have been selected from the archives of a free experimental sound internet library, curated and maintained by Thalamus Lab. The project launched an open call called Experimental Sound Lab and many artists from different countries contributed to create a collaborative library.

Visuals Stratum

The stage is designed by the visuals around and together with the performer, investigating the liminal zone through the use of live sketch techniques as well as morphing shapes modeling, audio-driven geometric patterns and pre-shot shadows characters appearences. The projections narrative takes the shape of a path, sinking into the black subconscious world, giving birth to a night creature, shaping its visions and then re-emerging to face the sharp cold touch of the light beam.

Over the whole performance experience, specific interactivity is being used to let gestures drive specific visual impressions. The interactive part of the visuals shows a complex system, where the interaction of a large number of individuals creates a new entity with a different behavior than just the addition of the single ones. This emergent behavior is modeled following the classic flocking rules written by Craig Reynolds in 1986 (separation, alignment and cohesion). To those we added a few more like a bounding area, a noise field or a perlin random walker.

Movement Stratum

The dancer’s torgue, bend, twisting and qualities of movement is the consequence of the mind directing the body’s reactions on/into the audiovisual environment. In THÆTA, the movement is focused on the embodiment of a character which is in contact with light and dark shadows, traveling through the hypnogogic state via an (imagined) Theta wave state. The choreography on it’s own is a movement map written through common brainstorm and then broken down into sections either with specific set choreography and/or an improvised score sometimes employing the Atavistic Technique.


Hen Lovely Bird : creative direction, movement writer / 

Alessandra Leone / creative direction, visual content /

Davic Nod / sound project /

Thomas Van Ta / creative code /

Giovanni-Marco Zaccaria / wearable sensors design & development

Jeanette Bruneau Rossow / costume design /

Thanx to:

B-Seite festival crew
Dario-Jacopo Laganà // photography
Oriol Pastor //creative coding
L'estruch MediaLab - Sabadell

Audio contributors: Felix Blume,Jovica Storer, Dave Pape, Tessa Elief, Dizzy Banjo, Suonho, PJCohen, Virotic, Gabriela Parra, Freed, SubFeld, Sandyrb, Richard Frohlich, Batchku, Patchen, Than van Nispen, Melack, Marco Madia, PoisedToGlitch, Spt3125, Nirtana, Lost Chocolate Lab, J. Simon van der Walt, Koops, Milo, ERH, AlienXXX, Daniel Blinkhorn, Pluja de Metall, Katarrhaktes, Jef Aerts, JQR, David Flood, Kyle Evans, M. Wissar, Toko Okuda //

Special thanx go to the people who have been contributing to our crowd funding, supporting the production costs for the piece.

with love,
Tina Zimmerman
Wolfram Lakaszus,
Lisa and Jerry Hicks
Garth Webb
Alexandros Drymonitis
Alison Colman
Carly Pick
Margery Fairchild
Daria Kaufman
Gautam Agarwal
Savannah Lees-Haley
Michael Jenkins
Susanne Kirchmayr
Donna Larson
John and Jo Larson
Cio Dorbandt
Han Van Acoleyen
Mumu Mariane Charline Hernandez
Brianne Crabtree
Audrey Panven
Ian Smith-Heisters
Claudia Frickemeier
Tommaso Leone
Judy Kaufman
Helga Jäckel
Mary Franck

and our Private donators, of course.

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Celebrating its 12th year, the NEWPORT BEACH FILM FESTIVAL is open for submissions from innovative filmmakers and artists from around the world, who specialize in the exploration of body, dance, and movement through the medium of film and video. All movement-based genres are accepted, such as videodance, animation and documentary.

Selected films will be showcased in a special program focused on dance and will also be eligible for Jury, Audience, and Festival Awards. Please take advantage of this grand opportunity to screen your work in front of thousands of film fans and industry professionals!

The Festival will be running from April 28 to May 5, 2011 and screened in Newport Beach, CA.

For more information on our festival and the submissions process, please visit our official website:

or submit now using this link:

Early Deadline - October 22, 2010

Thanksgiving Special - November 19, 2010

Standard Deadline - December 17, 2010

Final Deadline - January 24, 2011



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Our movement-interactive video projection installation Canvas will be set up in the Queen Elizabeth Hall Foyer at Southbank Centre, London, during Shadoworks, a concert by the London Sinfonietta curated by the London Sinfonietta Collective, on Thursday 03 June at 7:30 p.m. The concert consists of works by Hans Abrahamsen, Aldo Clementi, Dai Fujikura, Larry Goves, and György Ligeti. The context for the concert additionally includes an electronic music piece by Alex Cook and Daniel Harle using the software Music Mouse on an old Atari 1040ST, a dance animation film by Katie Keeble and Ni Wen, synesthetic sound-interactive video by Sion Fletcher, post-concert musical miniatures by Howard Skempton, and our own dance-installation Just Hanging Around. This promises to be a fascinating multimedia art and technology evening!

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View our new uploaded video of Featured Choreographer, Larry Keigwin, who shares his Success Story Promoting Dance with Video. Share your comments with us! Stay tuned for more success stories from the panelists from this Information Session at the 2010 APAP conference in NYC.
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Right in the middle of a world-wide tour that's taking the best of moves09 as far as Glasgow, Australia, Hungary, Spain, Brazil or Russia moves returns to the North West. Showcasing the most recent and fascinating works that examine movement on screen moves will takeover the renowned cultural centre The Bluecoat (Liverpool) from 21 to 25 April 2010.Established in the North West of England, moves is the largest exhibition platform in the UK for experimental short film and new media with a unique focus on movement on screen, exploring new ways of telling stories through films, installations and screen-based works.moves10 is preparing for its 6th edition in April 2010 with a new and exciting programme going more international than ever and presenting work indoors and outdoors, featuring international screenings, talks, interactive installations, workshops and live events.OPEN CALL FOR ENTRIESDeadline Sunday 13 December.NEW!PRIZE This year you can win a tour across Europe to present your work with the Alternative Routes Award! (see below)moves is now inviting artists to submit their work for inclusion in the 2010 festival programme.moves10 expands the open call and welcomes screen-based installations as well as films and papers exploring movement through its context.The works must have been completed from January 2008 onwards.THE THEMEUnder the theme “Framing Motion”, the festival will explore how practitioners choose to frame movement through their choice of setting and context, viewed through the eyes of the director, choreographer, animator,... in defining the boundaries for screen-based works. These can be real worlds or imaginary, abstract, impossible or augmented environments defined by a specific visual intent.In looking at methods of capturing a sense of pulse and energy, we also investigate definitions of stillness. Rather than contradicting our central motif, it is the dialogue of pause-and-release through which motion occurs: capturing - if only for a moment - the essence of life ablaze.ALTERNATIVE ROUTES AWARDmoves is part of Alternative Routes, a European network to encourage the transnational circulation of artistic and cultural works, developing a new route for experimental screen-based work in collaboration with three festivals in Hungary, Iceland and Portugal.By participating in moves10's open call, you and your work enter the Alternative Routes competition with a chance to become part of this exciting network and tour to the partner festivals across Europe!If your work is successful the selection committee will either nominate you for the Alternative Routes PRIZE or the Alternative Routes TOUR.AR Prize: Alternative Routes will take you and your work as far as Iceland, Hungary and Portugal. The prize is a great opportunity to present your work across Europe, meet other artists, visit and get to know other organisations, and promote your work to industry people on international level.AR Tour: Alternative Routes will take your work on tour and showcase it across Europe, using moves (UK), 700IS (Iceland), FRAME Research (Portugal) and INTERMODEM (Hungary) as platforms.note: only Europe-based artists are eligible to enter the AR award.Read more about Alternative Routes here.Submission forms can be downloaded on Sunday 13 December 2009.Experience, create, debate and tour your work celebrating with us 6 years of moves!
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Visualizing Dance Archives is a research and development project aimed at creating a 3D animation software for dance and choreography.The goal of this project is to develop a new unique software, which provides the possibility to access historic static sources and to translate their referentiality into visuality, thus revealing its motoric and kinetic aspects. The new computer application will aid research in reconstructing dance by creating animated movement sequences. It will allow to transfer movement content from a variety of sources into a visual, three-dimensional representation. The researcher will be given a great amount of flexibility, offering a wide range of possibilities and choices to connect visualized body postures to movement phrases.


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TRENCH is screening at returns to Manchester and the UK from 23 to 28 April 2009.Now in its 5th year, moves is established as the largest exhibition platform in the UK for experimental short film and new media with a unique focus on movement on screen, exploring new ways of telling stories through films, installations and screen-based works.2008 was the year of music, questioning the interaction of sound and movement on screen; moves09 will be looking at stories beyond movement, exploring the narrative possibilities of movement on screen through screenings, installations, live events, open-source forums…moves is the largest exhibition platform in the UK for experimental short film and new media with a unique focus on movement on screen, exploring new ways of telling stories through films, installations and screen-based works.Wherever you live, you can catch moves:in Manchester and the North West with a 6-day festival exploring movement on screen through screenings, installations, workshops and open-space forums;in the UK on the BBC Big Screens and in selected venues such as Sadler's Wells and Glasgow CCA;worldwide with a year-round tour taking moves' favourites as far as Hungary, Russia and Brazil.
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Watch 50 Dance and Movement Animations

Yesterday, I finished a categorized directory to more than 50 posts on Great Dance that include videos of many different types of dance and movement animations such as 2D and 3D, stop-motion, visual effects, interactive performances and installations, computer games, machinima, live action and CG, motion graphics, visualizations, pre-cinema and many other types.I'm going to continue expanding this dance animation directory. So please email me suggestions and recommendations.
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Galvanic Skin Response Sensors - Movement Work

I am collaborating on a project using galvanic skin response sensors in movement performance for the Boston Cyberarts Festival this Spring 2009. I and 2 other dancers I am working with will be wearing the sensors in performance (currently testing out finger versus toe attachments). These will be wired through an analog synthesizer (foregoing digital mediation this round). We will be creating moody low-tones in conjunction with other sounds played by a collaborating musician. Our goal is to create a sound landscape that reflects the inner processes we are exploring through imagery in our movement.I've never worked with GSR's before and am curious if others have experimented with these and in what contexts? Would love to hear about others' experiences.
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moves08 Movement on Screen Festival (short moves08) took place in Manchester and Lancaster from 22nd to 26th April 2008. Here is my little summary of the event for anyone who – unfortunately - could not make it because you really missed something. It was simply awesome! Pascale Moyse, Festival Director of Moves08, pulled together a well-organized, interesting and elite-level string of events and although the festival was filled with high profile and international input; it still remained very personal and offered a great opportunity to network and to gain real insight into the contemporary world of video dance.Due to work commitment (I was filming TRENCH with Anthony Missen and Kevin Turner) I had to miss the first two days of the festival but joined in on Thursday and that’s where this blog starts:Thursday, 24th April 200810am – 11:25am Brigitta Hosea at RNCMForum 6Brigitta Hosea spoke about sound drawings and performance drawings and demonstrated various ways to great stunning imagery purely with her voice. She also mentioned how she uses PWM, light sensors and motors in her work and her interest in motion sensitive toys like the ones that can be found in an Argos catalogue. For example, there is a Barbie head that is able to learn a song and sing it with its lips in sync. From here on the discussion was opened up and the “Modified Toy Orchestra” by Brian Duffy from Birmingham was brought up as well as French emotional toys. More physically active gadgets like a Wii or GPS can get literally our bodies involved in an interactive way, e.g. in a project based in London a drawing was created matching the tracks tagged mobilephone carries have taken. And then we wondered how Maurice Merleau-Ponty would have viewed those new aspects of technology and knowledge of sense-data in his philosophy on – 1pm Alex Reuben at RNCMForum 7Alex Reuben was once a DJ who moved his passion for dance to filmmaking. His quest to find out why he loves dance and why especially certain styles of music make him dance led him to travel America and documented personal journeys of the roots of dance in “Routes”. It is a sound-led work for cinema that shows an anthropological side of music and dance and was commissioned by Capture/ English Arts Council.Reuben’s own artistic roots lie in Fine Art which is still reflected in his video work like Que Pasa bringing together painting, sound and ethnic dance. He says that as a DJ, he was able to ‘sculpt’ a room with his music and that he sees similar physical responses created by American artists like Jackson Pollock.2:30pm – 4pm Donald Glowinsky at RNCMForum 8, Keynote speakerDonald Glowinsky is based at the InfoMus Lab at Casa Paganini at University of Genova, Italy. His research focuses on activity analysis of music and dance performance to develop novel techniques and computational models for understanding non-verbal communication. The interactive software Eyesweb derives from the concept of animacy: kinematics (speed), form (shape) and dynamics (force) to give information of intention. 12 dots are sufficient enough for the human eye to recognize a human being in motion and its emotion, possibly even with as little as 3 dots (GEMEP Corpus) (festival in June)Mr Gurk effect 1970www.infomus.orgwww.casapaganini.orgwww.eyesweb.org4pm – 5pm Conference Wrap Up6pm – 9pm Dance for Camera Night at Sandbar with South East DanceMy friend Christopher Perkins, a photographer and filmmaker based in Manchester wrote a blog about this particular Thursday night’s eventhttp://snapztalks.blogspot.comFriday 25th April 200810am – 4pm Eyesweb Masterclass with Donald Glowinsky at MMU CheshireThis workshop gave a hands-on experience with the Eyesweb software which has a straightforward layout resembling a mix of an email inbox and Apple Motion. The icons are kept simple: a camera represents the camera input, a TV is the connection to a monitor; this makes it very easy to achieve interactive results with little start-up help.Eyesweb is a free software and is currently utilized by about 10,000 users6:30pm – 8pm Visions d’aillieurs, screening at RNCMThis screening brought together an international selection of various video dance genres. The possibly all-over favourite was Pork by Gido Leytens from Netherlands: a guy is watching TV when a woman on the screen starts speaking, this causes him to have a fit and flashbacks of being treated like a dog explode in. This might not sound too exciting, yet, the way it was shoot, directed, edited and acted worked really well. Personally, I enjoyed Tango Finlandia by Hannu Lajunen because it used animation in an original way and the story of two guys trying to dance/wrestle was very amusing. In Andy Wood’s Three is a Crowd the audience can sense how Wood actually dances with his camera in this uncut version with the improvising, tango-dancing couple. Analog Brother by German Falk Peplinski applies stop-motion animation technique to the dancers/actors with a fantastic overall bluish grade. It throws you back to the 80’s and I couldn’t help thinking of Petshop Boys and Kraftwerk.8:15pm – 9:45pm Alex Reuben’s Now that’s what I call Modern Disco Dancing Classics Vol 1 at RNCMReuben ingeniously mixed together video works he created between 1999 and 2007; a natural flow run throw the varying imagery and proves his djing skills can also be applied to editing and vjing. It blended together hand-held documentary shoots with scripted studio shoots to motion capture animations. The Q & A afterwards offered the opportunity to get some background information about the works.Saturday 26th April 200811am – 1pm Industry Brunch at SandbarApologies if any names are misspelled!Tamsin Durie from LANWest (Live Art North West) brought to attention the various opportunities that are around in the area of Manchester:- Emgerency is an Open Performance platform happening in September/October- 3 yr funding scheme with In-Transit- LANWest collaborates together with the GreenRoom in Manchester but also with Leeds, Klucol, Carlisle, University of Lancashire, Neville in Lancaster to create a network for producing work and promotion- Panda-Arts focuses on support for stage, street theatre, live art, film, networking and business development. They offer mentoring and show-starter seminars for graduates and students.Werner Moebius and Mariella Greil are part of the Sound Networks which affiliates with the Open Source City, an autonomous village and is shaped by its members. On 3rd and 4th May 2008 a Contact Theatre is taking place.Lesley Ann Rose runs the Northern Film Maker Network which have been established since 2000; it is a dynamic creative non-profit agency helping uprising filmmakers to find funding and crews. The Northern Film Maker newsletter offers members to add in their own call-outs. The programme of events spans from opportunities with Channel 4 and Dazzle Films to networking events…and works together with the Cornerhouse (Manchester) and Hosea contributed to the discussion on Funding & Comprising the fact that in Spain digital artists are not given any support and therefore set up Technearte in Asturias and Bilbao. This organization offers residencies for digital artists in professional companies that e.g. specialize in alarms and mobile phones and welcome the artists’ innovative creative approach.4pm – 5:30pm Outside the Box, Screening at RNCMOutside the Box screened my video A_WAY_AWAY which is a mix of live action and animation and can be view on my website Pan Y Cebollas by Ramona Poenaru plays with the notion living on your object of desire alone; in a raw animalistic way two beautiful women “eat” a naked man laid out on a wooden table. The most inventive film was Kitchen by Francois Vogel from France; a special lens was created to for this video to give the illusion of a spinning room viewed through a fish-eye.6pm – 7pm Transcended, Screening at RNCMPhilippa Thomas’ Electric Desert brought together footage filmed form a limo in Las Vegas and shoots of a male dancer recreating Loie Fuller’s butterfly. An enigmatic visual mix intensified by music by 7Hertz. Suspension by Nicolas Provost from Belgium draws the audience into hyper-realistic psychedelic exploding clouds and I imaged it would be wonderful to see them in a looping installation or as an interactive backdrop of a performance.from 8pm Closing Night with Filmmaking Lab Screening at SandbarTo round up the festival, the screening of videos created over the duration of the festival was just the perfect way. Fantastic innovative ideas with hand-puppets, animation and live shoots accompanied by live music by Tony proved that performance can happen anywhere, anytime and anyway. My personal favourite was Mark Pilkington’s video of the ballerina in a black tutu filmed in the back of a driving car.The Closing Night also offered another great opportunity to meet more interesting people from the field of video dance and to have time to talk.To sum up: it simply was a fantastic festival which I thoroughly enjoyed and found very inspiring. It cannot be neglected how warmly we were all welcomed and how comfortable it was to be all in the same hotel around the corner. Many Thanks to Pascale Moyse for bringing us all together for an events-packed festival!NOTE: ALL THE ABOVE MENTIONED INFORMATION CAME FROM MY OWN PERSONAL NOTES AND SORRY BUT I CANNOT GUARANTEE THAT THEY ARE 100% CORRECT!
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In my Kinetic Interface blog, I'm very interested in the connection among dance, movement, and new body and movement-centric interfaces. I compiled a guide to videos of new interfaces that you can review.I'm curious to what extent dancers and those trained in Laban Movement Analysis might contribute to the creation and analysis of new body and movement-based interfaces?Along these lines, I came across a paper titled "Understanding Movement for Interaction Design: Frameworks and Approaches." (L Loke, AT Larssen, T Robertson and J Edwards, in Personal and Ubiquitous Computing, vol. 11, no. 8, 2007, 691-702. You can read the paper in PDF format.Here is the abstract:"The results of a study of two computer games, that use human movement as direct input, were analysed using four existing frameworks and approaches, drawn from different disciplines that relate to interaction and movement. This enabled the exploration of the relationships between bodily actions and the corresponding responses from technology. Interaction analysis, two design frameworks and Laban movement analysis were chosen for their ability to provide different perspectives on human movement in interaction design. Each framework and approach provided a different, yet still useful, perspective to inform the design of movement-based interaction. Each allowed us to examine the interaction between the player and the game technology in quite distinctive ways. Each contributed insights that the others did not."I would be curious what dance-tech community members think about the use of LMA in conjunction with the other frameworks used to analyze human movement as direct input in the context of the Sony EyeToy.If you were conducting this or a similar study, what frameworks would you use?If anybody knows of the application of movement analysis in a commercial setting, I would very much like to know about this work.I look forward to your thoughts.
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Led by sound designer Norm Scott and director/choreographer Martha Williams www.themovementmovement.orgFor curious artists, dancers/choreographers, video-ists; students of all of these who want to interface their medium with sound and wonder how to do that or where to begin; or for folks who simply want to learn more about sound making process.In this interactive workshop, participants will have an opportunity to actually be a part of the recording and compositional process. They will go "out into the streets" to record that will later be contributed to a short score. Prior to the field trip portion of the class, we will discuss the formulas and limits for sound collection and the meaning and relevance of intention and limits in the creative process. We will especially look at how we can infuse the theme, which is “productivity," every step of the way. Upon collection of sound, we will return to engage in the interactive compositional portion of the day concluding with a real live useable score that will (in some form) be a part of The Movement Movement's full length evening contemporary dance piece premiering at the Joyce SoHo in June 2008.Sun April 6th, 10 AM to 4 PM - $50 (12 person limit)Harvest Works596 Broadway, Suite 602 (btwn Houston and Prince)New York, NYTo register visit – go to classes/audioFor more information on content contact Martha Williams
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