Blogs

general concept & choreography :
Nicole Corsino
Norbert Corsino

 development of interactivities :
Samuel Toulouse

3D scenographies :
Patrick Zanoli

interpretation of motion capture :
Ana Teixido
Stefania Rossetti
Norbert Corsino

sound sequences :
Jacques Diennet

texts :
Claudine Galea

A sensitive navigation in harmony with the iPhone.

The poetic abstract kinetics of bodies and landscapes are increased by the tool. In return, the specifications of the object held in the hand are developed through interaction engines.

soi moi self as me is a portable installation that provides a perception of one’s own body, the body that is holding the iPhone, which is more friendly, in the sense that a real consideration of the sensible physical intelligence of oneself does not always happen. Fifteen interactive sequences of 1 to 2 minutes form the basis of the scenarios.

In soi moi self as me, motion capture choreographic sequences play with invisibility: the absence of an object or a partner creates unexpected physical situations. Technical processes emphasize the intention when they entail disappearance – or, more precisely, removal: that is, removal in the sense of alleviation or abduction.
Beyond the words of the title soi moi self as me, the construction of internal and external pressures invites some escapes towards a form of tensegrity– tensile integrity, which is closer to biology and architecture than to shamanism.
With soi moi self as me, the object held in the hand is seen as an extension of oneself, and the moi is constructed by pressures external to the person.

We like to think that choreography, music and sounds, scenography, light and images form parallel scenarios in relation to a chosen central theme. None of them is worked a priori as an illustration of the other or treated as a direct application. The same applies to the interactive mode. The cartography of representation is not superimposed on the user’s perceptive cartography: they correspond to each other in an appropriate language and a relational game engendering a narrative form.
Seeing dance is grasping it and capturing it instantaneously in several possible spaces of representation. The temporal continuity of this capture is not measurable, but it is deformable: it refers to a topological structure of the flow of time applied to the perception of movement. (Topologies de l’instant - Topologies of the instant, Actes Sud, 2001)

Text  project description from  artists websites

Portland, Ore (August 2, 2011) -- The National Endowment for the Humanitieshas awarded a $25,000 Digital Humanities Start-Up Grant to support Reed College's development of a dance notation application for iPad. The project,Enhancing Dance Literacy, is directed by Dr. Hannah Kosstrin, a visiting assistant professor of dance at Reed. The goal is to provide students and faculty with sophisticated dance notation and editing tools that can be used easily in the classroom, studio, and elsewhere. 

"This iPad app will significantly change the way dance and movement teachers read, write, and share notation in their teaching, research, and public projects," says Professor Kosstrin.  "The beneficiaries of this project will be researchers, scholars, teachers, choreographers, dancers, and students in fields such as dance, theater, performance studies, and others who use movement as an integral part of their scholarly inquiry. At Reed, students will have the opportunity to use this technology in their coursework and research projects."

The software development is the result of a partnership between Reed College and The Ohio State University, where Professor Kosstrin recently completed her doctorate. The iPad app utilizes one of the most widely used systems for documenting dance, known as Labanotation, and builds on LabanWriter, a software package previously developed for desktop computers at OSU.

Labanotation is a movement notation system developed in the 1920s that is based on a staff with symbols that denote where the body goes in space, time, and duration. Labanotation, along with its corollary Motif Writing, is a literacy tool for dance and movement, both for reading the notation of existing and historical dances, and for notating new dances for documentation or generative purposes.

The NEH-supported app will provide a powerful tool for stylistic analysis of choreography through dance notation, a foundational form of dance literacy. This type of analysis is integral to the study of dance within the humanities; it provides a unique perspective on cultural norms, political trends, gender relations, issues of identity, and other historical elements as embodied in choreographic styles. The study of dance styles and aesthetic progressions strengthens students' analytical, critical thinking, and writing skills. As a musical score is vital to music students’ understanding of musical compositions, dance notation similarly allows students entry into dance analysis from the inside out. 

Martin Ringle, Reed's chief technology officer and coprincipal investigator for the project, observes that "the development of this mobile app for dance notation points the way to a wealth of new software applications for the liberal arts curriculum. The ease of iPad app development allows even small institutions, like Reed, to play an important role in the development of new instructional technology tools."

This fall, early versions of Reed's iPad dance notation app will be shared with colleagues at several colleges and universities who will test it and provide feedback on its usability. In late spring 2012, the app will be released broad

general concept & choreography :
Nicole Corsino
Norbert Corsino

 development of interactivities :
Samuel Toulouse

3D scenographies :
Patrick Zanoli

interpretation of motion capture :
Ana Teixido
Stefania Rossetti
Norbert Corsino

sound sequences :
Jacques Diennet

texts :
Claudine Galea

A sensitive navigation in harmony with the iPhone.

The poetic abstract kinetics of bodies and landscapes are increased by the tool. In return, the specifications of the object held in the hand are developed through interaction engines.

soi moi self as me is a portable installation that provides a perception of one’s own body, the body that is holding the iPhone, which is more friendly, in the sense that a real consideration of the sensible physical intelligence of oneself does not always happen. Fifteen interactive sequences of 1 to 2 minutes form the basis of the scenarios.

In soi moi self as me, motion capture choreographic sequences play with invisibility: the absence of an object or a partner creates unexpected physical situations. Technical processes emphasize the intention when they entail disappearance – or, more precisely, removal: that is, removal in the sense of alleviation or abduction.
Beyond the words of the title soi moi self as me, the construction of internal and external pressures invites some escapes towards a form of tensegrity– tensile integrity, which is closer to biology and architecture than to shamanism.
With soi moi self as me, the object held in the hand is seen as an extension of oneself, and the moi is constructed by pressures external to the person.

We like to think that choreography, music and sounds, scenography, light and images form parallel scenarios in relation to a chosen central theme. None of them is worked a priori as an illustration of the other or treated as a direct application. The same applies to the interactive mode. The cartography of representation is not superimposed on the user’s perceptive cartography: they correspond to each other in an appropriate language and a relational game engendering a narrative form.
Seeing dance is grasping it and capturing it instantaneously in several possible spaces of representation. The temporal continuity of this capture is not measurable, but it is deformable: it refers to a topological structure of the flow of time applied to the perception of movement. (Topologies de l’instant - Topologies of the instant, Actes Sud, 2001)

Text  project description from  artists websites

Dances for an iPhone, created, choreographed and produced by Richard Daniels, offers an innovative way to look at and disseminate dance on camera. Mr. Daniels brings modern dance to a wider audience in this App for iPhones, iPads, iPod Touches while simultaneously creating a new category of Apps with purely cultural content. Dances for an iPhone creates a new category of App with purely cultural content. This App allows the viewer to interactively choose from a collection of short dance movies that will be updated and added to periodically.

Dances for an iPhone Volume 1 features five extraordinarily accomplished dancers in six movies: Carmen de Lavallade (dancing to Sondheim’s “Children and Art” and sung by Maria Friedman), Regina Larkin (to an original score by Gerald Busby in “Homage to Fellini”), and Megan Williams(to a score by Bill Conti). Christine Redpath dances the same dance to two different pieces of music: one by Erwin Schulhoff, another by Amy Beach. Writer/critic Deborah Jowitt dances and speaks four love notes written by and between Alice B. Toklas and Gertrude Stein.

Volume 2 will include dance movies featuring: Margie Gillis(Music by Frideric Handel); Stephen Pier and Miki Orihara(to a score by Arvo Part); Risa Steinberg (dancing to Purcell), and Christine Wright (previewing one movie fromVolume 3’s all Scriabin suite). Molissa Fenley dances the same dance to two different tracks – one an original score by Gerald Busby, and the other a text by Richard Daniels.

As dance is often the domain of the young Mr. Daniels remains committed to showing the mature performer, telling stories of life beyond a period of peak physicality. He finds inspiration in working with performers whose artistry is supreme yet whose physical abilities may face limitations. Shot in natural light and practice clothes, these movies transmit an intimate experience of dance.

Each dance is roughly three to five minutes in length. The movement explores a variety of esthetics as Mr. Daniels melds his expressive, lyrical style with the languages that each artist brings to the project. Dances for an iPhone is free at iTunes.

The Baryshnikov Arts Center named Mr. Daniels an artist in residence in 2009 and 2011 in order to create this digital performance project.