In the summer of 2013, I invited several artists to freely explore the AR space and its art making potential. Conceptual and technical support was provided and the artists were given complete access to their own AR channel and virtual studio.
Adam createdTHE REACCESSION OF TED SHAWNas a digital installation in The Museum of Modern Art without the museum’s consent.
He "placed" a permanent installation of his recent performances at MoMA in the AR environment. Through the use of the dance-tech.tv AR app, visitors are able to view footage of his performances simply by using their smartphones or tablet to the museum galleries where he performed in October of 2013.
His project implicate the uses of the mobile technology questioning notions and affordances of exhibition space, archive, participation, institutional legitimation, interfaces and mediation.
"By installing the re-performances of Ted Shawn's choreography inside the museum walls, Weinert strives to perform an act of “Reaccession”. This perlocutionary flip, made possible by the use of AR and video documentation, trespasses on the museum and exposes aspects of its relation to its audience, to dance and to dance history usually unseen. The Reaccession of Ted Shawn challenges notions of the archive and re-performance as understood by recent scholarship in performance studies and art history by way of digital, performative intervention and offers a new vector for displaying performance in museum spaces - one which honors the vision of the authors and transforms the museum into more than a cenotaphic display."
Panorama Aumentado creates a hidden media landscape that grows as the festival happens.
Use your smart phones to discover geolocated videos of performances and interviews with the dancetrchtvARapp on festival program, banners, posters, logos the facades of the theaters.
The lab explores the intersection of online video journalism and Augmented Reality technology, creating a mobile media experience during the festival. The lab works a hub to share with the community new ways of media production, distributions and interfacing. It explores potential of mobile augmented reality technology to intervene and augment the festival with digital content.
The audience uses smart phones or tablets to scan programs and posters of the festival and theater facades to discover video layers with performance excepts, artists interviews and other contents created by a team of volunteers from the local community.
How does Panorama Aumentado work?
It uses a free Augmented Reality app of dance-tech.tv and it allows the user to discover video layers on printed material and building facades. It also allows the user to create their own AR geolocated content.
It combines an image recognition engine and geolocation.
The dance-tech.tv AR app is designed to be used mostly in the contexts of arts festivals and older events to augment printed programs and posters with video layers of the artists involved in the festivals and with video content created in the festivals by the dance-tech.tv team. It may also be used for some urban games and performances with the geolocation feature.
The dance-tech.tv AR app makes image and location a site for multimedia performance experimentation.
2.-Tap on information icon (I) in the bottom right of the screen and read detailed guidelines on how to use this app for making location auras and also create your own AR channel.
Where to see the content?
Augmented Printed Program
Point the device to images of the Festival Panorama 2012 main program, names of artists and logos.
Tap on the video layer to make fullscreen and single tap to go to the url to watch the full video.
This video shows the installation running at the festival center (Largo das Artes, Rio de Janeiro), where the visitors change pieces of the printed program and scan them with an iPhone and iPad running the dancetechtvARapp connected to an LCD screen and discover the trailers of the pieces and interviews. The app then, recognizes the image and plays a video layer on it. All the images of the program and logos are augmented with video content. Combines social media journalism, interactive media and augmented reality technology.
Geolocated Videos on facades of Theaters and big posters:
You can use the app to scan the facades of the main festival venues and banners to see video trailer of upcoming events.
Scan the big banner in front go there Teatro Joao Caetano and Carlos Gomes and you will see the trailers of the upcoming show or the festival:
Important:
I you are near of AR geolocated augmented reality content you will see several icons on the bottom part of the viewer.
See screenshot from app when you are close to the Teatro Joao Caetano. Tap on the icons to get more information about the AR location and the image hint.
Panorama Aumentado
The Lab/workshop
The project offers a workshop to explore social media video production and augmented reality. The lab participants video and edit using portable devices and an online tools to produce a collinear documentation of what happens at the theaters and other venues and its headquarters are the Center of the Festival. In generates a sustainable exchange from the festival and volunteers of the community.
Team for Panorama Aumentado @ Festival Panorama 2012:
Julia Alapenha
Paula Beatriz Dantas
Maria Ricilena Santos
Rita Lins de Mello
Karine de Bacco
Luiz Guilherme Guerrreiro
Bia Paes
Images from Panorama Aumentado workshop:
Screenshots of app augmenting programs and building facades:
Send us questions, feedback and screenshots of the app working to marlon@dance-tech.net
Use the app to scan from this screen the following images and see media from the festival:
Festival Panorama 2012 logo
Ana Borralho & João Galante
Cena 11
Meg Stuart | Damaged Goods
You can also scan the images from the program pdf:
Panorama Aumentado was conceived by Marlon Barrios Solano as a collaboration between dance-tech.tv and Festival Panorama 2012.
Thanks to: ACCAD – The Advanced Computer Center for Arts and Design from the Ohio State University (USA) and DanceDigitalUK. The dancetechtvARapp is powered by Aurasma (UK)
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)
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)
For this year’s edition, dança em foco – Festival Internacional de Vídeo Dança is launching two grant programs for videodance creation/production. The initiative was made possible because of the new sponsorship of
Petrobras, the Brazilian oil company.
“Historically, dança em foco always supported diffusion and training. Even in our partnerships, we were always concerned with screening videodance and contextualize it through
workshops, debates with local artists etc. Since 2002 we had the idea of
a grant program, but we still couldn’t make it happen. In 2007 we had a
program that awarded videos created for cell phones. This year we
managed to make both happen!”, Paulo Caldas, one of the curators,
celebrates.
The festival will award in the Vídeo1′ program videodances recorder with cell-phone cameras. The videos must be sent until April 23 and they must last up to one minute. Each creator
will be allowed to submit one project and it must have been made from
January 2009 on. Those selected will receive an award of R$ 1.000 and
will be screened at dança em foco 2010.
In the Vídeo5′ program, screenplays for a videodance production of up to 5 minutes will be selected. The projects must be sent until April 30. Those selected will receive from R$ 3.000
to R$ 6.000, according to the project’s budgets.
Both programs seek to award projects that integrate dance and video as an autonomous composition. Besides the two, Rumos Itaú is another program aimed exclusively at the research and
production of videodance. It recently screened the result of its last
edition. Given the growing interest in the videodance language, many
questions arise about what fits into this form of expression.
For Caldas, this debate will go on for a while. “Any difficulty in thinking about videodance is an unfoldment of the issues that emerge with contemporary dance. They are potentiated in the
videodance context. All the tension of experimentation in dance also
appears in videodance. In the curatorship process, I try to look for
movement principles in that piece. It could be the body, editing or
camera. This makes a connection between cinema and dance.”
The regulation is available at the festival’s website. More information may be obtained at edital@dancaemfoco.com.br.
Posted by Susan Elena on March 12, 2008 at 12:44pm
These Things Happen when three dancers and one dancer/film maker follow instructions given by choreographer, Angus Balbernie at a Dance House research lab. Spontaneous, textured and very low-tech.Following another failed attempt to hire any equipment I ended up using my own Mini DV and mobile to film improvisations at Angus' research lab. Angus had agreed to let me use the footage anyway I decided but I wasn't sure how to put it all together with it being on different formats and still make it look like one cohesive piece. After a lightbulb moment last weekend I decided to embrace the low-tech aspect and only use the footage from my mobile. The only editing I chose to use was to rotate some of the sections which had been captured in portrait to give the feeling of the camera rotating but the dancers remain standing.I'm quite pleased with the results and am now thinking of ways this can be combined with my final project. Find more videos like this on dance-tech.net These Things Happen will be screened at the launch of re:surface tonight, the Dance House's video dance event.
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