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We will be broadcasting LIVE selected talks from an extraordinary gathering!

School of Arts and Department of Computing

Corporeal Computing

Live on dance tech tv

Monday September 2, Tuesday September 3, Wednesday September 4,  2013



From the program:

We are delighted to welcome all participants to the Corporeal Computing 
conference, co-hosted by the School of Arts and the Computing Department, 
University of Surrey.
Increasingly, human-computer systems involve the capture and interpreting of 
motion in high-level 3+D environments, for more embodied interfacing across a 
number of social and cultural settings. This digitized form of ‘physical thinking’ 
bears upon a number of emergent narratives and discourses relating to the 
performance and performativity of body-machine systems. This conference 
brings together computer scientists, cultural theorists, digital media artists 
and artists in the movement arts (dance, theatre and digital music), to discuss 
the use of motion responsive and motion-calculative systems in digital live 
We have put together an exciting programme of papers, demonstrations, 
forums, and performances, with world-leading practitioners and scholars. The 
event is a truly international gathering, with participants from over fifteen 

Nicolas Salazar Sutil, School of Arts, University of Surrey
Paul Krause, Department of Computing, University of Surrey



(UK Times)



Conference Schedule

Day 1

Monday September 2,

08.30 - 09.30 Registration and Coffee

09:30 - 09:40 Welcome: Phil Powrie (Dean, Faculty of Arts and Human Sciences)

09:40 -10:40 Keynote Presentation by Paul Kaiser (OpenEndedGroup)

10:40 - 11:40 Archaeologies of Digital Performance

Oskar Schlemmer’s programmatic gesture – Sally Jane Norman (University of Sussex)

CODA, a stereoscopic computer choreography after Stravinsky’s Rite of Spring— Martine Epoque and

Denis Poulin (LarTech, Canada)

11:40 -12:00 Coffee Break

12:00 -13:00 Corporealities and Materialities I Placing the body in virtual reality – Sita Popat

(University of Leeds)

Blended bodies and notions of materiality in live-digital dancing – Kerry Francksen (de Montfort


13:00 -14:00 Lunch

14:00 -15:00 Keynote Presentation by Mark Coniglio (Troika Ranch)

15:00 - 16:30 Tools and Technologies I

I-CARE-US – Fernando Nabais (YDreams, Lisbon)

The TKB project: creative technologies for the multimodal annotation of performance composition

and documentation – Stephan Jürgens (New University of Lisbon)

Kinect: organising movement between measuring, calculating and perceiving – Irina Kaldrack

(University of Basel)

16:30 – 16:45 Coffee Break

16:45 - 18:00 Round Table Discussion Mark Coniglio, Paul Kaiser, Kirk Woolford, Tom Calvert (with

Sita Popat)

18:00 - 19:30 BBQ Dinner (venue depending on weather, tbc)

19:30 - 21:00 Live Art Installations/ Performances

Electrode, by Daniel Ploeger (UK), Dance Studio

Moments in Place, by Kirk Woolford (UK/US), various locations

NEX, by Cia Proyecto Uno (Spain), Studio 3

After Ghostcatching, by OpenEndedGroup (Paul Kaiser, US), Studio 2

21:00 Reception


Day 2

Tuesday September 3

09:30 - 10:30 Keynote Presentation by Tom Calvert (Credo Interactive)

10:30 - 10:45 Coffee Break

10:45 - 11:40 Corporealities and Materialities II

Transgressing the sonified body – Daniel Ploeger (Brunel University)

Hacking the body – Camille Baker (Brunel University) and Kate Sicchio (University of Lancaster)

11:40 - 12:30 Gesture and Haptics

Conversation with phones – James Charlton (Auckland University of Technology)

Haptics and particles (demo) –Doros Polydorou (Cyprus University of Technology) and Tychonas

Michailides (Birmingham Conservatoire, Birmingham City University)

12:30 -13:30 Lunch

13:30 - 14:30 Keynote Presentation by Kirk Woolford

14:30 - 15:30 Data, Visualisation, Motion

Modulation in interactive video installation – Nic Sandiland (Middlesex University)

MoveEngine – movement values visualized – Henner Drewes (Folkwang University of the Arts,


15:30 - 15:45 Coffee Break

15:45 -16:30 Performance / Lecture Perfect Paul: on freedom of facial expression – Arthur Elsenaar

(Royal Academy of Art- Royal Conservatoire, Netherlands)

16:30 - 17:30 Forum 1 Cyborgs and Ghosts Laura Karreman (Ghent University, Belgium) and Seok Jin

Han (University of Surrey) present and chair

17:30 -19:00 BBQ Dinner (venue depending on weather, tbc)

19:00 - 21:00 Screendance session (Main Theatre)

Structured Light (Short) by Sebastian Melo (Chile)

CODA by Martine Epoque and Denis Poulin (Canada)


All day: After Ghostcatching, by OpenEndedGroup (Paul Kaiser, US), Studio 2

21:00 Reception


Day 3

Wednesday September 4,

08:30 - 10:30 Current Approaches in Digital Laban Studies

Panel 1 (8:30)

Intentional and behavioral movement in virtual worlds: A Laban Movement Analysis approach –

Leslie Bishko (Emily Carr University of Art + Design, Canada)

How to make human animation more alive - Viewing human animation through the lens of Laban

Movement Analysis – Sandra Hooghwinkel (Moving Technology, Netherlands)

Panel 2 (9:30)

Movement archaeologies: digging for meaning in new landscapes of movement data – Thecla

Schiphorst (Simon Fraser University), Karen Bradley and Karen Studd (Laban/Bartenieff Institute of

Movement Studies)

Can affective movement be quantified? A Laban-based approach – Sarah Jane Burton, (Sheridan

College, Canada) Ali-Akbar Samadani, Rob Gorbet, Dana Kulic (University of Waterloo, Canada)

10:30 - 10:50 Coffee Break

10:50 - 12:00 Corporealities And Materialities III

Exploring the capacity of embodied, spontaneous interfaces to support creativity – Michael Neff

(University of California-Davis)

Behavioural coding and segmentation: Signifying practice and value production in technology –

Wangi Lee (Centre for Cultural Studies, Goldsmiths College)

12:00 -13:00 Lunch

13:00 - 14:00 Forum 2: Digital Feminism Margaret Jean Westby (Concordia University, Canada) and

Legacy Russell (Goldsmiths College) present and chair

14:00 - 14:15 Coffee Break

14:15 - 15:15 Tools And Technologies II

Materialising Acts: Exploring movement data for digital interaction through the Sync application –

Lise Amy Hansen (The Oslo School of Architecture and Design, Norway)

Sensor based motion capture in balletic dance – Corinna Spieth-Hoelzl (Dance Institut, Munich)

16:00 -17:15 Performance (+ Q & A’s with artists):

REACH by Mindbeat 2, Dance Studio

17:15 Coffee



Broadcast enabled by in collaboration with Digital Computing Conference organized by Nicolas Salazar Sutil, School of Arts, University of Surrey and Paul Krause, Department of Computing, University of Surrey


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Wayne McGregor | Random Dance: BECOMING


We’ve been working with Wayne McGregor|Random Dance and OpenEndedGroup on Becoming, an algorithmic “virtual dancer” that grows and evolves in response to emulated mechanical constraints and to a database of film material.

Becoming is currently being used in the studio in the making of Atomos, which premieres in October. Becoming will also be shown as part of the exhibit Thinking with the Body at the Wellcome Collection, opening September 19th.

More info:

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WANTED: 3 FEMALE ACTORS with movement skills or DANCERS with acting skills, 

FOR ELENA BAJO'S PERFORMANCE AT FORT DU BRUISSIN, LYON (FRANCE) 11th and 13th of September, within the framework of the Lyon Biennial

-3 female actors (the performance will be in French)  to be a part of an experimental piece, outside of the 'comfort zone' in an art exhibition space in Lyon


The piece is created by Elena Bajo, a visual artist who has exhibited internationally and focuses on the social, political aspects of the site in the city of Lyon. Bajo combines performance with large scale installations to investigate the political and social conditions of change in post-industrial structures, creating site specific work and a space of collective action.

The performers will be required to perform in the space of Fort du Bruissin (Lyon). They will be required to do both improvised and choreographed script/movements determined before hand with the artist. The generator of the piece is a political text/poem. This political text-manifesto will be handed to the performers and it will be used to generate their individual script/choreography. Total duration of the performance around 20 min. 


2  days, 1 hour/day individual work with the artist and 1 day (1 hour) run-through in the space with all the performers

If you are interested in this project please send me an email to  including a web link where I can see your work and a brief bio/cv. Express briefly why you want to participate in the project. You will be contacted by email to proceed forward. If you don't have a link to video online let me know and I would send you a text fragment to prepare something short 1-2 min that you could record in Skype or video camera or iphone.

You will receive  dvd video footage and photos of the performance as well as credits on the program.  The greatest reward of this project lies in that you're interested in the experience. This is an event widely advertised and expected to be a good exposure.

More information about Elena Bajo’s work you can find in her webpage:

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Introducción: Arte, Cuerpo, Tecnología Aproximación a un Panorama Actual Latinoamericano" from Caída Libre on Vimeo.


Art, Body and Technology: an overview of current approaches from Latin America

By: Brisa MP (Chile)

The presentation aims to make a brief tour of the current state of the art of the production that articulates the human body and the technology in the fields of dance and performance. This tour offers a mapping of various levels of production, such as artists, work of art , theoretical production, collaboration networks, research in Latin American festivals and an analysis of the general situation in the region.

No doubt that the art-technology development in Latin America has been largely led by artists from the visual arts. In this scope we can see that the performative arts are not far behind, while its approach to science and technology has been happening slowly, it is now possible to recognize several projects developed in our region. These projects constitute a network of performances, educational and outreach that have shaped a recognizable set between dance-performance and technological mediation.

Moreover, the state of the art makes evident conceptual, aesthetic and economic problems, it proposes new ways of collaborative creation, instances of intercultural exchange and training that have allowed local development of projects pushing the boundaries of traditional Dance and Performance Art territories.

Meanwhile It is recognized that in Latin America a first approach to the relationship between dance and technology, comes from the videodance production, in which the initial scenic event moved to digital imaging and the screen. This is evident in several countries, making it visible a second state of the dance-performance and technology exploring more complex technical and aesthetic structures therefore presenting unequal levels of development in the countries of the region.

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Ben Riepe's "Hundstage"

Ben Riepe's Hundstage was the first project to be premiered within the framework of modul-dance. It was acclaimed by audiences and the media alike.

This piece, for seven performers, deals with existential questions: What is left when what is real presents itself in all its artificially? When does the cynical distance to the world lose its protective smile?

Ben J. Riepe has created complex arrangements, which are defined by, on the one hand, a precise choreographic management of space, time and movement and, on the other, by the individual improvisational creativity of the performers.

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Ma'akaf online magazine - now also in english

Hello Everybody,

on our new issue you can find (among other things) an interview with Bojana Bauer and an essay by Monica Gillette describing her vision on the similarities between dramaturgy and film editing.

you can also upload information regarding workshops, performances etc.

Ma'akaf - online magazine for performance



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Concentric: Literary and Cultural Studies 36.2
Sept. 2010: 89-102

Malabou, Plasticity, and the Sculpturing of the Self
Hugh J. Silverman
Department of Philosophy
Stony Brook University, U.S.A

In What Shall We Do With Our Brain? (2004), French philosopher Catherine
Malabou returns to the traditional philosophical mind-body problem (we do not
experience our mind as a “brain”) and introduces the concept of a difference or
“split” between our brain as a hard material substance and our consciousness of
the brain as a non-identity. Malabou speaks of the brain’s plasticity, a term
which stands between (as a kind of deconstructive “indecidable”) flexibility
and rigidity, suppleness and solidity, fixedness and transformability, identity
and modifiability, determination and freedom. This means seeing the brain no
longer as the “center” and “sovereign power” of the body—as it has been seen
for centuries, at least in the West—but as itself a locus and process of selfsculpting (self-forming) and transdifferentiation, as being very closely interconnected with the rest of the body. Malabou also speaks of our own
potential to sculpt or “re-fashion” ourselves, and (by further extension) to reform our society through trans-differentiating into new and potentially freer, more open and more democratic socio-political forms. In this bold project
Malabou still remains close to her Hegelian roots, and she is also influenced by
Merleau-Ponty’s notion of the body-subject and Nancy’s alter-mondialisation
(other-worlding) as an alternative to globalization.

brain, plasticity, non-identity, self-decentering, transdifferentiation, entre-deux
altermondialisation, sculpting the self, Hegel, phenomenology

For the rest of the doc go to:

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Great documentation  about the meeting  that gathered

The conscious body: an interdisciplinary dialogue. Paris 8 5-7 October 2012

See documentation here:

This workshop proposed a meeting place for two communities who have been investigating the nature of consciousness in, possibly radically, different perspectives. Over the past half a century (and especially over the last 15 years) cognitive scientists and neuroscientists have been studying the nature and neural basis of our phenomenological ‘subjective’ experience of the world, our own body and action and ultimately our selves.  This research has employed traditional paradigms and scientific protocols of experimental (neuro)psychology as well as the emerging technology  of human functional brain imaging  (fMRI, EEG, MEG, TMS, intracranial recordings). Though most of the research on the topic has taken the traditional   “third person perspective”, the intimately subjective nature of this topic has led scientists to integrate subjective reports into their experimental paradigms.

The study of consciousness and awareness using subjective (first person) phenomenological tools has been a central occupation within post-modern dance and related somatic techniques  since  at least the 1960′s. Despite the shared topic of interest, there has been little cross-talk between neuroscientist and dance makers .We believe that such dialogue is possible and that it has the potential to cross-fertilize the research in both domains. For this purpose we have organized this weekend long workshop. The workshop will be organized in 3 blocks, each highlighting a specific dimension of inquiry (shared by both domains). Each block will consist of a presentation of cutting edge research in the field of cognitive neuroscience, followed by a movement practice led by a dance/somatic practitioner addressing the same general issues. Finally, each block will end with an open, informal discussion.  The workshop will start with a live dance performance and will end with a poster session which will allow for non-presenting workshop members to share their ongoing dance/scientific

Friday 5 October 2012 – Studio Keller
1. Arrival and introduction
2. Myriam Gourfink – “The Breathing Monster”

Saturday 6 October 2012 – Paris-8 University
Body awareness and the self (1)
3. Erik Myin
4. Lisa Nelson
Body awareness and the self (2)
5. Steve Paxton

Sunday 7 October 2012 – Paris-8 University
Consciousness of movement, movement of consciousness
6. Aaron Schurger
7. Eva Karczag

Sunday afternoon presentations
8. Konstantina Georgelou
9. Florence Daupias d’Alcochete
10. Christophe Lopez
11. Emilie Gallier
12. Frédéric Bevilacqua
13. Joachim Forget
14. Luciana Cheregati & Ibon Salvador – “coletivo qualquer”
15. Malcolm Manning
16. Iris Trinkler
17. Suzanne Cotto
18. Natalie Heller

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