Languages for Augmented

Choreography Andrea Bene – Matr. 731338

Laurea Magistrale in Teoria e Tecnologia della Comunicazione

a.a. 2010/2011

Supervisor: Prof. Giorgio De Michelis

Correlators: Prof. Francesco Tisato

Ph.D. Diego Bernini

Ex. Rev.: Prof. Natale Stucchi

In collaboration with

and

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Languages for

Augmented

Choreography

20 February 2012

Languages for Augmented

Choreography

“What matter is not the type of functions the system is able to perform,

but how much the functions it performs fit with the interactions of its

users and support them adequately.” (De Michelis, 2003)

Method

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State of Art (Informatic Tools)

Dance Notation Systems (Transcription Techniques)

Fieldwork (Practices and Languages)

Credo Interactive. (2006). Dance Forms 2.0. Studio Window

Benesh Notation Manuscript extracted from Voluntaries by Glen Tetley (1975).

William Forsythe (2008). Lines Avoidance.

A Multi-Disciplinary Participatory process to design Augmented Spaces

Notation Systems Timeline

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Notation Systems

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Labanotation (1928) Eshkol-Wachmann (1958) Benesh Notation (1956)

Extracted from Dance of the Little Swans by Balanchine (1970)

Benesh Notation Manuscript extracted from Voluntaries by Glen Tetley (1975)

Extracted from Diminishing Series by Noa Eshkol (1978)

Dance Forms 2.0®

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Fieldwork

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• Watching

• Focus Group

• Interview

• “Fieldwork”

New systems are not created from nothing. (Nonaka & Takeuchi, 1995)

Results

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End-User Language

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Syllabus Movement Modulation Parameters

…past, present, future…

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Publications

• Bernini, D., De Michelis, G., Plumari, M., Tisato, F., & Cremaschi, M. (2011). Towards Augmented Choreography. Proceedings of ArtsIt 2011. Springer.

• Bene, A., Bernini, D., De Michelis, G., & Tisato, F. (2012). Languages for Augmented Choreography. Proceedings of ECLAP 2012. SUBMITTED

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References

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• Acquarone, S. (1991). Invito alla coreografia. Torino: Promolibri.

• Anne Blom, L., & Tarin, C. (1982). The Intimate Act of Choreography. Pittsburgh: University of Pittsburg Press.

• Bernini, D., De Michelis, G., Plumari, M., Tisato, F., & Cremaschi, M. (2011). Towards Augmented Choreography. Proceedings of ArtsIt 2011. Springer.

• Credo Interactive. (2006). Dance Forms 2.0. extracted 12 03, 2011 from Credo Interactive: http://charactermotion.com/products/danceforms/index.html

• De Michelis, G. (1998). Aperto Molteplice Continuo. Gli artefatti della fine del novecento. Milano: Dunod.

• De Michelis, G. (2003). The Design of Interactive Applications: A Different Way – First Notes, in P: Spirakis, A., Kameas, S. Proceedings of the International workshop on Ambient Intelligence Computing, Santorini (Greece), June 2003, 101-114. Nikoletseas.

• Forsythe, W. (2009, Aprile 1). Syncronous Objects. Extracted 12 02, 2011 from sycnronousobjects.osu.edu: http://synchronousobjects.osu.edu/

• Hutchinson Guest, A. (1989). Choreo-graphics. A Comparison of Dance Notation Systems From the Fifteenth Century to the Present (1998 ed.). Amsterdam: Gordon and Breach.

• Laban, R. V. (1956). Principles of Dance and Movement Notation. Londra: MacDonald and Evans.

• Nonaka, I., and Takeuchi, H. (1995). The knowledge-creating company. New York: Oxford University

• Press.

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