Hello my name is Nuno Correia
and i would like to present our paper
Connected Layers: Evaluating
Visualizations of Embodiment
in Contemporary Dance Performances
Interactive visuals have become a common
component of contemporary dance
performances.
But what is the role of visuals in dance?
Regarding this topic Wechsler et al. state
"if an artwork and its technology are
prepared carefully enough
then the interactivity can be accessible
to an audience directly
and this is the greatest artistic
potential"
This brings us to our research question:
What design approaches for interactive
visuals in dance can lead to an engaging
and aesthetically appealing experience
for the audience?
We adopted a performance-led research
in the wild approach informed by
perspectives from Benford et al.
In performance-led research in the wild
"artists drive the creation of novel
performances with the support of HCI
researchers
that are then deployed and studied at
public performance"
Rostami et al. discussed three emerging
issues, among them visibility of input,
in relation to the deployment of
bio sensors and bodily tracking
technologies in interactive performances.
They propose a classification based on a
2x2 matrix
with type of interaction in the y-axis
and visibility of
input in the x-axis.
We developed four performances
iteratively
during the Moving Digits project. We
organized three co-design events in 2019
involving mostly the same group of
artists with the following objectives:
the creation of contemporary dance
choreographies involving technology;
and the development of the technological
component to support those
choreographies,
across the design space mapped by
Rostami et al.
We set up a public event in
Tanzhaus NRW
Düsseldorf on the 26th of October 2019.
The event consisted of four short
performances, each
with approximately 15 minutes.
Each performance followed a different
interaction design approach to map data
from body to visuals.
The Beautiful Glitch used motion capture
or mocap, suit.
E-motional Landscapes used sensors:
breath, positional and color.
Connection Retrieval used video camera.
And Dance to Remember followed a
minimal interaction approach.
I will now present a two-minute video
with these four performances captured
during the event
in Düsseldorf, Tanzhaus NRV
Regarding methods, after each performance
26 audience members were asked to fill in
a questionnaire composed of
a set of four Likert scale questions and
two open-ended questions.
In the end of the event we conducted
interviews with four audience members.
We will now present six implications for
design from our study.
1. Balancing trade-offs within a mapping
clarity spectrum
The four performances represent
different points in a mapping clarity
spectrum.
There is no perfect solution or
one-size-fits-all in such creative
approaches,
but different points in this spectrum
offer different trade-offs to the
audience.
Direct, one-to-one mappings of data to
visuals,
such as avatar representations based on
mocap data
and video images of the body, seem to be
more easily recognizable by audience
members.
But they tend to be considered a mere
copy.
Audience members were able to recognize
subtle mappings such as
mapping of a breath sensor to scale of
visuals or movement amount
also to scale of visuals. But with these
subtle mappings comes increased
ambiguity.
Based on these tradeoffs regarding
mapping clarity, we consider to be useful
to create a mapping clarity diagram of
the performances,
which can be seen on this slide.
We adapted the visibility of input
classification by Rostami et al.
We replaced the Visibility of Input axis
by a Mapping Clarity axis.
Also, as shown by our results, clarity is
a continuum
not a binary. We maintain the original
Type of Interaction axis
but also remove the boundary between bio
sensing and body tracking,
as some performances may combine both.
We added on body and in space to these
Type of Interaction labels, to further
clarify this continuum.
2. Connecting Layers Identifying a
connection between visuals and
performers was found to be correlated
with enjoyment.
Successful additional strategies to
foster this could be:
connect visuals to the set, costume and
sound design;
harmonize the style of image processing
with the choreography and movement
qualities;
and link the visuals with dramaturgical
levels of the performance: the story
and (eventually) dialogue using symbolic
representation.
We argue that, in the multi-layered
ecology of a dance performance,
interactive visuals have a role to play -
not just adding a layer on top,
but connecting the different layers of
the performance, contributing to a
holistic and coherent experience.
Audience members manifested enjoyment
when these connections were detected
and manifested distraction or confusion
when they did not.
We propose to use the term 'actor' to
define both the performers
and the visuals, as they are liasing and
establishing connections
in the multi-layered network of the
performance.
We based this proposal on Latour's
Actor-Network theory.
We propose an ecological approach to
live visuals,
reflected on our Performance Network
diagram with connected layers,
that can be seen on this slide.
3. Visuals as Co-Creative Mediator
Audience members recognize the role of
visuals as a mediator between the
movement of dancers.
For example, one dancer reacting to the
representation of the other dancer
in the visuals,
instead of reacting to the other
directly.
However, this mediation can be reductive
when it is too prescriptive of movement.
It was considered more successful when
the visuals expressed the qualities of
the connection
between the dancers (and not just
mirroring).
For example, manipulating the visuals of
a dancer in a way that conveys the
relationship between them.
4. Defined Territory and Individuality
of Visuals
The stage setup can assist in balancing
the power between visuals and dancers
so that one does not overpower the other.
The performances that were more
successful in this had a very clear
territory for the visuals and for the
dancers.
These distinct territories should not be
stretched too far apart,
otherwise there is a risk of confusing
the audience.
Scale is also an issue: if the visuals
become too small,
they may have too little impact. Another
identified successful approach was to
convey an individual identity to the
visuals,
distinct from the dancer.
5. Exploration of Perspective Shift
and Abstract Fragmentation
The approach of showing the dancers in a
different perspective through the
visuals,
from the one that the audience already
sees, was considered successful.
Another positive strategy regarding
visuals was to generate
semi-abstract imagery by manipulating
camera feeds -
a fragmentation of reality. This double
approach of fragmenting reality
and shifting perspective relates to
cubism in art.
6. Extending Findings to Other Domains
Our insights can assist in achieving a
balance in terms of ambiguity of
mappings.
There is an inherent visibility of input
(bodily tracking tends to be more visible,
bio sensing less)
but through visuals this can be
challenged.
We emphasize the importance of
interrelating the different elements of
the system in terms of design,
creating a multi-layered piece. Ensuring
that both the user and the visuals are
in the intersection of these elements:
visuals can act as a unifying 'glue'
between them.
These implications can be useful to
other fields beyond dance.
We now present the references from the
slideshow
and we invite you to visit our website
movingdigits.eu
Thank you