Senior Thesis in Computing and the Arts

8/9/2019 Senior Thesis in Computing and the Arts

1/22

Ugoku: Using Physical Computing and Interactivity to

Explore Gesture as Language and Dance

Presented to the Department of heater !tudies to"ard

fulfillment of the re#uirements for a $achelor of %rts degree at

&ale College in Computing and the %rts on %pril '() '*+,

!ho -atsu.aki

%dvised /y Elise -orrison


2/22

TABLE OF CONTENTS

I0 he ProgramII0 he ConceptIII0 he Performance

I10 he 2utureI. THE PROGRAM

3hat if a dancer4s /ody "ere a/le to alter music instead of only respond to it5 I

first entertained this #uestion after "atching an art installation /y David 6oke/y entitled

Dark Matter 7'*+*80 6oke/y) "ho speciali.es in interactive electronic art) has pioneered

the movement to"ards incorporating physical computing into installation art0 9is 1ery

;ervous !ystem)< a net"ork of cameras and computers that captures /ody movement and

translates it into sound related to the #ualities of the movement) "as the first motion=

sensing system of its kind "hen it "as created in +>?@0 + !ince then) physical computing

has evolved /y leaps and /ounds) and 6oke/y has continued to integrate ne" innovations

of the field into his art0 In Dark Matter ) 6oke/y uses technology similar to his 1ery

;ervous !ystem< to create empty spaces "ithin a room that trigger various sounds

"henever someone reaches his or her hands into one of them 0' 9e refers to these spaces

as sound sculptures< /ecause one is capa/le of sensing the precise /oundaries of the

sculptures /y gently feeling around themA unlike tangi/le sculptures) "hose form must /e

admired from afar) 6oke/y4s sound sculptures can only /e taken in /y getting up close0 B

6oke/y4s "ork introduced me to the concept of sound produced exclusively /y a

traversal through space0 ;ever /efore had I seen such a graceful approach to

+ David 6oke/y) 1ery ;ervous !ystem 7+>?@=+>>*8)< ', ;ovem/er '*+*) David 6oke/y) +' %pril '*+,http: """0davidroke/y0com vns0html 0

' 9E-U!EU-tv) David 6oke/y Explains FDark -atter4)< +@ ;ovem/er '*++) &ou u/e) +B %pril '*+,https: """0youtu/e0com "atch5v HE>;E>nB9 I 0

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interactivity) in "hich the participants could impact the "ork "ithout the aid of any

external device impeding their movements0 I felt that this a/solute freedom of motion

lent itself not only to simple reaching movements) /ut also to complex dance as a means

of interactivity0 In my mind) the causality /et"een dance and sound "as entirely

unidirectionalA the tempo) tim/re) and style of the sound governed every aspect of a

dancer4s movement0 9o"ever) using a method similar to 6oke/y4s) one could design a

space in "hich dance impacted or even created the music playing0 In such a space) ho"

is interactivity redefined5 Is dance also redefined) or is such movement that influences

sound instead of responds to it perhaps not dance at all5 I decided to follo" in 6oke/y4sfootsteps in order to explore these #uestions0

David 6oke/y4s "ork not only prompted me challenge my conception of

interactivity and dance) /ut also reinforced the notion that interactive art could alter one4s

"ay of living outside the gallery or performing space0 6oke/y strongly /elieves that his

installations can make one more a"are of one4s /ody movement and connection to the

surrounding environment0 9e often descri/es his installations as virtual realities in "hich

the interface through "hich one interacts "ith the "orld is different than that of the real

"orld0 , 9e uses the phrase virtual spillage< to refer to the sensation of feeling "ithin a

virtual reality even after one has left it 0( 2or example) people "ho interact "ith 1ery

;ervous !ystem< for an extended period of time /ecome acclimated to an interface in

"hich their /ody movements produce sound) so after leaving the "ork) they still feel

directly involved in the sounds around them0 @ his level of immersion is only possi/le

, David 6oke/y) he Construction of Experience: Interface as Content)< Digital Illusion: Entertainingthe Future with High Technology ) Ed0 Clark Dods"orth) 7;e" &ork: %C-) +>>?8 '0( I/id0@ 6oke/y) 1ery ;ervous !ystem 7+>?@=+>>*80 his form

seems to gro" naturally from some internal passion rather than /e logically constructed0

It is far less predicta/le and often harder to directly translate0 I found the unplanned

#uality of this gesture to /e particularly /eautiful0 Despite the hand movements /eing

visceral) they are ust as complex if not more so than communicative gesture0

3hereas communicative gesture is reminiscent of choreography) there is a strong

connection /et"een emotional gesture and freestyle dance0 In /oth types of gesture) the

thoughts of the speaker provide the music for the movement0 9o"ever) communicative

gesture takes from a voca/ulary of "ell=kno"n movements) "hereas emotional gesture is

often a spontaneous synthesis of ne" movements0 In ;otes on Gesture)< part of Infancy

and History: The Destruction of E!"erience /y the Italian philosopher Giorgio %gam/en)

%gam/en employs the "ords of the ancient 6oman scholar -arcus erentius 1arro to

distinguish gesture from other types of movement: Qa poet makes a play) /ut does not

> -c-eel) +,0

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act itA on the other hand the actor acts the play /ut does not make itQ3hereas the

imperator of "hom the expression Fres gerere4 7to carry something out8 is used neither

makes nor acts) /ut takes charge) in other "ords carries the /urden of it0< +* he Latin

"ord gerere< is the origin of the "ord gesture)< implying that a gesture is something

that is carried out from /eginning to end 0++ %gam/en uses 1arro4s #uote to explain ho"

unlike a play) a gesture is performed /y its author0 !omething I /elieve is missing in

%gam/en4s analysis) ho"ever) is the fact that the authoring and performing of gesture

occur almost simultaneously0 1arro4s comparison /et"een gesture and

play"riting playacting highlights in my mind the improvisatory element of gesture andspeaks to the connection /et"een gesture and freestyle dance0

he resem/lances /et"een gesture and the common notion of dance indicated that

perhaps dance in a /roader sense of the "ord could still enter into the performance)

despite the Leap -otion4s ina/ility to record the full /ody0 I "as reassured of the

connection I dre" /et"een gesture and dance during a conversation "ith &vonne 6ainer)

a prominent %merican dancer) choreographer) and filmmaker0 6ainer speciali.es in

experimental "ork in "hich she challenges all /orders of dance) often employing

minimalist tactics0 +' Kne of her films) entitled Hand Mo#ie ) is a five=minute film that

includes only a single shot of 6ainer4s hand moving in intricate "ays0 +B !o it should not

have /een a surprise "hen I mentioned to her my hypothesis that gesture "as in itself a

form of dance) and she responded immediately) $ut of courseR< 3ith her vote of

+* Giorgio %gam/en) ;otes on Gesture)< Infancy and History: The Destruction of E!"erience 7London:1erso) +>>B8 +B(0++ Gesture)< Def0 +a) The $!ford English Dictionary ) ' nd ed0 +>?>) 3e/0+' 1incent $onin) &vonne 6ainer)< '**@) Daniel Langlois 2oundation) +' %pril '*+,

http: """0fondation=langlois0org html e page0php5;umPage +? * 0+B Jinodan.) 9and=-ovie) de &vonne 6ainer 7+>@@8)< ' !eptem/er '*+*) &ou u/e) +' %pril '*+,

https: """0youtu/e0com "atch5v Cu%r#L r+3H 0


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confidence) I decided that framing gesture as dance "ould /e a focal point of the

performance0

Knce I had parsed out the linguistic and dance=like #ualities of gesture) I needed to

determine ho" to de=familiari.e gesture in the performance and place it at the center of

the audience4s attention0 In order to gain insight from the lineage of artists "ho have

"restled "ith the su/ ect of gesture or any form of non=traditional movement in

performance) I /egan /y researching the "ork of Paul Jaiser) a digital artist0 Jaiser has

"orked "ith -erce Cunningham and $ill 0 ones) t"o %merican dancers and

choreographers "ho "ere at the forefront of %merican modern dance and experimented"ith incorporating technology and unorthodox movement into their "ork0 In Jaiser4s

%idewalk Pro&ect ) the form of dance< that Jaiser incorporates into the "ork is the

movement of cro"ds0 +, 9e a/stracts the movement so spectators can vie" it outside of

its cultural context and appreciate it for its intrinsic #ualities0 3hen descri/ing %idewalk

Pro&ect ) Jaiser defines dance as a certain kind of grace that has /een stripped to its

essentials0


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to record and display gestures on the LED "all) the frosted glass alone "ould add a layer

of a/straction0 Given the sheer si.e and /rightness of the "all) the gestures "ould also

automatically /ecome a focal point of the performance0 he Ground CafO "as an ideal

setting for making gesture the center of attention and stripping it to its essentials)< /ut I

still had to find some "ay to clearly convey gesture as dance and as language0

he -c-eel) $ro"n) and Longley article introduced me to the option of

incorporating more than one /ody into the performance as a means of depicting gesture

as dance0 he article discusses a gestural performance that took place "ithin the

$usiness !chool /uilding at the University of %uckland0+

In the performance) t"odancers< conduct everyday gestures) such as checking a cell phone) stretching) or

ya"ning0 +? If one performer "ere alone) the movements "ould not /e conspicuous in any

"ay0 9o"ever) the synchroni.ation of /oth performers conducting the same gesture at the

same time creates a sense of choreography) a duet of sorts0 I "as interested in the

concept of incorporating gesture into a duet to convey its performative aspects) /ut I

"anted to highlight the freestyle component of gesture ust as much as the choreographed

one0 he University of %uckland performance gave me the idea to create a duet /et"een

a gesturer and a traditional dancer) rather than having t"o /odies mirror one another0

Instead of highlighting the dance=like #ualities of gesture /y treating gesture explicitly as

choreography) I could visually link the movements of gesture to the movements of

traditional dance /y having a dancer and gesturer interact "ith one another0 he second

/ody "ould /e crucial for depicting gesture as danceA ho"ever) it "ould also add ne"

layers to the performance that "ould not come "ithout its complications0

+ -c-eel) ?0+? I/id0

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Despite the rich implications of the gesturer=dancer relationship) some of the

pro ects I had read a/out discouraged me from incorporating live dancers into the

performance0 he first pro ect I investigated that com/ined live dance and technology

"as 'hostcatching ) a colla/oration /et"een Paul Jaiser and $ill 0 ones0 +> Jaiser)

"hen descri/ing the effect of transferring the movements of a live dancer to a computer

or television screen) states in looking at performers on the stage) "e are seduced /y the

charisma of the /ody rather than /y the /eauty of the movement0< '* he de/ate /et"een

live and mediated /odies in performance has /een prevalent ever since technology

entered the stage0 9er/ert $lau) a director and theoretician perhaps makes the strongestargument for "hy live /odies are so charismatic: In a very strict sense) it is the actor4s

mortality "hich is the actual su/ ect Mof any performanceN) for he is right there dying in

front of your eyes0< '+ I did not "ant the liveness of the dancer to distract from the pure

movements of the gesturer0 $y including the live dancer) the performance "ould involve

t"o live /odies and one mediated /ody 7the image of the gesturer on the LED "all80 In

order to decide "hether or not the live dancer "as a good idea) I needed to analy.e

'hostcatching more closely0

%s I "atched clips of 'hostcatching ) I often found myself forgetting that ones

"as a real person and therefore /elittled the difficulty of his movements0 2or example)

although I might have marveled at the control "ith "hich ones "ould steadily lift one

leg in the air "ithout "avering) I "as not phased "hen the animation of ones

+> Jinodan.) Ghostcatching S $ill 0 ones)< + !eptem/er '*+*) &ou u/e) +B %pril '*+,https: """0youtu/e0com "atch5v aL("T/=2?ig 0 In 'hostcatching ) Jaiser animates the dancing /ody

of ones as a three=dimensional collection of crudely dra"n lines0 ones4s movements dra" additional linesin the artificial space) creating an intricate sketch that outlines the movements of the dance0'* De !pain) '+0'+ 9er/ert $lau) (looded Thought: $ccasions of Theatre 7;e" &ork: Performing %rts ournalPu/lications) +>?'8 +B,0

+*


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accomplished the same featA only in the presence of the human "ould I see grace) and the

lack of a physical human in 'hostcatching trou/led me at times0 Jent de !pain touched

on a similar point in his discussion of the animations in 'hostcatching : hey don4t

#uite communicate a sense of "eight or momentum) /ut there is present a level of

movement detail) fragments of #uirky and unintentional shifts and /alances caught /y the

motion=capture system) that lends them an eerie verisimilitude0< '' De !pain4s mention of

verisimilitude< "ould seem to /e in favor of the animations effectively depicting ones4s

movements0 9o"ever) de !pain refers to the verisimilitude as /eing eerie< /ecause he is

acutely a"are of the technology creating it0 Despite the #uirky and unintentional shiftsand /alances)< the animation still lacks a sense of "eight or momentum)< meaning that

the technology is not #uite advanced enough to fade into the /ackground0 %s a result) its

eeriness distracts from the movements ust as much as a live /ody "ould0 De !pain4s

comments pushed me more in favor of including a live dancerA ho"ever) I still had the

mediated /ody of the gesturer on the LED "all to consider) and I "as unsure ho" the

com/ination of live and mediated /odies "ould play out0

In order to /etter understand the relationship /et"een liveness and mediati.ation)

I looked to Philip %uslander) a professor at Georgia ech) for insight0 %uslander) in )i#e

Performance in a Mediati*ed +ulture ) discusses 9er/ert $lau4s performance theory and

makes the claim that although media "as originally created to mimic live performance)

no" the live and the mediati.ed are /ecoming more and more similar: $lau4s claim that

a performance com/ining live /odies and filmed images can produce a Fconfusion of

realms4 presupposes that live and recorded images are perceived as /elonging to different

'' De !pain) >0

++


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realms0


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dancer "ould in turn respond) $irringer4s concept of movement=as=interface "ould /e

flipped0

he addition of live dancers "ould create a relationship /et"een performers that had not

existed in the concept /efore0 Kne performer "ould /e in control of the music to "hich

the other performers "ould react0 In one sense) this relationship "ould /e that of a duet

as I stated earlier) in "hich one dancer4s movements "ould complement the other4s0 his

aspect of the relationship "ould speak to the role of gesture as dance0 he gesturer "ould

also /e partially in control of the dancer) assuming that the dancer "ould respond directly

to the music that the gesture "as manipulating0 9o"ever) in a some"hat contradictory"ay) the dancer "ould also /e in control of the gesturer in that the dancer4s movements

"ould dictate the emotional meaning of the gesture0 his complex relationship "ould /e

conveyed in the performance /oth in ho" the dancers and gesturer communicated "ith

one another non=ver/ally as "ell as ho" the "all of LED lights "ould frame the dancer

"ith the hand movements of the gesturer0

I "as confident in my portrayal of gesture as dance) /ut I had not yet fleshed out

ho" I "as going to convey the linguistic element of gesture0 he inspiration for this

aspect of the performance came from a description in the -c-eel article a/out a gestural

computer application called the Gesture -achine0< he Gesture -achine< is a design

tool that records physical gestures to create uni#ue three=dimensional images0 '

Kriginally) the development team used discrete gestures for specific operations in the

program0 '? 9o"ever) the gestures "ere eventually scrapped in exchange for a more open=

ended interface that allo"ed users to play around in the program and learn ho" gestures

' -c-eel) +,0'? I/id0

+B


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corresponded to manipulations of the BD space0 '> !uch an open=ended interface gave me

the idea to create a learning environment in my performance in "hich audience mem/ers

ac#uired the gestures necessary to manipulate the sound0

In order to explore gesture as language) I decided it "as important that audience

mem/ers and not myself use Ugoku in order to simulate the "ay in "hich specific

gestures ac#uire meaning0 $y having audience mem/ers control the Leap -otion and

also not provide them "ith prior instructions as to "hich gestures the Leap -otion could

recogni.e) they "ould have to try out different hand and finger movements in order to

gradually learn "hich movements corresponded to "hich audio effects) like a /a/yexperimenting "ith language0 %lso similar to language ac#uisition) once the audience

mem/er grasped the proper movements) the emotional significance of those movements

"ould not /e defined /y the audience mem/er /ut /y others interacting "ith the audience

mem/er) namely the dancer0 he process of experimenting "ith different movements)

o/serving the resulting changes in the environment) and "atching ho" those changes

affected others "ould illuminate the "ay in "hich gestures are formed and ho" they

ac#uire meaning0

!ince audience mem/ers "ould not have prior instructions for ho" to use Ugoku) "ith

the exception of perhaps a demonstration I "ould conduct at the /eginning of the sho") I

had to rethink the specificity of the gestures that ran the program) similar to the Gesture

-achine0< he final customi.ation of the program involved mapping certain #ualities of

the music /eing played to the position of one or /oth of the hands0 2or example) the

num/er of high fre#uencies permitted in the song "as directly related to the .=axis

position of the right hand 7"ith the .=axis pointing to"ards the user from the sensor80 %

'> -c-eel) +(0

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clock"ise circular movement of either hand resulted in the song speeding up) "hereas a

counterclock"ise circle slo"ed the song do"n0 Perhaps the only highly specific gesture

"as that of a single finger extended generally for"ard) "hich "ould cause the music to

shift from one speaker to the other /ased on exactly "here the finger pointed0 I hoped

that all of the gestures "ould not /e too specific to pick up so that the audience mem/ers

"ould /e inspired to learn them0

I eventually had to decide on "hat type of music "as going to play during the

performance0 I did not "ant the message of any particular genre to impact the

performance) so I "as inclined from the start to play a variety of genres0 In order to mixgenres) I needed to find dancers that had different dance /ackgrounds and "ould /e a/le

to respond "ell to "hatever "as thro"n at them0 %n eclectic com/ination of music and

dancers appealed to me more and more as the sho" concept developed furtherA the

inclusion of numerous techni#ues of expression spoke to the universality of gesture and

of dance0

In order to dra" the audience4s attention to gesture) I /elieved it "as crucial that

as many elements of the performance /e connected to gesture as possi/le0 he gesturer

already influenced the music) the dancers) and the content of the LED screen0 9o"ever) I

"anted the gestures not only to appear on the screen /ut also affect the overall mood of

the screen and performing space0 I experimented "ith mapping the position of the hands

to parameters of various /lurring) tessellating) and colori.ing effects using the video

manipulation program Isadora0 I added additional code to Ugoku so that information

collected /y the Leap -otion "as processed in Ugoku and sent directly to Isadora for

interpretation0 Isadora "ould receive the values from Ugoku and use those values to

+(


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control the filters a/stracting the image of the gesturer0 In the end) /ecause the frosted

glass in front of the LED lights "as already a/stracting the image slightly) the most

effective video filter "as a simple colori.er0 %s an audience mem/er "ould move his or

her hands around the Leap -otion) not only "ould the music in the room change) /ut

also the color of the lights "ould change0 2inally) every aspect of the room "as under the

control of gesture0

III. THE PERFORMANCE

he final performance occurred almost exactly as planned) "ith a fe" surprises

along the "ay0 2rom the changing colored light that reflected off the "alls to thedramatic movements of the dancers) it "as clear that everything in the performing space

responded to the hand movements of the person at the motion sensor0 he dancers

performed spectacularly using styles that ranged from lyrical to hip=hop0 Kne of the most

pleasing elements of the performance "as that the audience felt a collective responsi/ility

to al"ays have someone manipulating the music0 %s a result) the LED screen "as al"ays

changing faces) as "ere the audio effects that "ere activated0 !ome people chose to

conduct the music using purposeful and graceful movements) "hereas others attempted to

test the limits of the program /y moving their hands in a dramatic and) at times) "ild

fashion0 his variation) according to Grayson Cooke) a professor at !outhern Cross

University) is the cornerstone of interactivity: Qlive media performance is premised on

a dialectic /et"een control and uncontrol) or a /alance /et"een intent and accident0< B*

he unpredicta/ility of the performance "as ultimately "hat made it special0 Everyone

B* Grayson Cooke) !tart -aking !ense: Live %udio=1isual -edia Performance< International Journal of Performance Arts and Digital Media @0' 7'*+*8 '**0

+@


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"ho sat /y the sensor im/ued their personality into their gestures) so that every set of

gestures had a uni#ue character to it0

he most interesting discovery I made during the performance "as of the po"er

dynamics that existed /et"een the gesturer and the dancer0 I kne" /eforehand that the

relationship /et"een the t"o performers "ould /e a layered one0 9o"ever) I did not

anticipate ho" the relationship "ould change from person to person0 $y default) the

dancers played a su/servient role) given the sudden changes in music that they had to

cope "ith and the gigantic display of the gesturer that loomed over them0 Like a

puppeteer) if the gesturer decided to suddenly speed up a song) the dancer had no choice /ut to follo" along0 hat /eing said) the electric personality or) as Paul Jaiser "ould say)

charisma< of the dancer often overpo"ered the timid audience mem/ers sitting /y the

sensor0 !ome of the dancers "ould even stare at the gesturer and motion to him or her to

make the music more challenging0 he dancers also had an advantage over the gesturer

in that they kne" ahead of time "hat sorts of effects to anticipate) and the songs that

played during the sho" "ere songs "ith "hich the dancers "ere very familiar0

hroughout the performance) ho"ever) some of the most /eautiful moments occurred

"hen /oth dancer and gesturer "ere sympathetic to"ards one another and a true duet

arose from it0

2or the audience mem/ers "ho "ere not sitting at the sensor) it "as informative

to "atch "here they cast their eyes0 Kccasionally) the audience mem/ers "atched either

the person at the sensor or the LED screen0 9o"ever) most of the attention "as fixed on

the dancers0 %lthough the dancers "ere placed in the center of the performing space) I

"as surprised that more people "ere not looking at the LED screen) given its sheer si.e

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and /rightness0 9o"ever) especially for the hip=hop dancers) there "ere so many fast=

paced changes in motion that if one looked a"ay even for a second) one "ould easily

miss something impressive0 he "ay in "hich the dancers stole the sho" is perhaps a

testament to Jaiser4s hesitation a/out using live dancers0 9o"ever) I /elieve the lack of

attention given to the LED lights "as also a result of my earlier hypothesis that figures on

a screen appear less human and therefore harder to connect "ith0 %ll things considered) I

"as not disappointed that the live dancers "ere the focal point) since they provided the

emotional interpretation for the gestures that "ere underlying all aspects of the sho"0

IV. THE FUTURE

here are a fe" changes to the sho" that I "ould make if I "anted to continue

this exploration of gesture0 2irstly) I "ould try to expand on the possi/le audio effects of

the program0 he panning effect of moving the sound from one speaker to the other did

not register clearly in the performing space since the speakers "ere set up as a mono

channel instead of stereo0 In addition) the volume control functioned "ell) /ut it did not

elicit many ma or changes in the dancers4 movements0 I "ould have liked to experiment

"ith further manipulation of the music4s fre#uencies to create a more distorted sound to

"hich the dancers could respond0 I also "ould like to expand my concept to include

audio synthesis as "ell as manipulation0 I "ould map gestures to specific sounds and

essentially convert the gesturer4s /ody into an instrument0 I /elieve the effect of using

gestures to create the music "ould /e truer to the concept of gesture as language0 In

addition) the connection /et"een dancer and gesturer "ould /ecome even strongerA the

gesturer "ould have more control over the dancer4s movements) /ut the dancer "ould

more fully em/ody the emotional content of the gestures0

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Kne final change to the concept that I "ould like to explore "ould /e to someho"

track the gestures of everyone in a room simultaneously instead of singling out one

person0 %t one point in the process) I had toyed "ith the idea of trying to engage

audience mem/ers in conversation and use their natural gesticulation to control the music

in the room0 his idea /ecame too difficult to achieve in a practical sense) /ut capturing

gesture "hile audience mem/ers "ere not monitoring their movements "ould /e ideal for

examining ho" gesture functions in everyday life0 o that end) I "ould love to remove

all formal aspects of the performance and instead design a party or other social event in

"hich one or multiple sensors could pick up on all of the gestures occurring at the sametime0 hat "ay) all audience mem/ers "ould /e implicit in changing the music and

lights) and no one "ould /e self=conscious enough to filter their movements0 his ne"

element "ould truly /ring /ack 6oke/y4s concept of virtual spillage0 $y masking the

virtual reality in an informal setting) participants "ould /e a/le to fully give in to the

rules of the space and hopefully return to the real "orld "ith a slightly altered experience0

+>


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$i/liography

%gam/en) Giorgio0 ;otes on Gesture0< Infancy and History: The Destruction of

E!"erience 0 London: 1erso) +>>B0

%uslander) Philip0 )i#e Performance in a Mediati*ed +ulture 0 London: 6outledge) +>>>0

$irringer) ohannes0 Interactive Dance) the $ody) and the Internet0< Journal of ,isual

Art Practice B0B 7'**,8: +@(=+ ?0

$lau) 9er/ert0 (looded Thought: $ccasions of Theatre 0 ;e" &ork: Performing %rts

ournal Pu/lications) +>?'0

$onin) 1incent0 &vonne 6ainer0< '**@0 Daniel Langlois 2oundation0 +' %pril '*+,http: """0fondation=langlois0org html e page0php5;umPage +? * 0

Cooke) Grayson0 !tart -aking !ense: Live %udio=1isual -edia Performance0B=

'*?0

De !pain) Jent0 Dance and echnology: % Pas de Deux for Post=9umans0< Dance

esearch Journal B'0+ 7'***8: '=+ 0

De !pain) Jent and Paul Jaiser0 Digital Dance: he Computer %rtistry of Paul Jaiser0?>0

Jinodan.0 Ghostcatching S $ill 0 ones0< + !eptem/er '*+*0 &ou u/e0 +B %pril

'*+, https: """0youtu/e0com "atch5v aL("T/=2?ig 0

Jinodan.0 9and=-ovie) de &vonne 6ainer 7+>@@80< ' !eptem/er '*+*0 &ou u/e0 +'

%pril '*+, https: """0youtu/e0com "atch5v Cu%r#L r+3H 0

'*


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-c-eel) Dermott) Carol $ro"n) and %lys Longley0 Design) Digital Gestures) and the

Interference of -eaning: 6eframing echnology4s 6ole 3ithin Design and Place

hrough Performative Gesture0< International Journal of Performance Arts and

Digital Media :+ 7'**+8: (=''0

6oke/y) David0 he Construction of Experience: Interface as Content0< Digital

Illusion: Entertaining the Future with High Technology 0 Ed0 Clark Dods"orth0

;e" &ork: %C-) +>>?0

6oke/y) David0 1ery ;ervous !ystem 7+>?@=+>>*80< ', ;ovem/er '*+*0 David

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Documents

Senior Thesis in Computing and the Arts