Dance Cognition Technology

How could the perception of the improvising dancer change when s/he is immersed into digital environment? This project will attempt to answer this question through an interdisciplinary approach combining Cognitive Science, Performance Studies and Digital Culture. We are interested in investigating how improvisors have reacted with a partner or with the technological devices during the improvisation session. It is important to comprehend which aspects of their perception are more activated when they have to make one decision that is responsible for composing the piece aesthetically in real time.

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Lilian Graça corte 01

Lab Dance Cognition Technology 2018.

Video 1 - Lab Dance-Cognition-Technology 2018.

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senses

UMIDO (2017/2018) [Moist]

Moist is a sound, body, visual and visceral performance that has the subject, the human being, as the main theme. From the study of the contemporary body implied with the so-called Digital Humanity, we seek to explore the potentialities of the physical body, the imaging body and the sound body through technological mediation. The body is presented in its dialogue with the city, with the other, with itself. Body listened to in the sound landscape of the city and its organic sounds. Body seen as a person and as a cell. Body felt as subject and as a body politic. This artistic proposal is organized as a system where everything and everyone is part of that medium, and thus rejects the scenic division of the one who observes with the one who does. "Moist" proposes a moment of listening, of synesthesia and of shared presence, in which the artists involved serve as conductors of a sensitive experience.

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Embodiment Perspective

The 4 “E"s - Embodiment, Enaction, Extended Mind, Embeddedness - are the epistemological cornerstone of my research. Dance, performance, technology and human being (dancer and audience) are elements of this world that we lived in. They are implicated into this system and intertwined between themselves. How we enact to the environment and all its elements considering the technological sensible system is a matter of perception. It is the way we experience our world thanks our sensorimotor knowledge.

* mundo = world / environment

EU (2008) [Self]

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dance as a system

...entremeios... (1998) [...in between...]

Previous artworks can illustrate my continued interest in provoke the perception, or at least the notion of space-time.

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Immersive dance improvisation

e fez o homem a sua diferença (2005)

Immersive dance environment.

Very different point of view for all member of audience.

Dancers had had several ways to interact with the audience.

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Gretas do Tempo [Gaps in Time]

GAPS IN TIME places memory as a metaphor in order to explore notions of presence and temporality, conditions reconfigured in the contemporary world by our implacable involvement with Digital Culture.

Through memory we can “presentify” sensations, feelings and states of existence that, although fleeting, have left their marks on our bodies.

The memory of the Castro Alves Ballet Theater is inextricably intertwined with the corporal memories of its dancers. And each one of these remembrances, in turn, refers to the “city-body,” since these memories are so situated in the urban life of Salvador. Such memories are Gaps in Time, presenting fissures, or cracks, in the here-and-now that give rise to new perceptions, allowing a re-presentification of these bodies in space-time.

GAPS IN TIME*** is an artistic project composed of three works:

Memoirs of a memory: screen dance; Memoirs in time: interactive telematic installation; Memoirs in space: soundwalk for dance, a version of what is termed “soundwalk” in music, re-dimensioned here for the scenic arts.

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MAPA D2 - Special Edition - Dance & Cognition

LAB DCT

Experiences and reflections about presence and memory in dance with technological mediation through the situated cognition approach.

MAPAD2 Vol 3, N.2, 2016

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Gaps in Time - Screen dance

Screen dance: memoirs of a memory

Gretas do Tempo [Gaps in Time] 2014

[WEBSITE]***

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Telematic Dance

First Telematic Dance created through academic network in Brazil.

VERSUS (2005) between Salvador, Brasília and João Pessoa.

<VIDEO EXTRACT>***

We have to dance in real time “in the past, present and future” together!!!

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Open Body

This is my Master Degree art piece.

At that time, the discussion was reality X virtuality as opposite sides in an antagonistic way. The piece treated this discussion from a different point of view. The choreography was created through Life Forms* software, and I also used their images to overlap the organic body on this digital body. It was not to say they are the same, but to expose that they have their own identity. In addition, I decided to dance naked to emphasize these differences. Through the technology I could change the notion of space and time. Via micro-camera attached on my body (hand and eye),  I had exposed the scene inside out from different perspective to the audience. I superimpose my image on different conditions, my body was still, moving, in real time or pre-recorded image, I was lay down on a horizontal, but also on a vertical... It is an open body changing with the world in a dynamic process.

*LifeForms: computer choreographic software tool developed at Simon Fraser University, Dr. Thomas Calvert, Dr. Thecla Schiphorst, et al.

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Apresentação do espetáculo Frágil no Festival Cultura Digital 2011 - MAM/RJ Grupo de Pesquisa Poéticas Tecnológicas - http://www.poeticatecnologica.ufba.br E...

Frágil [Fragile] (2011), by Ivani Santana

Networked performance between Rio de Janeiro, Fortaleza, Salvador.

Collaboration: Walmeri Ribeiro, Juliana Alves, Hector Briones, Guto Nobrega, Celso Seibel, Bidu Carlos Eduardo

dancers: Mab Cardoso, Aldren Lincoln.

photo: Aluyzio Araripe

dancer: Mab Cardoso

photo: Aluyzio Araripe

HA robot (by Guto Nobrega, Nano Lab, UFRJ) interacts with the dancers.

photo: Aluyzio Araripe

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Embodied in Varios Darmstadt 58

Projeto de Arte em Rede realizado em parceria com o Rebeca Sanchez/Translab - México -, e Konic Thtr / Rosa Sanchez e Alain Baumann - Espanha. O espetáculo a...

Embodied in Varios Darmstadt 58 (2013)

by Ivani Santana

Grant: Iberescena

Networked performance between Brazil, Mexico and Spain

Collaboration: 

Rebeca Sanchez, Minerva Hernandez, and team

Konic Thtr

Luiz Naveda

Computational tool Arthron - developed by GTMDA - RNP

Coord. Dr Tatiana Aires. 

Collaboration: Dr. Ivani Santana (GP Poetica)

The dancers from Brazil, Spain and Mexico interact through the remote partners’ sound. The graphics are created in real time according the body movement. Programmer Luiz Naveda.

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Objective

“The focus of my artistic and academic research is the aesthetics of the contemporary body. The body is understood here in his dimension of human knowing and involved with the environment that inhabits. Accordingly, dance and performance are possibilities of researching the contemporary body imbued by Digital Culture. The creative process mediated by digital technologies promotes a wide field of investigation of human perceptions. Thus, my interest in dance with technological mediation has always been focused on perceptual and sensory experience of the work, not the use of the device in itself. This understanding is the core of my professional activities in the research, academic and artistic field.”

(Embodied in Varios Darmstadt 58, 2013, telematic dance between Brazil, Mexico and Spain)