INTERACTIVE PERFORMANCE SERIES

IPS # 3 ARCHIVE

Bebe Miller dancing with Mididancer/Isadora interface

New Performance Tools: Technologies / Interactive Systems

A weekend think-tank between choreographers, composers, media artists, software
developers,and writers at the Dance Department, Ohio State University,
Columbus, Ohio. January 25-27, 2002.

Participants

Scott deLahunta (Amsterdam) - Johannes Birringer (OSU, organizer) - Curtis Bahn (Interface, Boston) - Tomie Hahn (Interface, Boston) -Dan Trueman (Interface, Colgate) - Mark Coniglio (Troika Ranch, New York) - Dawn Stoppiello (Troika Ranch, New York) - Todd Winkler (Brown University) - David Tonnesen (FoAM Lab, Brussels) -Iris Tenge (Frankfurt, Germany) - Lali Krotoszynski (São Paulo, Brazil) - Sarah Rubidge (Chichester, England) - Robbie Shaw (OSU) - Bebe Miller (OSU) - Marc Ainger (OSU) - David Tinapple (Columbus) - Kelly Gotteman (OSU) - Axel Roesler (OSU) - Liza McConnell (Columbus) , Marlon Barrios-Solano (OSU), Oles Protsidym (Montreal), Mitchell Tsai (UCLA).

Proceedings:

Friday, January 25 Arrival

2:oo pm Introductions, Conference Room, Dance Department
3:oo - 5:oo pm Session I, Studio V Tutorial I:

Guests introduce the systems they work with or are developing:
Mark Coniglio / Dawn Stoppiello
Todd Winkler
David Tonnesen
Lali Krotoszynski

5:30 - 7:30 pm Session II, Studio V Tutorial II:

Guests introduce the systems they work with or are developing:
Curtis Bahn / Tomie Hahn
Dan Trueman
Robbie Shaw /

David Tinnaple / Axel Roesler

Scott deLahunta: summing up / overview of London think tank

7:30 - 8:00 pm MIDI/MAX Tutorial for those interested.

Saturday, January 26
9:30 am - 11 am Session III, Studio V

Interactive Systems - Choreography & Scenography
Iris Tenge / Sarah Rubidge
Marc Ainger / Bebe Miller / Liza McConnell

Isadora patch and improvisation with Krotoszynski's parangole

11:30 - 3:oo pm Session IV

Develop key questions around "systems" and “inframedia”

Level 1: the technological and infrastructural -- creation, implementation and saturation of media protocol / data mapping


Level 2: the artistic -- application, integration and translation
within diverse practices

Level 3: the social/ behavioral -- absorption, anticipation and
transformation across communities, event-spaces & cultures,
audience - participant behavior, etc.

Johannes Birringer: Commentary

3:oo - 6:oo o pm

Lab Experimentation: Tinkering Session/Rehearsal Studio V

1. Mark Coniglio / Mididancer with volunteer dancers (Bebe Miller, Marlon Barrios-Solano, Iris Tenge)

2. Isadora system in operation with live video feed of dancers

scenes from Saturday lab experimentation

3. Parangoles: Lali Krotoszynski's red and black fabric, for 6 interactors,
filmed and live feed to one of the systems

6:15- 8:oo pm Session VI

Telepresence Exhibition (Kelly Gottesman) 30 min Studio V

w e b c a s t
Live Internet Transmission

rtsp://128.146.187.61/thinktank

Sunday, January 27
11:oo Plenary Meeting among participants

12:oo - 2 pm Public Round Table: Presentation of Findings and Propositions
Discussion, Overviews, and Future Plans
Sullivant Theatre

Notes from the Concentric Circles (level 1-3 discussions)

CLUSTER SESSIONS

form 3 workgroups of 6 or 7 members each. concentric circles: the “inner” cluster tries to define and discuss the key questions, the outer circle carefully listens and takes notes, preparing “feedback” responses for the 7:oo pm webcast jam session.

Level 1: the technological and infrastructural -- creation, implementation and saturation of media protocol / data mapping - tools versus systems:

- “toolness”: tool as extension of the body incorporating the intention of the operator (hammerer using hammer, violonist using violin, dancer using dance technique and bodily knowledge, etc):

- “systemness”: the interactive system and its protocols incorporates the user
but not user-intentions
example: design practices which make the interface as invisible as possible or seek to make the navigation/use easy and intuitive.

- the performance-user (dancer, choreographer, composer) as extended instrument
of interactive system

- design of “characters”, sonic display/instrument design, frame of animation.
painting - drawing -dancing (motion capture), gesture/speech recognition

- data mapping and inframedia * (see below)

Level 2: the artistic -- application, integration and translation
within diverse practices

- virtuoso (skilled) performer , “composed instrument,”
and shared kinetic experience of music

- sonic costume, sonic masks, characters in the interface

- "unskilled player," audience interaction, user behavior

- “staged” interactive performance, installation, virtual world, mixed realities,
dynamic and responsive environment and “game” structure or navigation interface design

Level 3: the social/ behavioral -- absorption, anticipation and
transformation across communities, event-spaces & cultures,
audience

- participant behavior, etc. the “character” behavior of the dancer in the interactive environment and
responsive environment

- the “player” behavior of the exhibition/installation visitor/audience in a
responsive environment

- who or what controls the “activities” and inframedia modulations within the
system (environment)

- what happens to translations of movement (or sound) once we control/modify
them with technological systems (MAX/MSP/Nato, VNS, Isadora, etc), and can
we infuse interfaces and interface design with cultural traditions and expressions

FOR SUMMARY REPORT ON THE THINK TANK, GO TO NEXT PAGE