Powerpoint exploring the locations used in television show Time Clash
Languages for augmented choreography
1. 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
In collaboration with
Ph.D. Diego Bernini
Ex. Rev.: Prof. Natale Stucchi
and
3. 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)
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4. Method
A Multi-Disciplinary Participatory process to design Augmented Spaces
Dance Notation Systems State of Art Fieldwork
(Transcription Techniques) (Informatic Tools) (Practices and Languages)
Benesh Notation Manuscript Credo Interactive. (2006). William Forsythe (2008). Lines
extracted from Voluntaries by Dance Forms 2.0. Studio Avoidance.
Glen Tetley (1975). Window
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6. Notation Systems
Labanotation (1928) Benesh Notation (1956) Eshkol-Wachmann (1958)
Extracted from Dance of the Little Benesh Notation Manuscript Extracted from Diminishing Series
Swans by Balanchine (1970) extracted from Voluntaries by by Noa Eshkol (1978)
Glen Tetley (1975)
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7. Dance Forms 2.0 ®
(Credo Interactive, 2006)
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8. Fieldwork
New systems are not created from nothing.
(Nonaka & Takeuchi, 1995)
• Watching
• Focus Group
• Interview
• “Fieldwork”
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12. 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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13. References
• 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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