Abstract (Long paper)
Keywords: 3Performance, Media Objects, Robot, Perception, Intention, HCI, Spatial Interaction, Interactive Performance.
The use of media in interactive performance is continually developing. Performers are exploring increasingly complex relationships with media agents including robots. One common approach to developing performer-media relationships is to base the interaction on pre-set patterns and direct control of the media. However, performance theory shows that performer-performer interactions incorporate elements of improvisation. Two key elements are trust and the perception of intention, which provide the basis for reciprocal communication. Recent research has developed models for performer-media interaction that incorporate reciprocal communication in the context of performer improvisation with ephemeral (audio/ light based) media agents. This project explores whether these same principles of embodiment apply to physical (robotic) media in performance. One might expect that a performer senses (sees or hears) the movement of media object and responds to it regardless of the form of the media (ephemeral or physical). However, research in performers’ cognitive process suggests that their intersubjective and cross-sensory perception produces subtle differences in the perception of ephemeral and physical media. We suggest these differences could have a great impact on their experience. We present our findings from two pilot studies exploring robots as interactive dance partners that use principles of embodiment as cues for interaction.
- Greg Corness, Assistant Professor, Columbia College Chicago, USA. He is working with embodied interaction in media environments. His background in music, theatre and dance provides the basis for his research which focus on interdisciplinary improvisation, distributed cognition in performance, and methodologies for researching experience in performance. He is particularly interested in investigating performer’s intuition during improvisation and how to leverage this embodied knowledge in their interactions with autonomous computer systems. He has developed several generative sound systems as well as computer vision and tangible interfaces for use in interactive performance and installation works. He has published in the fields of electronic music and human-computer interaction and his work includes galleries installations, interactive museum exhibits and live performance in Canada and the US. Greg holds a BMus and an MMus in Computer Composition from the University of Victoria. He also has a PhD from the School of Interactive Arts + Technology at Simon Fraser University in Interactive Performance.
- Jinsil Hwaryoung Seo, Interactive Artist/Designer/Researcher. Assistant Professor, Texas A&M University, College Station, USA.
- Kristin Carlson is an Assistant Professor at Illinois State University’s Arts Technology Program (Normal, Illinois, USA). She is also a PhD Candidate in the School for Interactive Arts and Technology at Simon Fraser University (Canada) studying with Dr. Thecla Schiphorst and Dr. Philippe Pasquier. Kristin is interested in the role computation can play in further understanding creative process in choreography, art and design. Her background in dance, somatics and technical theater support investigations of coding to support creative decision-making and intersubjective communication in creative and performative practices. She is interested in artificial intelligence, cognitive science and experience-based methodologies to expand our understanding of craft and engagement in practice.
Full text (PDF) p. 318-325