Performanz der Wahrnehmung

     

--PERFORMANZ DER WAHRNEHMUNG--
Creation 2015-2016

This work is part of a research on human perception and seeks to analyze how the perception of movement is influenced by interactive technology and how it can be shown with dance.

Original Concept:  Marcello Lussana
Theoretical research : Marcello Lussana and Marlon Barrios Solano
Choreography: Robert Wechsler
Music composition: Oscar Palou
Performers: Martina Nitz, Rebekka Böhme
Technologies: Motioncomposer and Motiontracking, Xbees, smartphones, accelerometer and gyroscope data, Closer, a wireless proximity and touch sensor, other touching and proximity systems.

In collaboration with Thikwa theater Berlin
http://www.thikwa.de

Procedural Details

Performing perception
A dance performance and research about human perception with interactive technology

The goal of this work is the creation of a dance performance with the use of interactive technologies, so that the performers have some control on the generated music. This work is part of a research on human perception and wants to analyze how the perception of movement is influenced by interactive technology and how it can be shown with dance.

Two dancers are part of this project:
- Martina Nitz, she has been working since many years with the Thikwa Theater in Berlin (a theater that has been working with disabled people since 1990 http://www.thikwa.de). She is in wheelchair and she has experience with dance and theater performances.

- Rebekka Böhme. She has been working since long time as professional dancer for different kinds
of Performance, she has already some experience with Motiontracking, as she already worked with
Palindrome and TMA.

Robert Wechlser will take care of the choreography of the piece. During the rehearsal we want to try out different kind of technologies in order to find a good way to “dance” and “perform” perception and give value to the difference (in a good or bad way) that we feel when we use technology. This difference has to be considered not just from the point of view of the performer (what they feel in the performance and what they felt in the rehearsal) but also from
the audience (how can we transmit this feeling, this perception?) and from the different possible bodies of the performers (for this reason the involvement of Martina).

The technologies that are going to be tested are:
- Motioncomposer and Motiontracking
- Xbees, accelerometer
- Smartphones, accelerometer and gyroscope data
- Closer, a wireless proximity and touch sensor. Other touching and proximity systems.

We used different tools in order to give an overview of the some of the main technological possibilities and compare them with human perception, using the tools given by phenomenology. This does not mean that in the final piece all these technologies will be actually used. Especially the rehearsals will be the main moment for research, using different technics to “listen” and better understand what is happening in our bodies and analysing personal experience. The planned interaction is going to be between human movement and sound. This does not exclude the use of interactive visual for the future, but it is not to be part of this work.

Schedule
December-Januar 2015/6: preparation for the rehearsal.
Technical preparation: Marcello Lussana will take care of preparing a few interaction and sound example with the technology of Motiontracking, Accelerometers (Minibees and smartphones). Oscar Palou (Skintimacy) will take care of having a running wireless touch and proximity system and will also prepare some sound examples. This proposals will be tested before the rehearsal (beginning mid of January) together with Robert
Wechler, in order to have a first feedback and improve them for the rehearsal.

Theoretical preparation: Marcello Lussana, with the help of Marlon Solanos Barrios, will prepare
some questions to be analyzed during the rehearsal. It is needed to collect the data of the experience
of the people involved in the work. The core questions are: how does the perception of the persons involved in this work changes when
they use an interactive technology? How do we embody this technology and how this affect our
movement, our hearing and our performing? A meeting with all the persons involved took place beginning of January, in order to explain the
theoretical framework of this work.

Rehearsals: 7 days selected from the 2 weeks of February 2016. This is going to happen in the Thikwa Theater in Berlin, where Marina Nitz usually works: http://www.thikwa.de/ The rehearsal include a first fase of trying out the different technologies involved and possibly a one day workshop of Marlon Solanos Barrios that enhances body perception: 2-3 days. The other days are going to be more focus in building a dance performance piece, where some of the interactive
technologies will be actually used to control sound. Fundamental is to find a way to perform and present this quality of the embodied perception of the selected technology. After the rehearsal is planned a show in the Thikwa Theater. A video documentation of part of the rehearsal (the process) and the show has been planned. After the rehearsal phase, Marcello Lussana will collect and analyze the data. A theoretical paper will be the outcome of this analysis. This is planned for March 2016.

 

 

 

 

 

with the support of the culture programme of the European Union