11,040 research outputs found
Pre-choreographic elements: Scott deLahunta in conversation with Bertha Bermúdez
No full text‘Pre-Choreographic Elements’ is a research project that evolved from the interdisciplinary project (Capturing) Intention initiated by dance company Emio Greco | PC and the Art and Development Research Group of the Amsterdam School of the Arts in 2005 (see article by Bermúdez in this issue, pp. 61–81.). ‘Pre-Choreographic Elements’ refers to the ‘pre-phase of choreography, where the content is being created, shaped and tested but not yet part of the selection and ordering process choreography implies’. In this dialogue, deLahunta talks to Bermúdez about the current state of this research
Pre-choreographic elements: Scott deLahunta in conversation with Bertha Bermúdez
No full text‘Pre-Choreographic Elements’ is a research project that evolved from the interdisciplinary project (Capturing) Intention initiated by dance company Emio Greco | PC and the Art and Development Research Group of the Amsterdam School of the Arts in 2005 (see article by Bermúdez in this issue, pp. 61–81.). ‘Pre-Choreographic Elements’ refers to the ‘pre-phase of choreography, where the content is being created, shaped and tested but not yet part of the selection and ordering process choreography implies’. In this dialogue, deLahunta talks to Bermúdez about the current state of this research
Proceedings of the 2009 R-research seminar
No full textThe Deakin Motion.Lab was excited to have Scott deLahunta and Wayne McGregor from Wayne McGregorIRandom Dance visit in late July 2009. Scott deLahunta is the director of R-Research, the research arm of Wayne McGregor|Random Dance based in London. McGregor is a multi-award winning, world renowned contemporary dance choreographer, and along with directing his own company, is also resident choreographer at The Royal Ballet in London.Together with Deakin Motion.Lab's Kim Vincs, deLahunta and McGregor gave a public presentation of their research, their philosophies, and the future of dance and technology, focussing specifically on the use of motion capture. Scott deLahunta's visit was supported by the British Council, the Australian Research Council Discovery Program (DP0987101). Thanks also to Random Dance, to R-Research Seminar co-presenter Dancehouse and to the Australian Ballet who supported Wayne McGregor's visit to Australia. <br
Augmenting Choreography: Insights and inspiration from science
No full textThis chapter concentrates on issues of collaboration between the arts and sciences, with special reference to Choreography and Cognition, a joint research project (see http://www.choreocog.net) initiated by arts researcher Scott deLahunta and choreographer Wayne McGregor that engaged practitioners from the field of cognitive science in seeking connections between creativity, choreography and the scientific study of movement and the mind. First, deLahunta briefly describes how initial ideas evolved into a six-month research project involving several cognitive scientists and the support of an arts and science research fund. There follows discussion about why a choreographer might be interested in cognitive science in structured collaboration. Cognitive scientist Phil Barnard explains the background and one of the resulting experiments that took place and proposes further mutually beneficial research. In the final section, Wayne McGregor details his experience of working with cognitive scientists on Choreography and Cognition, which inspired the creation of AtaXia (2004) and inspired future plans
Dance becoming data: part one software for dancers and part two: conversation between Anton Koch and Scott deLahunta
No full textDance becoming data: part one software for dancers and part two: conversation between Anton Koch and Scott deLahunt
Isadora ‘almost out of beta’: Tracing the development of a new software tool for performing artists
No full textMark Coniglio is an artist who has recently programmed Isadora, a real-time software tool to support the creation of interactive live performance work for installation or stage. Programmed primarily to manipulate digital video, the Isadora software interface is designed to be easier to use than other similar realtime software tools. In dialogue with Scott deLahunta, Coniglio discusses his motivation and intention in developing Isadora, explores connections between his artistic and programming practice, talks about the use of the software in his own work with the performance company Troika Ranch and speculates on his role as author of the software in relation to those who use it to create their own work. This is followed by comments from some artists who have been using the Isadora software. The main aim of this dialogue is to provide an insight into the creation of software tools for artists to those who may be relatively new to this practice. © Intellect Ltd 2005
Constructing Memory: creation of the choreographic resource
Full text linkThis article represents the consolidation and new point of departure of a major research strand in his work dating back to a seminal event (‘Software for Dancers: tools to support the choreographic process’) deLahunta organised with Arts Council England support (subisidy: £22,000) at Sadler's Wells Theatre, London in 2001. This event involved four UK choreographers (Siobhan Davies, Wayne McGregor, Ashley Page, Shobana Jeyasingh) in a detailed discussion of their creative processes and the possible augmentation of this using new ‘digital tools’. Subsequently, a follow-up 4-day seminar at “L’animal a l’esquena”, Celra, Spain (2002) focused on new tools and approaches for dance documentation, archiving and dissemination. Reports of both projects are available online.
This research draws upon or informs deLahunta's involvement in related projects, including: ongoing collaboration with two of the Sadler’s Wells project choreographers (Davies, McGregor) in the creation/development of software, e.g. the digital sketching tool “RotoSketch”; autonomous choreographic software agents with McGregor (overlapping with deLahunta's art/science collaboration research work); deLahunta’s role as official advisor on digital dance archives for Davies' AHRC-funded multi-year project (Coventry University). Additionally, deLahunta is working with European choreographer William Forsythe on a follow-up to Forsythe's ‘Improvisation Technologies’ CD-ROM; and on the ‘Notation Research Project’ with Amsterdam-based dance makers Emio Greco|PC, for whom he has been a lead researcher, and editor of the book ‘Capturing Intention: documentation, analysis and notation research’ (2007) based on their work
DAMPF LAB Final Report (Dance and Media Performance Fusions)
No full textdeLahunta was Research Coordinator for DAMPF_lab, a ‘European Culture 2000’ project (subsidy: Euros 150,000) supporting experimentation with interactive media and live performance with the following partners: V2 Media Lab (Rotterdam), Ars Electronica (Linz), Animax Multimedia Theater (Bonn) and tanz performance (Köln). A one-year collaborative project designed to "foster new and distinctive art works that integrate interactive media technologies with the performing arts", DAMPF_lab involved two complementary strands: co-productions aiming to nurture and help realise specific art works; and research labs aiming to generate shareable outcomes by drawing questions from and in turn supporting the creative work of the co-productions. deLahunta’s role included the coordination, facilitation and documentation of these labs. He details successful outcomes and critical reflections on the project in his extensive project report, submitted here as the core output. The website also contains transcripts and other project documentation. Further critical reflection took place in the context of a book chapter published in 2008
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