2023 (ongoing)
Role: UX/UI designer & Unity developer
By Alexander Whitely Dance Company
Otmo (formerly known as Digital Dance Studio) is a user-friendly and accessible tool for being creative with motion capture content, enabling non-specialists to position, modify, sequence and share recordings of human movement in a 3D virtual environment.
Otmo widens access to creativity in human motion. It does so through:
Embedding choreographic techniques into a simple but powerful digital tool, enabling users to quickly generate sophisticated and high-quality movement outcomes
A simple, accessible and intuitive user interface
A straightforward editing timeline
Automating functions that have to be performed manually in other 3D animation platforms
A customisable and diverse avatar library - enabling creativity with a broad range of body shapes and non-normative body types
>> Launching later in 2024
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Creative Director: Alexander Whitley
Digital Education & Engagement Director: Stacie Lee Bennett-Worth
Software Developer - System Architecture: Luca Biada
UX/UI designer & Unity Development: Clèmence Debaig
Design & Art Director: Neal Coghlan
Research Consultant: Dr Daniel Strutt
2023
Role: Lead Creative Technologist
Inspired by microorĀanisms called extremophiles that live on the edge of habitability, in some of earth’s most inhospitable environments, Hinterlands is a mixed reality headset experience on the speculative futures of human evolution.
Movement, spatial sound and augmented reality come together to create a space that unfolds diÿÿerently for you and the dancers in the space. Through an invitation to move, you will explore our entanglement with the natural and digital world and our possibilities for surviving, evolving and becoming.
Live motion capture data is streamed to headset to move an AR non-humanoid entity in Mixed Reality using passthrouĀh mode to three untethered Pico 4's.
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Concept created and directed by Choreographer Rebecca Evans in collaboration with Creative Technologists Clemence Debaig of Unwired and Alexander MacKinnon, Dancers Ania Varez, Jan-Ming Lee and Anna Kaszuba, Sound Artist Christian Duka, Dramaturg Joanne Skapinker, Intimacy and Consent coordinator Mira Loew and MAVR student Jon Higgins.
In Studio Images by Alice Underwood
Other Images Created by Mira Loew and Alexander MacKinnon
Since Nov 2021 (ongoing)
Role: Co-director Lead Creative Technologist
Unwired Dance Theatre
Where We Meet is an interactive, audio-based dance installation where audiences can experience the inner thoughts of a dancer. This piece aims to open up the conversation about mental health and wellbeing and break down taboos by facilitating an empathetic and intimate experience. As audiences walk around the space and choose which performers to engage with, innovative location-tracking technology will trigger unique audio monologues and enable personal interactions with solo dancers.
Initiated at Dansathon 2021 (a hackathon combining dance and new technologies), Where We Meet was awarded “Best Project” by the Jury with a monetary prize from BNP Paribas Foundation.
The project is funded by BNP Paribas Foundation and co-organised by la Maison de la Danse de Lyon, Sadler’s Wells in London and le Theatre de Liège.
Project team
Co-director & Choreographer: Livia Massarelli
Co-director & Creative Technology Lead: Clemence Debaig
Dancers: Noelle Lahaye, Vasiliki Papapostolou aka Tarantism, Ryan Naiken, Livia Massarelli
Music composer: Christina Karpodini
Writer: Emma Nuttall
Voice artists: [EN] Caterina Grosoli, Lisa Ronkowski, Iain Ferrier - [FR] Clemence Debaig & Noelle Lahaye
Creative technology: Branden Faulls (2024)
Sound Engineering: Vas Papageorgakopoulos, Hilltops Recording
Photos credits - Romain Tissot
October 2023
Role: lead artist & creative technologist
Commissioned by: Bedford Creative Arts
How can we use digital technology to inform and inspire a new generation about Bedford’s past?
Digital Ghost Signs is a project that combines public art with digital technology to bring to life the stories behind three murals located in Bedford Town Centre. The web app uses Augmented Reality to offer a deeper experience of the existing murals.
The Vault
(mural by Julian Beever)
This experience combines AR, escape game and discovery of the local buildings. Players are invited to find clues on the buildings of the High Street to unlock the legendary (digital) vault and get a chance to run away with a pile of gold. Each month, a new chapter of the heist is revealed making progress towards the vault, with new puzzles and new prizes.
Cardington Shed
(mural by Amy Womalds)
An interactive AR experience where participants can make historical airships take off from the Cardinton Sheds and discover more about how the sheds have been used throughout the years.
The future of flight
(mural by Keith Hopewell)
An interactive AR experience where visitors are invited to virtual fly planes to unlock snippets of content related to Bedford’s aviation heritage.
Team
Clemence Debaig, creative technology lead
Alex MacKinnon, digital art
David Thatcher, game design
Press
Partners
The project is commissioned by Bedford Creative Arts and supported by funding from Historic England, through Bedford Borough Council, with additional financial support from South East Midlands Local Enterprise Partnership (SEMLEP), ARA and BedfordBID as well as Bedford College.
Jan-June 2023
Role: creative technology consultant, movement director/ digital embodiment advisor, lead digital artist
Client: commissioned by SpectYou for VorAlpentheatre & Theatre Orchester Biel Solothurn
In collaboration with SpectYou, this project took youth groups from 2 theatres in Switzerland ( VorAlpentheatre & Theatre Orchester Biel Solothurn) on a journey to create stage performances with VR, including embodying digital avatars with full body tracking.
Rhinotopia, VorAlpentheatre
In this adaptation of Rhinoceros by Unesco, VR is being used to showcase protagonists being transformed into rhinos and entering a new utopist world.
ART. 119, Theatre Orchester Biel Solothurn
The play deals with the rocky road to unpunished abortion in Switzerland at a time when abortion was still in the criminal code and therefore interferes with a woman's self-determination over her body. In the performance, VR is being used on stage to convey the memories present in a diary that the main character finds in her grandmother’s attic.
Team
In collaboration with Alex MacKinnon, digital artist (avatar creation)
Nov 2022
Role: Direction, choreography, dancer, technology
Dance meets cutting-edge technology in this performance that combines live dancers, motion capture, VR technology, telematics and immersive theatre. DISCORDANCE features dancers in London and New York connected in real-time in the virtual space, co-present with participants in VR headsets and spectators in a proscenium theatre.
DISCORDANCE explores themes of multi-identities and the search for human connection. Follow the journey of a character through self-discovery, trying to fit in but realising that their otherness is what will help them connect with others.
It expands on the experience of a traditional dance performance by combining it with the interactive potential of immersive technologies. In this one-of-a-kind performance, audiences can choose their level of immersion and participation. In-person and remote audiences can coexist in the virtual environment and interact with the live dancers. Spectators can also join in the proscenium theatre and, remotely, on the livestream. Each format interweaves visuals from each virtual and physical location, making DISCORDANCE a truly unique hybrid experience.
Team
Direction & choreography: Clemence Debaig
Dancer London: Clemence Debaig
Dancer New York: Lena Adele Wolfe
Music: Christina Karpodini
Technology: Clemence Debaig
Avatar design: Clemence Debaig
3D design and world building: Joseph Ibbett
Dramaturgy: Brendan Andolsek Bradley
Stage management London: Elliot Mills
Mocap stage management NYC: Allison Costa
Technical support stage management system OnBoardXR: Michael Morran
With support from: Noitom Mocap, Goldsmiths University and OnBoardXR
New York’s performance location and generous support: Barnard The Movement Lab at Barnard College of Columbia University, NYC
DISCORDANCE has been premiered as part of OOTFest22, IJAD Dance Company hybrid festival.
Photos credits - Mich Rose @roseymich
2021
Role: Director, Performer, Creative Technology
STRINGS is a series of works inviting remote audiences to interact with a dancer wearing connected electronic devices on each arm and leg.
In this version of STRINGS created specifically for webXR, the actions of the audience in the virtual world affect the physical body of the dancer through networked wearables. Using this interactive system, the audience collectively decides how the dancer should move. Each instruction acts as invisible strings to (re)animate a living and dancing body.
STRINGS has been presented as part of OnBoardXR, an evening of live performances in WebXR.
Direction, Performance, Technology: Clemence Debaig
Music: Christina Karpodini
Server development: Ed Boucher
2020
Role: Direction, Performance, Creative Technology, Electronics
STRINGS is an interactive performance - available as an in-person, remote or hybrid experience. The dancer is wearing networked haptic devices that react to the collective actions of the audience through a web interface.
It explores how digital technology can enable collaboration and help us dance together, hold each other from a distance and find a new sense of togetherness.
The dancer is found in her living room after several weeks of self-isolation, losing connection with the outside world, fighting against anxiety and apathy, and contemplating the self. She will rely on the audience interaction to help her live through movement again and reconnect with others.
Using this interactive system, the audience is able to watch the performance while collectively deciding how the dancer should move. Each instruction acts as invisible strings to (re)animate a living and dancing body.
STRINGS has originally been presented as part of 19 Acts of COVID-19 Bravery, a selection of digital performances prompted by the coronavirus outbreak, curated by Brendan Drake and Kate Ladenheim.
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Credits
Direction, performance, creative coding, electronics: Clemence Debaig
Dancer: Clemence Debaig, Chloe Bellou
Web development: Ed Boucher
Music: Christina Karpodini
Creative input and dance partners: Chloe Bellou, Kristia Morabito, Marcello Licitra
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Past performances:
> April 2020 - 19 Acts of COVID 19 Bravery
> May 2020 - Can Everyone See my Screen, Goldsmiths University’s online pop-up show
> May 2020 - 19 Acts of COVID 19 Bravery
> July 2020 - Dance Against Racism Day
> July 2020 - Digitally Charged, Tramshed’s online festival
> March 2021 - On Board XR, an evening of short performances in WebXR
Since March 2020 (ongoing research)
Showcase May 2021
Role: Research Assistant and Creative Technologist
Goldsmiths University
This project explores the potential of remote collaboration between remote dancers using motion capture technology - dancing together in the virtual space in real-time. In our last showcase (May 2021), 3 dancers in remote locations perform 5 scenes through short narratives and virtual improvisation games, exploring notions of remote touch, and virtual partnering.
Supported by the AHRC, within their ‘Ideas that address Covid19’ fund, and by Goldsmiths ‘Future of Media’ research theme.
Dancers: Tia May Hockey, Nicky Henshall, and Alexander Whitley, with artistic advisor Mavin Khoo.
Principal Investigator: Dr. Dan Strutt
Creative Direction and Virtual Environments: Neal Coghlan (Studio Aszyk) and Clemence Debaig.
Software development: Oliver Winks at Paper Plane Software
Research Assistant: Friendred Peng.
Visuals crafted in Unity, with motion capture by the Perception Neuron V2 by Noitom Technology Ltd. with technical support from our project partner Target3D.
2021
Role: Direction, choreography, technology
Chloe is in London, Kristia in New York. How can they keep or develop their intimate relationship? While using technology to communicate, can they touch and feel each other online? Follow the journey and struggles of those two protagonists on their quest to reconnect from remote locations.
In this live performance between London and New York, where telepresence is mixed with networked wearable technology, we explore what intimacy means to us, especially when physical presence is not possible. Can these technologically mediated interactions lead to intimate embodied connections?
Direction, choreography, technology: Clemence Debaig
Dancer (London): Chloe Bellou
Dancer (New York): Kristia Morabito
Music: Christina Karpodini
Remote Intimacy has been created during the Open Online Theatre artistic development programme, supported and produced by IJAD Dance.
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> Watch the recording of the live performance on-demand on Open Online Theatre
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Past performances:
> 5-6 Feb 2021 - Open Online Theatre Festival, by IJAD Dance
Since March 2020 (ongoing)
Role: Research Assistant and Creative Technologist
A Goldsmiths based AHRC funded project within the ‘Tackling the Impact of COVID-19’ UKRI call. In collaboration with LASALLE College of the Arts Singapore, Akram Khan Dance Company, and Target3D.
Within this moment of crisis, this project offers an interdisciplinary collaborative project; to research the potential application of new forms of inertial sensor wireless and markerless motion-capture in the physically-distanced creation, rehearsal, teaching and performance of choreographic dance work.
Latest test session (see video):
In this experimental test session, two dancers, one in London, and one in Singapore, are dancing together, but virtually, each wearing an inertial sensor motion capture system. Live and pre-captured dance data were streamed from a dancer in a similar studio space in LASALLE college in Singapore, some 6700 miles away, with barely noticeable delay or latency.
Dr. Daniel Strutt - Lecturer, Dept. of Media and Communication, Goldsmiths University of London
Andreas Schlegel - Senior Lecturer, LASALLE College of the Arts, School of Design Communication
Mavin Khoo - Creative Associate, Akram Khan Company
Melissa Quek - Lecturer, LASALLE College of the Arts, School of Dance and Theater
Clemence Debaig - Dancer & Computational Artist
Neal Coghlan - Director & Artist, Studio Aszyk
Friendred - Installation & Computational Artist, PhD candidate
In collaboration with Target 3D
2020
Role: Direction, Choreography, Creative coding
Results May Vary is an interactive performance influenced in real-time by using the audience's recollections of the lockdown.
The audience is invited to reflect on their emotional journey through lockdown by answering a series of questions. With branching narratives and direct interactions with the performance, Results May Vary acts as a ‘performative survey’, portraying the collective memories of the specific audience interacting in the moment, making each performance unique.
Originated from a series of in-depth interviews, collecting real-life stories, the performance aims at highlighting the thoughts and feelings of this pandemic. It invites the audience to empathise with the diversity of experiences and circumstances and offers a space to reflect on what has been missed, enjoyed and learned, and how it will influence our approach to the new normal.
The performance uses computer vision effects and audio samples that are affected in real-time by the audience input. Thanks to a custom user interface, with live-stream and interactive elements, presented side-by-side, audience members can enjoy the performance directly in the browser, from the comfort of their home, or directly on-site.
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Credits:
Created by Clemence Debaig
Performed by Lisa Ronkowski
Music by Christina Karpodini
Voices from original interviews: Andrew C., Ashley C., Chloe B., Clemence D., Elmer Z., Jack J., Kelly H., Kristia M., Micha N., Sophie O., Theo A.
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Past performances:
> September 2020, Chimera Garden, Goldsmiths University
2020
Role: Role: Original Idea, Electronics, Creative Coding
Is It Getting Better? is a kinetic sculpture changing its shape depending on the latest COVID-19 data received. The system interrogates an online data source once per day to collect the latest total number of cases and deaths in the UK. It then analyses the data to define if the % of increase is slowing down or not. If the number of cases is getting better, it shows yellow triangles, otherwise, it shows the black ones. The number of deaths is represented by a change of colour in the LED, from green to purple.
The sculpture is made out of paper triangles, opening and closing with the movement of a servo motor hidden inside the box. Each triangle is attached to a string, then attached to a side of the servo. When the servo moves from 0 to 180 degrees, it closes the yellow triangles to open the black ones, and vice versa.
Is It Getting Better? works as a simple data checker to indicate if the numbers are getting better or not. Its 2 states (good / bad) is a conscious decision to simplify the reading of the current data and go against the information overload that is served on the news and social media. If it stays in the yellow state for several days, one can hope that the decreasing phase of the bell curve has been reached.
2020
Role: Original Idea, Electronics, Creative Coding
The Social Distancing Shirt is a wearable device that detects when other people get too close, and asks them to step back. It has been created during the COVID-19 pandemic to encourage people to respect the recommended distance of 2 meters.
The shirt uses 4 ultrasonic sensors placed in the front, back and sides of the body, and 2 speakers. When a person crosses the 2 meters threshold, a prerecorded track is played, saying “You are too close”. If the person stays in the 2 meters perimeter, the shirt keeps playing the next tracks but the messages get more and more assertive.
The idea for the project came at the beginning of the lockdown when walking in the park with a lot of people walking too close, and also realising that most people don’t have a sense of what 2 meters represent.
2019
Role: Original concept, Direction, Choreography, Creative Coding, performance
AUTOMATA is a performance device allowing the dancer to move elements of the outfit by his/her movements.
The dancer is wearing an accelerometer on the right arm and another one the left leg, controlling the movement of 5 ‘flowers’ and the shoulder pad.
The project explores the relationship between puppeteer and object, and the transfer of agency between the two. Is the dancer moving to manipulate the objects or is the movement of the objects influencing the dancer. Who is controlling who?
The initial research started with the intention to move remote objects through choreography. But through the different experiments, it clearly became apparent that the movements of the objects were influencing the choreography as much as the other way around. This led to the creation of a wearable device instead of remote objects and an evolution of the research into exploring the constant dialogue between the machine and the dancer wearing it.
Technical details
The wearable device is made of 7 servos, 2 accelerometers placed on the right arm and left leg, all connected to an Adafruit Metro board, with rechargeable batteries.
The values received on the accelerometers control the movement of 7 servos placed on the outfit, moving the different mechanical parts. Three of the ‘flowers’ and the left shoulder pad are controlled by the right arm. Two other ‘flowers’ are controlled by the left leg.
Particular attention has been put on the analysis of the acceleration values on each axis (X, Y, Z) to determine with one to use and set different thresholds for each servo.
2019
Role: Original concept, Creative Coding
O’Clock is an abstract clock, creating a living artwork. It offers a different perception of the time by looking at how busy and frantic the screen is instead of a numerical display. Each line represents the hours. Each wave and its amplitude depend on the number of minutes.
The end product takes the form of a tablet, embedding this living artwork into an object that can be placed in the house.
Technical details
The programming has been done in Processing, using the time on the device as data points to generate the visuals. The final version is an Android app, created from Processing, that is manually installed on an Android tablet.
2019
Role: Original concept, Creative Coding
</ Name > is a generative programme that creates posters based on the data contained in the name of the person. It uses the ASCII values of the first name and last name, as well as the length of the strings, to influence the parameters of the sketch and create unique visuals per person.
Technical details
The posters are generated using a custom program made in Processing and then exported to a PDF file, ready to be printed.
For more details and behind the scenes explanations:
> </ Name > on Goldsmiths Computational Arts Blog
2019
Role: Original Concept, Creative Coding, Dancer
Body Shape Generator aims at exploring the "architectural expression" of a body in space by generating random body shapes from a simplified skeleton.
The purpose is to inspire a dancer to reproduce those shapes in real life and exploring the possibilities of a computer-generated choreography.
At the same time, it explores the limits of the physical body and the absurdity of some shapes suggested by the computer that are not doable by a physical body.
The body is represented by simple segments:
- Orange = right arm
- Pink = left arm
- Blue = right leg
- Green = left leg
The programme generates new body shapes ‘on-demand’ and allows the user to navigate around the shape to understand the suggested position.
Technical Details
The project has been created in Processing, using PeasyCam.
2019
Original concept: Thirachot PD Chaivisuth
Dancer: Konstantina Katsikari
ROLE: Interactive projection design, creative coding, choreography
Adita is an interactive performance exploring how our past is influencing who we are in the present, from wanting to let your past self behind to embracing what made who you are today.
Using computer vision and some frame buffers, the projection follows the dancer and represents her past self in her journey to reconnect with her past to become stronger in the present.
Technical details
The dancer is tracked with a Kinect placed at the front of the performance space. The video data is placed in a buffer to represent the present and up to 5 moments in the past. The position data are then used to generate visuals in real-time. The full project is realised in C++ using openFrameworks.
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> December 2019 - Unboxed festival - Central St Martins, London
2019
Role: Original concept, Direction, Choreography, Creative Coding
BOTHER [/ˈbɒðə/] (verb) - Take the trouble to do something / Feel concern about or interest in / Cause trouble or annoyance by interrupting or otherwise inconveniencing someone.
BOTHER is an interactive and durational dance piece inviting the audience to influence, positively or negatively, the fate of the dancer in front of them.
It explores the notions of control, care and digital harassment, questioning how we behave differently when interacting with each other through the proxy of technology. It also intends the portray the impact of that alien agency, inducing pleasure, joy, violence or pain.
Depending on the emotional state selected by the audience, the graphics projected will change and the dancer will adopt specific movement textures while improvising, giving an embodied and visual representation of the impact of the audience's choice.
BOTHER is set up as a social experiment, exploring how the audience will react when given the power to control the dancer. Will they behave in an empathetic way, allowing the dancer to be free and happy? Or will they act in a more sadistic way, generating violent reactions? Will they care more about the person in front of them or the entertainment they get from the performance?
Performers
Clemence Debaig, Marialivia Bernardi, Ashley Kim Wakefield, Kristia Morabito, Oliver Charles, Marcello Licitra, Tracy Garcia, Konstantina Katsikari, Ana Vallejo Buitrago, Chloe Bellou, Pedro De Marchi
Technical details
The full interactive system is handled by a custom programme made in openFrameworks (C++) using computer vision algorithms (OpenCV). The programme also includes corrective geometry algorithms to align the camera view and the projector for the body projection (courtesy of Keita Ikeda). The buttons are connected to Arduino Nanos, each also connected to openFrameworks.
The dancer is tracked from the ceiling by a Kinect. Using the tracking data, graphics are projected onto the dancer's body from a projector also placed on the ceiling. Two sets of buttons are placed in front of the audience, a blue and a red one.
For more details and behind the scenes explanations:
> BOTHER on Goldsmiths Computational Arts Blog
Latest exhibitions:
> How is THAT working for you, Goldsmiths University, London - September 2019
> The London Ultra, Bargehouse, Oxo Tower, London - November 2019
2019
Role: Original concept, Creative direction and design, Creative coding
Join Me Inside is an invitation to explore our relationship with our own body, especially filtered through digital technology.
It looks at how it can turn into an obsession. It transforms our body into a kaleidoscopic and hypnotic experience, turning it into an obsession.
It also encourages us to be playful and to embrace our body movements. While observing the beauty of its shapes, it offers a way to abstract ourselves from its materially and help us reconnect with it.
When left alone, Join Me Inside is a projection mapping piece, showing a series of generative visuals. When visitors approach, their own silhouette becomes the graphical shape projected onto the surfaces, creating a kaleidoscopic effect and inviting people to create new visual shapes with their own bodies.
Technical details
Programme fully realised in openFrameworks. The movement of the audience is tracked with a Kinect. The projection mapping is done in openFrameworks using ofxPiMapper.
This piece has been presented during the following exhibitions and events:
> Take Courage Gallery - Re-opening night - London, March 2019
> Anamorphic Waves - Ugly Duck - London, April 2019
Artist: Mee & The Band
Role: DIRECTION, CHOREOGRAPHY, CREATIVE CODING, EDITING
More Than My Name is a music video realised in collaboration with Mee & The Band. The video is using computer vision algorithms to generate effects based on the movements of the dancers and the tracking of their faces.
The song explores the notions of identity and diversity, especially how modern technology defines us and our identification. However we existed as an identity when we are first born, before we are named, and when our bodies die we somehow still exist having lived, we leave an imprint. This video reveals the us that is unseen, a spiritual take on mental health and proof of our existence.
Technical details
All the effects have been realised using openframeworks, using computer vision algorithms, there is no post-production. Editing software has only been used for the final edit. Watch the Behind the scenes video for more details.
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The video will be be realised in Fall 2019
2019
Choreography and creative direction: Ann-Marie Field
Dancers: Slay! Diva Company
ROLE: Interactive projection designer, creative coding, dancer
Sapphic Trip follows the psychedelic journey of a woman discovering her subconscious sexual desires.
The interactive projection supports the performance by giving the audience another point of view on the choreography, helping visualise the inner thoughts of the women going through this psychedelic journey.
Technical details
The position of the dancers is tracked with a depth camera (Intel RealSense) placed on the grid above them. The video data are then used to generate visuals in real-time. The full project is realised in C++ using openFrameworks.
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> June 2019 - Stratford Circus Arts Centre, London - as part Summer of Love, City Academy’s summer showcase
The ethical implications of technology-mediated manipulation of human subjects for performance/entertainment purposes
2019
“Can a body cope with experiences of extreme absence and alien action without becoming overcome by outmoded metaphysical fears and obsessions of individuality and free agency?” (Sterlac, 2005)
This research project explores how interactive systems can encourage people to dance without them necessarily noticing it. But, at its core, it explores the different levels of motivations, agencies and freewill between the "conductor" and the participants. It questions the underlying ethical issues that may arise with the technology-mediated manipulation of human subjects for performance / entertainment purposes.
At this stage of the project, 4 experiments were conducted:
- reproduce a shape (kinect with feedback on a screen)
- reach the dots (kinect with feedback on a screen)
- follow the point (laser pointer)
- move a body part when it vibrates (equipped with mini vibrators on different body parts)
Sessions have been realised with individual participants and with a group, exploring what type of stimuli can generate what type of movement. But also, it observes the potential of a full ballet that would be performed by non trained dancers, reacting live to a series of stimuli - shifting the role of the choreographer to designing interactions instead of set movements.
> Full paper available on Goldsmiths Computational Arts Blog
2019
This piece has been created in the context of my end of term project for the Workshops in Creative Coding module, part of the MA in Computational Arts, at Goldsmiths University.
Stuck inside is a projection-mapped generative art piece showcasing a strange world made of paper pyramids and the tribulations of a person stuck inside.
The scene starts with the day passing outside of this world, casting shadows on the pyramids, until an invisible curtain opens. We can now catch sight of a person inside trying to wave, knock and look around for a way to escape. She is getting stuck in a loop of movements and, as she can’t find the exit, her mind escapes and creates a more colourful version of this world, changing the pyramids into a playful landscape.
Kaleidoscopic choreography
For the choreographic part of the project, I wanted to explore how to use the triangle shape from a movement point of view but also the kaleidoscopic effect it will give when mapped onto the pyramid. To do so, I created movements that play with the intersection of the body with the sides on the triangle and what body shapes could complement the triangle itself - using the body as a 2D graphical element instead of a moving person.
From a technical point of view, the video input is processed by the programme to transform the pixels into black and white circles with a blurred effect. The different short clips have been filmed on a white(ish) background, with the dancer wearing as much black as possible (including gloves and sunglasses!). The code is getting the brightness of each pixel and depending on the threshold defined, it draws a white or black circle accordingly.
Technical details
All the generative graphics and video processing have been done with openFrameworks, using the ofxPiMapper addon for the mapping itself.
For more details and behind the scenes explanations:
> Stuck Inside on Goldsmiths Computational Arts Blog
Research project, MA in Computational Arts, Goldsmiths
Group project: with Claire Kwong and Romain Biros
Role: RESEARCHER, CHOREOGRAPHER & PERFORMER
Performers: with Claire Kwong and Irini Kalaitzidi
Mirror is an exploration of audience participation and agency in performances and how digital technology influences it.
We staged 4 different performances with the same storyline but changing the level of audience participation and use of digital technology.
The performances explored relations between the self and others, especially filtered through technology. Social media provides a platform for looking at one’s own image as well as others, and our senses of identity fracture and merge.
1- Traditional stage-auditorium setup
A performer starts alone in front of a mirror, then two performers are “playing mirror” in front of a frame
2- Invited participation
Two performers start alone in front of a mirror. The audience is free to walk in the space. Then audience members are invited to seat in front of the frame and interact with the performer acting as the mirror.
3- Free participation and simple tech
Three performers are scattered in a pitch black space. Audience members are asked to use the flashlight on their phone to light the space and decide what and who they want to look at. Performers start by looking at themselves in small mirrors then they are turning it around in front of their face, forcing the audience to look at themselves, placing their image on someone else’s body.
4- Free participation and high tech
Three performers are walking in the space holding a laptop and looking at themselves using the camera. Then they turn it around and audience’s image starts glitching and replacing the performer’s face on the screen.
After each performance, the audience completed questionnaires about their perception and participation. We also conducted 1-to-1 interviews with them.
> The research abstract is available on the MA Computational Arts Blog.
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December 2018 - Exhibition space, Saint James Hatcham Building, Goldsmiths - London
2018
Those projects have been realised in the context of the Workshops in Creative Coding module, part of the MA in Computational Arts, at Goldsmiths University.
Assignments, inspirations and some source code by Theo Papatheodorou.
> Dumb agent
> Magnetic grid
> Harlem shake
> Mandala shape
> Hairy circles, reverse engineering and animation of an artwork by Georg Nees (untitled)
> Random buffer grid, slit scan and other experiments with videos
> Shapes from pixels and dance improv
Choreography and creative direction: Adrian Del Arroyo
Role: DANCER
Dancers: CA Contemporary Dance Company
Hostage is a tribute to freedom of expression in any form, a tribute to the right of being ourselves and a tribute to the accumulation of imperfection that compose our delicate balance.
We have the right to make our own mistakes and the freedom to learn from them. There is always a way back home. Home as a representation of your original you, an old plan or any other place you wish to be back in or get back to.
There is always hope.
Hostage shows family as a machine with cogs where each element depends on the others, but when one element feel hostage in the system, the balance of the whole mechanism becomes unstable.
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Original music: Juan J Ochoa
Videography: Eke
Photography: Ross Gamble, Stephanie McMahon, Guy Bell
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> November 2018 - Trinity Laban - London - as part of Tribute, City Academy's winter showcase)
> December 2018 - Bargehouse, Oxo Tower Wharf - London - for the opening night of the London Ultra
Creative direction: Adrian Del Arroyo
Role: PERFORMER / DANCER
Dancers: CA Contemporary Dance Company
Dance installations are a series of performances in art galleries. They offer a unique experience tailored to the venue and the artworks presented. An art installation involving moving bodies, a collaboration with other artists and sometimes live music.
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Music and live performance: Sera Eke
Videography: Eke
Photography: Stephanie McMahon
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> August 2018 - Exchange project - Thanks to Joshua Vaughan
> September 2018 - The Rectory Projects - Performing in the middle of the art pieces of Bea Bonafini and Anne Ryan
> December 2018 - London Ultra at the Oxo Tower Wharf - Opening night
Director and Choreographer: Adrian Del Arroyo
Role: DANCER
Dancers: CA Contemporary Dance Company
The Hive is about the stings of exclusion, the sweetness of inclusion, and how both belonging and not belonging can equally feel, and be, a threat. The film shows a social dance. It’s a place where individuals meet; where they want to participate, and stand out, and belong. But in their fears of isolation and desires for acceptance – in their common anxieties – they are united.
The video is part of the official selection of the 92Y Mobile Dance Film Festival 2018 (New York).
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Original music: Juan J Ochoa
Costumes: Neobotanic Ltd
Videographer: Eke
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Press:
South London Press - Artistic dance film selected for screening at prestigious New York festival
Artist: Mee & The Band
Role: DANCER / ACTOR
Eat Pierogi, by Mee & The Band, is a song written to describe how passionate Polish people get about their precious national dumplings!
This music video has made quite a buzz on Youtube and many people have said this should be nominated for Eurovision. It is a great representation of the unique universe of this comedic musical artist.
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Video released in April 2018
2012
Artistic troupe: Atelier du Lampadaire
ROLE: PRODUCER, CO-DIRECTOR, CHOREOGRAPHER, DANCER
What if we could transform our everyday life in the city? Inspire more warmth into it, more joy, more encounters… Follow the reveries of a sweeper who, guided by a strange street light, could lead you to a city with new colours.
“Songes urbains” (Urban dreams) is an interactive show. It stages 4 characters: a sweeper and 3 citizens. During the performance, the sweeper will have the power to stop the morose and monotonous lifestyle of those pedestrians to create a colourful and dancing city. Thanks to “magical objects”, he will have the power to manipulate those puppets. The sweeper then ask the audience for their help who will be able to take control of what is happening on stage.
The technical system is made of a set of Wiimotes, hidden in the “magical objects”, and a laptop hidden backstage. The system analyses the movement of the objects and changes the music accordingly. Each character has a specific object, linked to a specific instrument. Shaking the object will play the specific track accordingly and the performers will be ’activated’ or stay still. Therefore, the audience has the impression of controlling what the characters and can shape what is happening on stage.
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La Condition Publique - Roubaix - Decathlon Art Foundation - Soirée Danser sa vie - 13 March 2012
LM Festi'Danse - Contemporary dance festival - Kursaal - Hellemmes - 24 March 2012
Street performance - Lille - 01 December 2012
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Team:
Lucile HAMOIGNON: choreograph, dancer, costumes
Zouhair MAHIEDDINE: comedian
Hugo SMADJA: dancer, musician, technical implementation of the interactive system
Julien CARMES: back stage engineer
Alexandre DELASSUS & David CUNTRERA: photography
2011
Artistic troupe: Atelier du Lampadaire
ROLE: PRODUCER, CO-DIRECTOR, CHOREOGRAPHER, DANCER
A street light, a bench, a bus stop. Four characters moving in this urban environment, in a morose and repetitive everyday life. But, thanks to “magical” objects, the audience will be able to take control of the sequence of events. What will be the consequences of those interferences? How would the audience behave? Sadistic, kind, playful or torturer?
Interférences Urbaines (Urban Interferences) is an interactive performance. It uses the same technical system than Songes Urbains (more details here).
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Théâtre de Poche - Lille - 13 mars 2011
Festival Découvertes Autorisées - Ferme d'en Haut - Villeneuve d'Ascq - 3, 4 et 5 juin 2011
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Team:
Lucile HAMOIGNON: choreograph, dancer, costumes
Zouhair MAHIEDDINE: actor
Hugo SMADJA: dancer, musician, technical implementation of the interactive system
Julien CARMES: back stage engineer
William SUTTER: photography
2011 > 2013
Artistic troupe: Atelier du Lampadaire
Role: PRODUCER, DIRECTOR, DANCER
Also: video shooting and editing
Each year, l’Atelier du lampadaire liked creating a video greeting card, exploring new creative territories and performing in the street in the process.
L'Atelier du Lampadaire ("Streetlight workshop"), is a multidisciplinary artistic troupe. It brings together dance, drama, music, video, electronics, … Performing mostly in the public space, the troupe wants to shake the gloomy everyday life and uses new technologies to interact with the audience.
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Team:
Lucile HAMOIGNON: co-choregrapher, dancer, costume designer, urban designer
Hugo SMADJA: dancer, song writer and musician, software engineer
Zouhair MAHIEDDINE: co-director, comedian, software engineer
Amena AKBARALY: co-choregrapher, dancer, architect