Can machine bodies express the same ideas as human bodies?…

Can machine bodies express the same ideas as human bodies? This question has been explored in my lab through embodied practice, study of theoretical underpinnings of computer science, and experimental quantification of robotic system capacity. The figure below, from an in progress work (https://arxiv.org/abs/1707.05365), shows the dearth in external complexity of extant robotic systems over the…

Does the somatic, postmodern practice of deconstructing embodied experience along spatial, temporal, kinesthetic, anatomical parameters neatly align with the limitations, goals, and aims of computational practices?

As I began to write, Ananya Chatterjea’s [1] work immediately came to mind. Chatterjea questions the dominance of somatically informed, postmodern methods of ‘listening to the body’ as having ownership over embodied discourse within dance. In this she does not discredit or devalue such work, but instead articulates that to assume these practices and affiliated…

Can we better understand the complex process of human music perception through a standardisation of the quantification of involuntary correspondences between motion and music?…

Can we better understand the complex process of human music perception through a standardisation of the quantification of involuntary correspondences between motion and music? Exploring the frequency-domain and time-domain links between sound and motion signals in a systematic manner might encourage international and interdisciplinary collaboration, boosting developments in the field and knowledge transferability. -Victor Gonzalez-Sanchez

From rich experiences, intentions, movement in continuous space and time, computation makes numerical representations, and these are incomplete snapshots of a larger story…

What escapes computation in artistic performance is almost everything… From rich experiences, intentions, movement in continuous space and time, computation makes numerical representations, and these are incomplete snapshots of a larger story. Rather than the attempt to capture faithfully the phenomena in stake, computation should be a constrained frame that generates few possibilities and de-familiarizes…

it is precisely what escapes proper computation that constitutes the thematic itself of the piece… [+video]

3 distinct interactive and participatory dance projects: Narcissus Reflected, RCO and BodyFail, in which various complex elements escape computation. On the level of the variability of audience involvement and participation, statistical evaluation of audience choices and decisions via their mobile phones, and their physical experiential actions and reactions. Finally, like in the case of BodyFail,…

…Any choice of measure, or instrument of measurement, makes some aspect of experience legible, and others illegible…

The unsolved hard problem of consciousness: the gulf between “internal consciousness” and physical observables, implies that no computational techniques based on physical sensing can yield certificate of intention.    Any choice of measure, or instrument of measurement, makes some aspect of experience legible, and others illegible. Any sensor makes some feature of activity visible and…

Consider the use of gesture recognition in interactive performance as a form of temporal linkage between the shifting intentions and actions of performers across time…

Video credits: Tools that Propel by Sarah Levinsky (first dancer: Maria Evans; other dancers: see youtube description) Consider the use of gesture recognition in interactive performance as a form of temporal linkage between the shifting intentions and actions of performers across time. Following Bergson, let us think of what is being linked here (past and present) as not static…