The PERFORMANCE LABORATORY @ UGA brings together performing arts, geography-urban studies and computer science communities to produce innovative performance as research PAR. This new interdisciplinary community of 41 academics will allow the development of cutting edge art research, digital documentation, performance literacy tools and innovative forms of material and immaterial heritage. This will push the very boundaries of the scientific disciplines themselves, both methodologically and epistemologically, and in turn, create a new pluridisciplinary ecosystem at UGA.
Within the context of the Performance Laboratory, this doctorate project Gestures as frequencies: somatics and creative codingexplores the ways in which contemporary performers’ (circus, dance, and trapeze arts) gestural repertoires can be captured and co created as situated and somatic data. Working across a spectrum of possible movement actions, the infra ordinary (difficult to perceive), the ordinary (daily habits) and extraordinary (expert performer) this research subject questions how multimodal and proximal body capture (image, force, sound) can be not only measured, but challenged through collaborative choreographic platforms co designed with performers.
With an interdisciplinary research team of computer scientists, sound designers, designers and performers this research project aims to challenge the ways in which proximal and lightweight approaches to performance signal capture can provide insight into micro movement repertoires of performance training. Real-time processing and latency issues will be studied through practice based explorations with professional performers with amongst others the Choreographic institutions of Grenoble: CCN2 and the CDC. In order to lighten equipment while lowering the impact on accuracy in the same time, some recent works from the Computer Vision and Computer Graphics communities have shown the benefit of combining difference sources of data such as video processing and accelerometers. We would like to add to this the sounding of gestures which has been ignored in most ocular centric documentation and movement capture.
The goal of this PhD thesis will be to explore how innovative technologies bodily worn interfaces can developed through the training in performance contexts. Performance training today is quite idiosyncratic and the techniques and tools are not always considered as partners during technological design. With respect to the Performance Labs objectives, this PhD thesis will focus onsite specific art and technology co-creation with performer’s movement experience as the common scientific interest. The main objective will be to develop methods for automatic inference of kinaesthetic and artistic motion cues during rehearsals. Real-time processing and visualization is an important constraint for the research work as the immediate feedback of the artists is mandatory to maintain the artistic relevance. Non real-time feedback could also be considered for more complex processing and visualization, introducing a certain latency which could be considered as a dialogue between the performer and the system.
– must hold a Master’s degree (or be about to earn one) or have a university degree equivalent to a European Master’s (5-year duration),
Applicants will have to send an application letter in English and attach:
– Their last diploma
– Their CV
– A short presentation of their scientific project (2 to 3 pages max)
– Letters of recommendation are welcome.
Address to send their application: Gretchen.schiller@univ-