compiled by Allen Fogelsanger, with help from Kathleya Afanador, who now has her own!
Birringer, Johannes. "Dance and Interactivity." Dance Research Journal 35/2-36/1 (Winter 2003-Summer 2004): 88-111.
Abstract:
Birringer examines the evolution of dance performance during the early 2000s as it incorporates various technologies and merges with other media disciplines. He posits that dance as it will come to exist in the 21st century will be far more interactive with other media than previously known; performers will be able to generate and synthesize dance with sound, voice, and images within a shared real-time environment. Birringer delves into several trends in interactive dance - including those utilizing motion-tracking and motion-capture technology, virtual reality systems, and network environments - and argues that educational institutions that teach dance must destructure their traditional curricula, develop new performance spaces, and become more open to other cultural movements such as rave culture and the Internet in order to fully participate in the advent of interactive dance. Several examples of interactive dance performance are presented and examined.
Birringer, Johannes. "Digital Performance: Dance and Media Technologies." PAJ - A Journal of Performance and Art 24/1 (70, January 2002): 84-93.
Abstract:
During the 1990s, various choreographers, performers and media artists began to experiment with computer-assisted work linking dance and new technologies. Dance has taken the lead, among the theatrical arts, in absorbing technology as a creative tool, affording dancers and technologists the opportunity to explore interactive environments, virtual places, and integrated methods that have shifted artistic process. Making dance for the camera has motivated choreographers to reconceive the aesthetics of dance for the theater. Four types of environments are evolving in dance: (1) interactive environments (based on sensors and motion tracking); (2) immersive environments (virtual reality-based); (3) networked environments (telepresence, video-conferencing, and telerobotics); and (4) derived environments (motion-capture-based reanimations of bodily movement or liquid architecture).
Camurri, Antonio; Mazzarino, Barbara; Ricchetti, Matteo; Timmers, Renee; & Volpe, Gualtiero. "Multimodal Analysis of Expressive Gesture in Music and Dance Performance." Lecture Notes in Computer Science 2915 (2004): 20-39.
Abstract:
This paper presents ongoing research on the modelling of expressive gesture in multimodal interaction and on the development of multimodal interactive systems explicitly taking into account the role of non-verbal expressive gesture in the communication process. In this perspective, a particular focus is on dance and music as first-class conveyors of expressive and emotional content. Research outputs include (i) computational models of expressive gesture, (ii) validation by means of continuous ratings on spectators exposed to real artistic stimuli, and (iii) novel hardware and software components for the EyesWeb open platform (www.eyesweb.org), such as the recently developed Expressive Gesture Processing Library. The paper starts with a definition of expressive gesture. A unifying framework for the analysis of expressive gesture is then proposed. Finally, two experiments on expressive gesture in dance and music are discussed. This research work has been supported by the EU IST project MEGA (Multisensory Expressive Gesture Applications, www.megaproject.org) and the EU MOSART TMR Network.
Copeland, Roger. "Cunningham, Collage, and the Computer." PAJ: A Journal of Performance and Art 21/3 (September 1999): 42-54.
De Spain, Kent. "Dance and technology: A Pas-de-Deux for post-humans (Virtual dance collaborations initiated by Paul Kaiser and Shelley Eshkar with Merce Cunningham and Bill T. Jones)." Dance Research Journal 32/1 (Summer 2000): 2-17. Cox +GV1580 .C732 Dance Periodicals. Also online.
De Spain, Kent; and Kaiser, Paul. "Digital dance: The computer artistry of Paul Kaiser (An interview)." Dance Research Journal 32/1 (Summer 2000): 18-23. Cox +GV1580 .C732 Dance Periodicals. Also online.
Dils, Ann. "The Ghost in the Machine: Merce Cunningham and Bill T. Jones." PAJ: A Journal of Performance and Art 70 (24/1, January 2002): 94-104. Olin PN2000 .P44. Also online.
Miller, Leta E. "Cage, Cunningham, and collaborators: The odyssey of Variations V." The Musical Quarterly 85/3 (Fall 2001): 545-567.
Saltz, David Z. "The Art of Interaction: Interactivity, Performativity, and Computers." The Journal of Aesthetics and Art Criticism 55/2 (Perspectives on the Arts and Technology, Spring, 1997): 117-127.
Schiphorst, Thecia. "Merce Cunningham: Making Dances with the Computer." Choreography and Dance - An International Journal 4/3 (1997): 79-98.
Abstract:
Recognizes that the choreographic software, LifeForms, has been used by Merce Cunningham since December 1989. The author, a member of the design team that created LifeForms, describes Cunningham's use of the computer choreographic software and development in dance, from the point of view of Cunningham's own choreographic process. Notes that Cunningham wrote about the possibility of a computer technology that would enable three-dimensional figures to be displayed on a computer screen over 20 years prior to LifeForms release. Explores the software, which provides an interactive, graphical interface that enables a choreographer to sketch out movement ideas in space and time. Includes 12 images from LifeForms.
http://www.openendedgroup.com/
(OpenEnded Group)
http://ame.asu.edu/motione/research.html
(motion-e: Arts, Media and Engineering Program)
http://www.hf.uio.no/imv/forskning/forskningsprosjekter/musicalgestures/
(The Musical Gestures Project)
http://www.infomus.dist.unige.it/eywindex.html
(InfoMus Lab - The EyesWeb Project)
http://www.cs.washington.edu/homes/antoine/videoVis/
(Visualizing Human Motion in Video, by Aseem Agarwala and Antoine McNamara)
Variations V, by Merce Cunningham
Cox Library of Music and Dance Videotape 458
Forsythe, William. Improvisational Technologies: A Tool for the Analytical Dance Eye. Hatje Cantz Publishers, 2000.
ISBN: 3775708502
Hard to find. Available for $45 at D.A.P. Distributed Art Publishers, Inc., 155 Sixth Avenue, 2nd Floor, New York, NY 10013, 212-627-1999, http://store.yahoo.com/artbook/3775708502.html, http://www.artbook.com/3775708502.html and in Cornell's Cox Library of Music and Dance, CD-ROM 87 (earlier edition CD-ROM 50). Also $45 at http://shop.store.yahoo.com/wexnerbookshop/imteedwifoet.html.