Collaborative Choreography: A Critical Inquiry into Designing Creative Interactive Systems

Conference paper
Part of the Lecture Notes of the Institute for Computer Sciences, Social Informatics and Telecommunications Engineering book series (LNICST, volume 136)


In choreographic process, technology can participate as a collaborator rather than as a tool, by transforming and eliciting creative opportunities. We propose that techniques such as modality shifts and abstraction are useful design strategies for provoking creative compositional choices. Modality shifts are the translation of movement data from one representation to another. Abstraction refers to the resolution and aesthetics of movement data representation that can modulate between greater specificity and ambiguity as a compositional interpretive strategy. This paper presents a contextual inquiry for an interactive system used to provoke creativity in choreographic process. Contemporary choreographic process is often distributed, relying on interactions between the choreographer and dancers to develop and evaluate movement material through exploration on different bodies. Based on this interaction model we choreographed and analyzed a dance piece in order to design a set of features that support system collaboration and agency in an intelligent autonomous choreographic system.


Collaboration Creativity Creative Process Choreography 


Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.


  1. 1.
    Shneiderman, B.: Creativity Support Tools: Accelerating Discovery and Innovation. Communications of the ACM 50(12), 20–32 (2007)CrossRefGoogle Scholar
  2. 2.
    Dipaola, S., McCaig, G., Carlson, K., Salevati, S., Sorenson, N.: Adaptation of an Autonomous Creative Evolutionary System for Real-World Design Application Based on Creative Cognition. In: Proceedings of the Fourth International Conference on Computational Creativity (ICCC), Sydney, pp. 40–48 (2013)Google Scholar
  3. 3.
    Lewis, G.E.: Interacting with Latter-Day Musical Automata. Contemporary Music Review 18(3), 99–112 (1999)CrossRefGoogle Scholar
  4. 4.
    Weinberg, G., Driscoll, S.: The Interactive Robotic Percussionist: New Developments in Form, Mechanics, Perception and Interaction Design. In: Proceedings of the ACM/IEEE International Conference on Human-Robot Interaction, HRI 2007, pp. 97–104. ACM (2007)Google Scholar
  5. 5.
    Schiphorst, T.: Self-Evidence: Applying Somatic Connoisseurship to Experience Design. In: Proceedings of the 2011 Annual Conference Extended Abstracts on Human Factors in Computing Systems, CHI EA 2011, pp. 145–160. ACM (2011)Google Scholar
  6. 6.
    Kirsh, D.: Creative Cognition in Choreography. In: Proceedings of the 2nd International Conference on Computational Creativity, ICCC (2011)Google Scholar
  7. 7.
    Hollan, J., Hutchins, E., Kirsh, D.: Distributed Cognition: Toward a New Foundation for Human-Computer Interaction Research. ACM Trans. Computer Human. Interact. 7(2), 174–196 (2000)CrossRefGoogle Scholar
  8. 8.
    Candy, L.: Constraints and Creativity in the Digital Arts. Leonardo 40(4), 366–367 (2007)CrossRefGoogle Scholar
  9. 9.
    Calvert, T.W., Welman, C., Gaudet, S., Schiphorst, T., Lee, C.: Composition of multiple figure sequences for dance and animation. The Visual Computer 7(2), 114–121 (1991)CrossRefGoogle Scholar
  10. 10.
    Calvert, T.W., Bruderlin, A., Mah, S., Schiphorst, T., Welman, C.: The evolution of an interface for choreographers. In: Proceedings of the INTERCHI 1993 Conference on Human Factors in Computing Systems, pp. 115–122. IOS Press (1993)Google Scholar
  11. 11.
    Lapointe, F.-J.: Choreogenetics: The generation of choreographic variants through genetic mutations and selection. In: Proceedings of the 2005 Workshops on Genetic and Evolutionary Computation, pp. 366–369. ACM, Washington, DC (2005)CrossRefGoogle Scholar
  12. 12.
    Lapointe, F.-J., Époque, M.: The dancing genome project: Generation of a human-computer choreography using a genetic algorithm. In: Proceedings of the 13th Annual ACM International Conference on Multimedia, pp. 555–558. ACM, Hilton (2005)CrossRefGoogle Scholar
  13. 13.
    Carlson, K., Schiphorst, T.: &Pasquier, P.: Scuddle: Generating Movement Catalysts for Computer-Aided Choreography. In: The Second International Conference on Computational Creativity. ACM Press, Mexico City (2011)Google Scholar
  14. 14.
    Soga, A., Umino, B., Yasuda, T., Yokoi, S.: Automatic composition and simulation system for ballet sequences. The Visual Computer 23(5), 309–316 (2007)CrossRefGoogle Scholar
  15. 15.
    Nakazawa, M., Paezold-Ruehl, A.: DANCING, Dance and Choreography: An Intelligent Nondeterministic Generator. In: The Fifth Richard Tapia Celebration of Diversity in Computing Conference: Intellect, Initiatives, Insight, and Innovations, pp. 30–34. ACM (2009)Google Scholar
  16. 16.
    Fernandes, C.: The TKB Project: Creative Technologies for Performance Composition, Analysis and Documentation. In: Nesi, P., Santucci, R. (eds.) ECLAP 2013. LNCS, vol. 7990, pp. 205–217. Springer, Heidelberg (2013)CrossRefGoogle Scholar
  17. 17.
    Carroll, E.A., Lottridge, D., Latulipe, C., Singh, V., Word, M.: Bodies in Critique: A Technological Intervention in the Dance Production Process. In: Proceedings of Computer Supported Cooperative Work, CSCW 2012, pp. 705–714. ACM (2012)Google Scholar
  18. 18.
    Kirsh, D.: Thinking With the Body. The Annual Meeting of the Cognitive Science Society (2010)Google Scholar
  19. 19.
    Sawyer, R.K., De Zutter, S.: Distributed creativity: How collective creations emerge from collaboration. Psychology of Aesthetics, Creativity, and the Arts 3(2), 81–92 (2009)CrossRefGoogle Scholar
  20. 20.
    Gaskell, A.: Kinect BVH Motion Capture. Integrate Systems (2011),
  21. 21.
    Brand, M., Hertzmann, A.: Style Machines. In: Proceedings of the Conference on Computer Graphics and Interactive Techniques, SIGGRAPH 2000, pp. 183–192. ACM Press (2000)Google Scholar

Copyright information

© ICST Institute for Computer Science, Social Informatics and Telecommunications Engineering 2014

Authors and Affiliations

  1. 1.The School for Interactive Arts + TechnologySimon Fraser University SurreyCanada

Personalised recommendations