Advertisement

Intelligence, Interaction, Reaction, and Performance

  • Susan Broadhurst

Abstract

In this chapter, I will discuss my practice-based project, ‘Intelligence, Interaction, Reaction and Performance’, which consists of a series of performances that utilise new technologies. The first was Blue Bloodshot Flowers performed at Brunei University, West London, and the 291 Gallery, London, in 2001, and the second is Dead East, Dead West, which was performed at the Institute of Contemporary Arts, London, in August 2003. The performances which I directed consist of various physical/virtual interactions using a diverse range of technologies including motion capture,1 artificial intelligence,2 and/or 3D animation.

Keywords

Head Model Stereoscopic Video Liminal Space Miniature Camera Silver Screen 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

Preview

Unable to display preview. Download preview PDF.

Unable to display preview. Download preview PDF.

References

  1. Bowden, Richard, and Susan Broadhurst. (2001). Interaction, Reaction and Performance. Brunei University, http://www.brunel.ac.uk/jeremiah, accessed January 2006.Google Scholar
  2. Bowden, Richard, Pakorn Kaewtrakulpong, and Martin Lewin. (2002). ‘Jeremiah: The Face of Computer Vision’. Smart Graphics, 2nd International Symposium on Smart Graphics. Hawthorn, NY: ACM International Conference Proceedings Series: 124–8.Google Scholar
  3. Broadhurst, Susan. (1999). Liminal Acts: A Critical Overview of Contemporary Performance and Theory. London: Cassell/New York: Continuum.Google Scholar
  4. Broadhurst, Susan, dir. (2001). Blue Bloodshot Flowers. Performer: Elodie Berland. Music by David Bessell. Technology provided by Richard Bowden. Brunei University (June); The 291 Gallery, London (August).Google Scholar
  5. Broadhurst, Susan. (2002). ‘Blue Bloodshot Flowers: Interaction, Reaction and Performance’. Digital Creativity 13 (3): 157–63.CrossRefGoogle Scholar
  6. Broadhurst, Susan, dir. (2003a). Dead East, Dead West. Choreography: Jeffrey Longstaff. Performers: Katsura Isobe and Tom Wilton. Percussionist and composer: Dave Smith. Technology provided by Martin Dupras, Jez Hattosh-Nemeth, and Paul Verity Smith. 3D realization: Brian McClave (Filmmaker). London (August): Institute of Comtemporary Arts.Google Scholar
  7. Broadhurst, Susan, dir. (2003b). Selected video clips and notes from Dead East, Dead West. Body, Space, & Technology 3, no. 2, Brunei University. http://www.brunel.ac.uk/bst, accessed January 2006.Google Scholar
  8. Deleuze, Gilles and Felix Guattari. (1999a). A Thousand Plateaus: Capitalism and Schizophrenia. Trans. Brian Massumi. London: Athlone.Google Scholar
  9. Deleuze, Gilles and Felix Guattari. (1999b). What is Philosophy? Trans. Graham Burchell and Hugh Tomlinson. London/New York: Verso.Google Scholar
  10. Derrida, Jacques. (1978). ‘Structure, Sign and Play in the Discourse of the Human Sciences’. In Writing and Difference. Trans. Alan Bass. Chicago: University of Chicago Press, 278–93.Google Scholar
  11. Dupras, Martin, Jez Hattosh-Nemeth, and Paul Verity Smith. (2003). ‘Beyond the Mechanical Stage-hand: Towards an Aesthetic of Real-Time Interaction between Musicians, Dancers and Performers and Generative Art in Live Performance’. In Generative Arts: Proceedings of the 6th Conference, ed. Celestino Soddu. DIAP Politecnico di Milano (10–13 December).Google Scholar
  12. Jordan, Michael L. and Stuart Russell. (2001). ‘Computational Intelligence’. In The MIT Encyclopedia of the Cognitive Sciences, ed. Robert Wilson and Frank Keil. Cambridge, MA: MIT Press, lxxiii–xc.Google Scholar
  13. Lash, Scott. (1990). Sociology of Postmodernism. London: Routledge Press.Google Scholar
  14. Merleau-Ponty, Maurice. (1962). Phenomenology of Perception. Trans. Colin Smith. London: Routledge.Google Scholar
  15. Ramachandran, V.S. and Sandra Blakeslee. (1999). Phantoms in the Brain. New York: Quill.Google Scholar
  16. Ramachandran, V.S. and Edward M. Hubbard. (2001). ‘Synaesthesia: A Window into Perception, Thought and Language’. Journal of Consciousness Studies 8: 3–34.Google Scholar
  17. Stanier, Philip. (2001). ‘Blue Bloodshot Flowers: Text for Performance’. Body, Space, & Technology 1, no. 2. Brunei University http://www.brunel.ac.uk/bst, accessed January 2006.Google Scholar
  18. Turner, Victor. (1990). ‘Are There Universals of Performance in Myth, Ritual, and Drama?’. In By Means of Performance, ed. Richard Schechner and Willa Appel. Cambridge: Cambridge University Press, 1–18.Google Scholar
  19. Waters, Keith. (1987). ‘A Muscle Model for Animating Three-Dimensional Facial Expressions’. Computer Graphics 21, no. 4: 17–24.CrossRefGoogle Scholar
  20. Waters, Keith. (1999–2004). ‘Decface’. Mediaport.net. http://www.mediaport.net/CP/CyberScience/BDD/fich_055.en.html, accessed Januuary 2006.Google Scholar
  21. Waters, Keith, James Rehg, Maria Loughlin, Sing Bing Kang, and Demetri Terzopoulos. (1998). ‘Visual Sensing of Humans for Active Public Interfaces’. In Computer Vision for Human-Machine Interaction, ed. R. Cipolla and A. Pentland. Cambridge: Cambridge University Press, 83–96.CrossRefGoogle Scholar
  22. Winkler, Todd. (1999). Composing Interactive Music: Techniques and Ideas Using Max. Cambridge, MA: MIT Press.Google Scholar
  23. Zeman, Adam. (2002). Consciousness: A User’s Guide. London: Yale University Press.Google Scholar

Copyright information

© Susan Broadhurst 2006

Authors and Affiliations

  • Susan Broadhurst

There are no affiliations available

Personalised recommendations