Hi Suren, Seth,
Good talk re our pilot exploratory movement research with
Seth’s musicianship and music technology,
Suren’s movement amplification via optical flow as starting points.
We discussed initial experimental scenarios in the experience of improvisation
— the difference between performer’s sense of rate of passage of time vs a spectator’s sense of rate of passage of time.
— two or more performers coming to a cadence (together!) without a score or prior plan.
— a performer beginning to lose focus OR shifting intention,
versus spectator’s awareness of that shift.
The key to a more rigorous, 21c approach to any of these experiential researches is to NOT measure merely one body but to develop relational measures. Simple example: instead of measuring trajectory of one dancer’s wrist, measure the distance between one dancer’s wrist and another dancer’s wrist.
Practical procedure, let’s
1) video record the performrer,
close enough to see facial expression and manual activity, with timestamps
2) Simultaneously record data streams with timestamps
3) Talk-aloud: Have participants narrate what they are doing / thinking during playback of video, using Quicktime Player 7 to record an extra audio track
4) Look for salient parallels between data streams and self-reports.
5) Revise feature extraction and iterate.
I cc Julian, Connor to see where is the code to record sensor / OSC data synchronized with video.
cc Todd, Lauren as fellow musicians/ movement + computational researchers. Note that Lauren’s done extensive and creative work with haptics / low frequency sound / touch.
