Intimate Choreo-Compositional Interventions

In this long-term, practice-based research and creation project, we (choreographer Teoma Naccarato and composer John MacCallum) are engaging biosensors as a means to question relationships between bodies and technology in performance. The project began with a plan to create an evening-length production for music an dance (still to come), in which the heart rate of each dancer is used to guide the tempo of a corresponding musician in real-time, in correlation with the musical score. As we began to collaborate, we realized that we needed to address some basic but enormous questions that underlie our interdisciplinary methodology with biosensors, such as: What is a body? What does a stream of biodata actually represent?  What types of relationships are we constructing between physiology, movement, and music? How do our own values as artists and individuals colour the design process, implicitly and explicitly?  These questions are at once philosophical, artistic, and technical, and we are approaching them in a number of ways, including: practice-based experiments with dancers and musicians; performances for installation and stage; scholarly research and publications; and the development of biosensor hardware and software specific to our curiosities.  MORE

UPCOMING EVENTS:

WORKSHOP:
Intersections in Music, Movement, and Technology
Instructors: John MacCallum and Teoma Naccarato
August 17-19, 2017
CNMAT, 1750 Arch St., Berkeley

http://cnmat.berkeley.edu/events/intersections-music-movement-and-technology

13658994_1235544479812252_7402093597303471667_nThis three day workshop explores methodologies for practice and creation at the intersection of music, movement, computation, and various sensing/actuating technologies. The goals of the workshop are twofold: firstly, to examine the implicit values that inform interaction with and appropriation of technology in artistic contexts; secondly, to generate strategies for working in collaboration with technology, and as collaborators across disciplines.  We propose a viewpoint that technology is not a mediator for interaction—something to be designed to suit a specific artistic goal—but is a collaborator with a frame of reference that must be thoughtfully considered as part of the discourse of the work.

The session will begin with the establishment of a theoretical framework for interaction design and collaboration through discussion, movement and music-based practices. Each participant will present current, past, or future work with the goal of generating multiple viewpoints regarding the intersection of each of these works within our established framework. We will then guide speculative work on these projects in order to reinvigorate our practices by illuminating those aspects of them that have become invisible through familiarity.

Throughout, we will make use of the odot programming environment in Max/MSP, building on the concepts presented during the odot immersion course in the four days prior. This workshop is designed for people with a background in either music, movement, or interactive technology and a willingness to explore all three. Participants from other backgrounds are also encouraged and should contact John MacCallum (john.m@ccallum.com) and Teoma Naccarato (teomajn@gmail.com) with further questions. Attendees whose work involves software and/or hardware should bring functioning devices, and musicians should bring their instruments. Everyone should dress comfortably for movement.

PERFORMANCE: III
Choreographer Teoma Naccarato & Composer John MacCallum
April 27. 28. 29 | 7:30 PM / April 30 | 4 PM
THE WILDER 1435 Rue de Bleury, Montréal, QC H3A 2H7
More Info & Tickets: http://tangentedanse.ca/en/event/virtually-in-the-flesh/

_DSC5233In this intermedia and interactive encounter, the theatre is turned inside out. The dancers and musicians perform behind us; it is only by way of mirrors that we piece together moments, as if editing a live film from our own perspective. Gradually, we are offered sensory fragments: the reflection of a torso sweeping past; gentle pulsations in the floor; wandering rhythms in the live instrumentation – provoked by the heartbeat of the dancers.  It is difficult to capture anything or anyone, fully. There is darkness and stillness; there is breath; there is intense physical exertion and exhaustion.  Nothing concludes. Everything assembles and shatters. It shatters like glass, and as we piece the shards back together, unfamiliar forms emerge. MORE…

MORE EVENTS…

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