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DANCE

DANCE aims at understanding the meaning of “closing the eyes”, the perception of expressiveness and entrainment in dance, the participation to the emotion conveyed by a sequence of movements in space, the understanding of the non-verbal language of bodies that communicate, imagining and questioning concrete ways to listen to a choreography, feel a ballet.
DANCE maps these thoughts into scientific and artistic research for investigating how affective and relational qualities of body movement can be expressed, represented, and analyzed by the auditory channel.

DANCE dimensions, strongly integrated and interacting, are the following:

“Closing the eyes is needed to see the immeasurable spaces of a dream, to find images that open up to feelings coming from the least explored places of the brain, to experiment with forms of the visible derived by different sensorial configurations”
(J.Svankmajer, Touching and Imagining)

  1. Inclusion and rehabilitation. Interactive sonification and musicalization of choreutic movement (processing of sound spaces and ways of using affective music content in relation to the quality of gestures) investigates forms of sensory substitution: to see through listening. Testing new perceptual experiences of body movement in the dark implies the possibility of rapprochement and sharing (of spaces and emotions) between visually impaired and sighted people.
     
  2. Scientific and technological research. Neuroscience studies on brain plasticity in sensory substitution at University of Maastricht will be combined with studies at Casa Paganini-InfoMus on technologies capable of seeing emotional qualities and social indicators of movement, interpreting them as techniques for searching data in digital archives (e.g. sound, music, visual archives), and with research on interactive sonification at KTH.
     
  3. Artistic research and production. The choreography itself creates the music: dance can be conceived as musical composition (or re-composition, interpretation), changing its traditional dimension into an eminently or exclusively listening experience: Gesture, as an aesthetic object, is experienced as a sounding object.

More information can be found here: dance.dibris.unige.it

Team: Multisensory Interaction

Contact persons

Roberto Bresin
Roberto Bresin
Project manager
Profil
Ludvig Elblaus
Ludvig Elblaus
Profil
Emma Frid
Emma Frid
Profil

Funding: EU (Horizon 2020, grant agreement No 645553)
Duration: 2015-01-01 - 2017-12-31

Publications

[1]
E. Frid, L. Elblaus och R. Bresin, "Interactive sonification of a fluid dance movement : an exploratory study," Journal on Multimodal User Interfaces, vol. 13, no. 3, s. 181-189, 2019.
[2]
E. Frid et al., "Interactive Sonification of Spontaneous Movement of Children : Cross-Modal Mapping and the Perception of Body Movement Qualities through Sound," Frontiers in Neuroscience, vol. 10, 2016.
[3]
E. Frid, L. Elblaus och R. Bresin, "Sonification of fluidity -
An exploration of perceptual connotations of a particular movement feature," i Proceedings of ISon 2016, 5th Interactive Sonification Workshop, 2016, s. 11-17.
[4]
R. Bresin et al., "Sonification of the self vs. sonification of the other : Differences in the sonification of performed vs. observed simple hand movements," International journal of human-computer studies, vol. 144, 2020.