Capturing Stillness: Visualisations of Dance through Motion/performance Capture

Dance is increasingly a site of research for experts within the discipline and beyond. With the development of digital technologies, artists and researchers are exploring ways to develop new dance events, to engage with audiences and in doing so, to shed more light on the art form itself whilst expanding its boundaries and limitations. Building on these developments the presentation will share problems and challenges faced when motion capture technology tries to capture dance movement which emerges through somatic movement practices, in particular, an established practice, Skinner Releasing Technique ( SRT).


INTRODUCTION
Dance is increasingly a site of research for experts within the discipline and beyond.With the development of digital technologies, artists and researchers are exploring ways to develop new dance events, to engage with audiences and in doing so, to shed more light on the art form itself whilst expanding its boundaries and limitations.Building on these developments the presentation will share problems and challenges faced when motion capture technology tries to capture dance movement which emerges through somatic movement practices, in particular, an established practice, Skinner Releasing Technique ( SRT).
SRT 'utilises image-guided floor work to ease tension and promote an effortless kind of moving, integrated with alignment of the whole self'.Described by Joan Skinner who created the practice as a system of kinaesthetic training that refines the perception and performance of movements, the technique is characterised by attention on the senses, includes concentrated periods of apparent stillness and minimal movement, and movement which is on the floor and is enacted through contact with a partner.
SRT advocates for a kinaesthetic experience, which relates to the scientific notion that we are, ultimately, a psychophysical system of energies: an energy system within the larger energy systems of the universe.SRT is not a generic 'releasing technique' but by employing particular poetic imagery, goes beyond tissues and accesses the subconscious to explore the unexplored in individual movement creation.The imagery cited in the pedagogy alludes to the natural world and spontaneous movement is evoked through sensory imaginings.SRT accesses what is to occur and what has not yet happened and draws upon concepts such as 'constant becoming', 'just being', 'in flux', 'emptiness', 'nothingness' & 'dynamic stillness'.It is a powerful improvisational technique which taps into different feelings and sensing states facilitating expression, freedom, nuance and the potential for change.The practice promotes the idea that nothing is fixed a creative exploration of technical principles such as multi-directional alignment, suppleness, suspension, economy and autonomy.
The presentation will focus on the early stages of a research project, the first of its kind, to visualise SRT through motion capture technology.The principal project's aim is to generate new visualisations based on the capture of SRT that emphasise stillness, interiority and close contact with the floor; to encourage critical engagement with this practice: to expand the possibilities of motion capture technology (hardware and software); to enhance audience kinaesthetic engagement within interactive virtual performance environments.This concentrated study on how the sensing body can interact with motion capture will enable researchers and dancers to understand more about how immersive environments affect user, viewer engagement; and by seeking to reveal more about somatic movement practices, it will enhance kinaesthetic awareness and engagement.
The exploration of the interface between motion capture technology and SRT movement practice opens up a quite different set of questions about the relationship between motion capture/movement tracking and the dancing body.During the presentation examples of 3D interactive artworks with motion captured dance and some of these questions will be referenced.
All images remain the copyright of Gibson/Martelli (igloo).igloo is Ruth Gibson and Bruno Martelli.