is the knowledge-sharing platform for the 

. Explore the experiments and bold ideas behind the Academy's Fellowship programme, delve into the science behind the projects of our HIDA researchers, and explore the results of international collaborations.

is a platform for discovery and documentation. Each 

showcases a unique artistic-technological research project, with topics as diverse as the use of AI in theatrical design, choreography for and with robotics, and the possibilities for theatre in virtual spaces. Each 

 offers the chance to learn more about the members of our artistic research network. By pooling our knowledge in such a way, creative research into theatre, performance and digital technologies can become more accessible, sustainable, and artistically innovative.

Funded by the Federal Cultural Foundation, the Academy will award a total of 54 fellowships between 2019 and 2022, each lasting for five months. The 

 are designed for people interested in artistic-technical research which explores the possibilities for digital narratives in theatrical spaces, as well as their practical implementation. Fellows have researched a variety of digital methods (motion capture, coding, XR, VR, AR, sensor technologies, robotics, and more) across artistic fields including opera, dance, orchestra and drama. 

Helmholtz Information & Data Science Academy

(HIDA), the Academy for Theatre and Digitality has offered joint research fellowships at the interface of digital art and cutting edge scientific research since 2021. The HIDA fellowships are kindly supported by the 

Artificial Intelligence

VR (Virtual Reality)

Interactive

Sound Design

Projection/Mapping

3D Printing

XR (Extended Reality)

AV (Audiovisual Design)

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Fellowship

HIDA

PlayOn!

discover cutting-edge digital research in theatre and performance 
meet our research fellows and collaborators in the 

Portal: Academy for Theatre and Digitality

17 September, 2021: Transcript of presentation at PlayOn! conference held at the Akademie für Theater und Digitalität, Dortmund

When we began our fellowship at the Academy 10 days ago, we rearticulated our project for this public wiki. Basically the next 10 minutes will be a sort of performative-documentary gesture of ultimately writing out our research questions in this wiki after we have taken you through our thought processes, starting by sharing a brief project synopsis.

“The collaborative research between dancer Kiraṇ Kumār and dramaturg Kai Tuchmann is towards the making of 'Dear Dead Doctor', a work of digital and documentary theatre. In the form of an open letter to Kiran’s late grandfather, who was the first doctor of western medicine in his family, the project explores performative strategies of bringing medical and somatic knowledges into dialogue on stage. This address to the doctor is conceived through Kiraṇs grandchild: a parthenogenetic, proto-progenic being (P3B). P3B will be digitally materialized by drawing on 'data points' from yogic, dance and martial embodied practices. 'Dear Dead Doctor' re-imagines what 'being human in the world' could imply in its continuity across pre-modernities and futurities.”

One of the central concerns of our research is how to understand P3B. This is a complex concern with dramaturgical, technological and philosophical dimensions - which each articulate the concern differently:

Let’s be clear that speaking with the dead is by no way a romantic return to a past. Indeed it is a rational and imaginary gesture to reach outside modernity and towards an altered futurity.

Since Kiran is a dancer, we will make a key assertion that the bearing of embodied practices like dance, yoga and martial arts for our future, does not lie in a continued virtuosic display of skilled individuals. So rather than building our futures on recurrent stories of individual geniuses, through our research we propose that embodiment is a shared intelligence that is sort of compressed into an interpersonal storage mechanism, for example of a dance form transmitted from teacher to student, from performer to audience etc. This transmission of embodied intelligence cannot happen in a solid state of storage, like a fixed national culture or a singular artistic genius. Transmission of embodied intelligence happens through a sublimation of the self, an exchange of vaporous particles between us.

This is a 2 dimensional visualization of our digital starting point for developing P3B, depicting how data can be deduced from embodied practice and materialized in a pixel-cloud:

The 3rd century Sanskrit text Tattva Bodham or Deep Materiality, offers a 3 dimensional conception of being-human. Moving away from the very binary conception of body and mind, this yogic conception instead describes a trinary materiality of gross, subtle, and causal dimensions of being-human. Our gross beings are bio-material substances, our subtle beings are psycho-energetic presences, and causal beings could well be our by now im/material ancestors.What we will do in the lab here at the Akademie is at first a Capture of images of Kiran`s gross body in yogasana/postures, dance and martial movements. Using photo, video and motion- capturing technologies, this will be a capture of the gross or bio-material dimension.After this digital capture of the gross body, rather than pictorial visualisation, we will move towards a pixelated visualisation in which the image is structured/choreographed using principles of the subtle body: sensory modulations such as touch of the skin and blink of the eye, using rhythms of breathing, using dream-images and visualisations.

Ultimately our creation of P3B will be a visualisation of a subtle body derived from data of a gross body. This data is primarily embedded in the living archives of embodied practices. But the troubling thing is: data, in contrast to evidence, is not something given. Rather it has to be extracted from evidence. In contrast to evidence, which can be binary: true or false, data is rhetorical; it is something constructed to create certain effects, therefore it has no truth value. Data is just the result of curating an archive. In this process of curation, data is transformed by abstraction, aggregation etc. Data eventually will be that what Kiran and I take into account. So we will struggle with questions that are deeply connected to this very notion of data and its visualization. Questions like: What kind of data counts as knowledge? Is it all about counting? What counts? Who counts? Can we blend counting and understanding in a meaningful way?

Yet even as we invoke such a dialogue of the philosophical with the technological, we are careful towards the Californian talks and promises around disruption through technology. Eventually this Californian perspective claims thatconsciousness could exists independent of embodiment. And that one, for example, could upload the consciousness into a cloud and that it would exist there independently from the body from which it emerged.

We want to intervene into this perspective of a loss of embodiment, which is also symptomatic for the western discourse of posthumanism; We want to ask instead, how the embodied practice of theatre and dance can be expanded into a practice that thinks with and through data? This also connects to Kai`s research interesest into the field of dramaturgy. Which Kai understands as a practice that is constantly expanding the possibilities of theatre.

The following is an excerpt of the film LOSERS AND WINNERS by Ulrike Franke and Michael Loeken, which documents the dismantling of the Kaiserstuhl coke factory here in Dortmund and its shipment to and reassembly in China in 2005:

We are introducing this excerpt here because it hints to a second biographical layer of our project. Because Kai was born and raised in this city and grew up in a workersfamily. Some of his relatives even were associated with the depicted coke factory- while he has moved to Beijing in 2016 where he developed a BA program in dramaturgy. Growing up here, he could witness the effects of the end of industrial culture on the local peoples minds: a loss of belief in any valuable future prospects, a rise of violence and xenophobia were very often the consequence of it. To some extent, we regard the city Dortmund as a symptom for a broader “western condition”, which we characterize through the three buzzwords: loss of identity, decline of western empire, transformation difficulties.

Seen from this perspective, Dortmund`s embracing of the digital (academy, port, university) points to questions around the sociological foundations of the digital: How can the digital be an opportunity for reinventing one´s identity as a city- or (in the case of nowadays Chinas) even as a nation? In our project, we are looking for ways to interact with the very concrete city that hosts us. We are planning interviews between P3B and local citizens of Dortmund, as well as with the global networks of media scholars and philosophers of science. The data collected through these interviews with P3B will then form the textual basis for the letter to the dead doctor.

Like we said in the beginning, we want to use this presentation as a performative-documentary gesture to write out our research questions in this wiki. And basically we have now oriented our research around the following 5 questions:

What kind of knowledge can data produce? Is it all about counting? What counts? Who counts? Can we blend counting and understanding in a meaningful way?

How can we possibly bring P3B from his 2 dimensional state into the 3rd dimension?

What Indic knowledges of the human body-mind did the doctor have to disinherit? And could these knowledgesbecome accessible through surviving practices of temple dance and yoga?

How can the embodied practice of theatre be expanded into a practice that thinks with and through data?

What does it mean when the digital becomes a medium for reinventing identity as an individual, as a city, or even as a nation?

[Rehearsal Notes: 19  September - 1 October, 2021]

In order to prepare the visit of our programmer Matthias Härtig, whose expertise will help us in creating P3B, we started discussing the question of how to select from the living archives of Yoga, Kalaripayatt and Odissi-dance. We want our methodology to be transparent and consequential, which is even more important when one considers, that in contrast to Yoga and Kalari, Indian dance was completely reconstructed during the turn of the 20th century. Eventually, we decided just to focus on the pedagogies of Yoga, Kalari and Odissi- as they were taught to and are practiced by Kiran. In case of dance, we will draw, among other things, on Kiran`s training units. The following video displays such a unit that Kiran actually recorded for his master Bijayna Sathbathy during the time of the Pandemic (when personal training was not possible).

Kiran posesses several documents from his late grandfather: 5 pages entitled “Dates to appreciate and to remember”, 16 pages entitled “List of Patients”, several unnumbered pages and several wordless pages, and eventually the draft for an autobiography (pages 3-115). On September 30th we started to decipher, transcribe and read this autobiography, that we eventually put up on the stage of our lab.

[Rehearsal Notes: 10 October - 17 October, 2021]

These videos show Matthias Härtig and Kiran Kumar during the Motion Capturing:

But it's only really digital when there are glitches:

In this interview our programmer Matthias Härtig talks about the historical and technical particularities of the software “Kalypso”, that he is using to process the data from Motion Capturing:

Photographs of the performance presented at Academy for Theatre and Digitality, January 21st, 2022

Essay: Dear Dead Doctor's Motion Capture and Eadweard Muybridge's studies on Motion Pictures

“Time was at his command as it had never been at anyone’s before. A new world had opened up for science, for art, for entertainment, for consciousness, and an old world had retreated farther…The modern world, the world we live in, began then, and Muybridge helped launch it.” (Solnit)

When we started the infrared recordings of Kiran, we were fascinated right at the beginning by how much the recordings resemble the optics of Eadweard Muybridge`s studies on motion.

Muybridge's work on the technology of moving images is at the beginning of artistic research as well as a new relationship to space and time. As an artistic research project that uses the digital to question modern understandings of space and time, it made us curious to think about Dear Dead Doctor in relation to Muybridge.

The 1870s revolutionized not only industry but also human perception. It was in this decade that the newly invented telephone and phonograph joined photography and railroads as instruments for erasing time and space. It is also this decade, that Muybridge begins his motion studies that will ultimately form the precursor to cinema. He is commissioned by the Californian ex-governor and railway entrepreneur Leland Stanford to find out whether a trotting horse has all four feet off the ground at a time (which it has!). This collaboration between the then already famous photographer Muybridge and the entrepreneur/politician Leland Stanford, takes place in Palo Alto. It is Leland who, in memory of his late son, will endow today's Stanford University, which has arguably become the academic incubator that has contributed significantly to the emergence of today´s Silicon Valley. The Muybridge/Stanford collaboration prefigures some of our current understanding of artistic research. In fact, photography in the 1870s was really a craft, because each photographer had to develop his own optical apparatuses and chemicals to be able to make images at all. Muybridge had become famous for his outstanding camera shutters. To solve Stanford's little scientific question about horse movement, Muybridge constructed a special track, with wires on the floor that the horses touched and thus triggered photographic recordings of their movements. At the end of the 1870s, Muybridge developed the technology of the zoopraxiscope that showed his still images in rapid movement. A precursor to today´s cinema.

Muybridge's study of Stanford's horse (which actually was called “Occident”) showed that the feet of the trotting horse do indeed leave the ground, but only when they are under its body, and not, like it has been always depicted throughout the history of painting, when they are stretched away from the body. Muybridge's Moving Image technology enabled the human eye to see what had never been seen before. Time stood still. Walter Benjamin will later speak in this context of the “optically unconscious”, which is made visible by the camera. And it is Eduardo Cadava who eventually showed how much Benjamin` s thinking of history is deeply endowed to the technological apparatus of the camera. This is especially evident in his theses on the philosophy of history, in which he speaks of the “standstill of history”, or of a past that “flashes” up. One could even try to extrapolate from here, that some significant parts of our modern discourse around history, would have not been possible without the technology of the photography and the conceptual metaphors it provided.

Muybridge has captured and recorded movements by photographing their sequence and stringing together 24 images of this sequence per second. We in turn capture motion by using 26,000 data points or pixels. We are interested in the changes that happen within a motion sequence. For this we understand the data point not as a representation of a positional state, but as the expression of a difference between positional states, which results from a movement. Thus, our data points are the memory of a motion. Again, this memory can only be expressed by specifying certain processing parameters, such as whether and how long a pixel should remain in existence after a movement has been performed. By setting these parameters, it is possible to visualize previously made movements, for example. This possibility represents, in analogy to Muybridge, a new form of making visible what was previously optically unconscious.

In our aesthetic approach, we short-circuit this form of visualization with the Vedic idea of a subtle body. For the possibility of making the absent visible refers to the immaterial reality of the subtle body. We use digitality here to counter the modern understanding of history generated by photography with a different experience of temporality.

Essay: Contaminatedly Yours: Genre, Information, Body by Nishant Shah - Reflections on Dear Dead Doctor

One of the keenest promise and biggest myth of digital technologies is cleanliness. There is a continued replaying of the digital systems as clean, reliable, and free from unwanted contamination.

• In e-governance it takes up the SMART (Simple Moral Accountable Responsible Transparent) rubrics, insisting that digital governance can be cleaned of the excesses and corruptions of analogue bureaucracies.

• In computational design, it favours storage over memory, presenting stored data as clean and sorted, able to be retrieved and remembered by querying algorithms, for an infinitely digital future.

• In probability driven computational networks where the human is often sought to be replaced by computers undertaking mechanical transactions and calculations that perform efficiency and scale, this is often illustrated by showing human circulation of information as constantly mutating and changing whereas computational circulation remains discrete and contained by the protocols within which it is established.

The affirmation of cleanliness is both an exercise of control and a black-boxing of technologies, despite the fact that we continually see how computation technologies are ontologically and manifestly produced through multiple layers of contamination. A cursory look at algorithmic governance practices opens up a field of intentionality, bias, encoded discrimination, and amplified filtering that leads to the production of harm and violence without accountability and restitution. The obsolescence of databases, the leap-frogging of technologies, and the continued breaches and leaks of data and information belie the idea of immortal data and indeed presents data and information infrastructure as fragile and prone to breakdown and manipulation. Especially in the world of self-learning algorithms and networks of correlation, we continually see our reliance on unexpected, undesigned, and unplanned for variable queering models, producing states of exception, and leading to designed deviance which can neither be planned nor controlled.

Cleanliness then is neither an attribute nor a condition of digital networks and their spaces. The foregrounding of cleanliness has to be seen as an attempt to clean bodies, informations, and approaches that threaten the power, destablise the status quo, and resist the benign narrative of computation that is being naturalised in our everyday practices of digitalization. Cleanliness has to be recognized as an active way by which resistant data and technology usage can be controlled, punished, and penalised in order for dominant narratives to be favoured.

This insistence on cleanliness and controllability of digital technologies also creates the dominant aesthetic of our times that reinforces this filtered, curated, cleaned digitality as the de facto mode of visualising and engaging with the digital. In Dear Dead Doctor, we eschew this promise of cleanliness, and even when working with these technologies of cleanliness, continually look at different conditions of contamination that the digital technologies have to offer. From parthogenetic births out of dirt to the diffuse and distributed data, we examine ways by which the aesthetics of digital contamination can be constructed by looking at the logic, logistics, mechanics and intentions of networked computation on three different sites.

There has been a recent autobiographical turn in the performing arts, where the attempt has been to centre the lived experiences and histories of the individual as data for new performances and interventions. The autobiographical turn seems to be human centric but perhaps mimics the ‘deep mining’ and ‘data harvesting’ possibilities that new digital technologies of ‘more than’ and ‘smaller than’ the human seem to offer. The autobiography becomes a way by which lived and affective experiences can be re-narrativised to become a spectacle which can then populate the ever expanding data sets of digital storage. Autobiography as a genre also lends itself to verisimilitude and historical reconstruction supported by archives and evidences that can help clean up the realm of the personal for better intelligibility and taxonomy.

However, the space of theatre and performance is not to deploy these digital aesthetics and queries in order to produce spectacles of machine logic. The challenge of theatre is to create new genres and modes of autobiography that can destabilise this individual turn by exploiting other potentials and possibilities of the digital.

In this performance, we are thus moving towards an biomythography, where through the tropes of autobiography, we produce new myths which are part fiction, part lived-reality, part fantasy, and part politics. The idea of biomythography is not a resistance to digitality but in fact a joyful appropriation of its cleanliness rhetoric and finding new modes by which the post-digital can be performed.

Instead of thus, relying on the archive as discrete, the memory as contained, the record as sacrosanct, and the evidence as the only way by which a story can be told, automythogaphy creates a new terrain of post-digital performance where we lean into our pasts as contaminated and queer, open to interpretation and intervention even as we use the elements of autobiography making. In this project, we are perhaps looking at how the digital affordances can help move from autobiography to biomythography:

Positioning the 'Origin Story' as a Collective rather than an Individual one

It is at the heart of digital computation that the nodes do not have a linear, comprehensive, origin story where it pre-exists the network and intention of information circulation. Nodes in a network are products of intention – and each node is ontologically replaceable by any other node in the network. This idea of nodes as universally interchangeable offers us a new entry point into the personal history: That the personal history is both an imagined one, and a collective one. Autobiographies, as Jeanette Winterson had once said, are stories about other people, while pretending that they are stories of the self. What would it mean to have this digital possibility of telling the story of multiple people – entire generations and communities, instead of focusing on the self.

If autobiography is about querying the self, biomythography has to be using the self as a query that tells the collective stories of the people, things, events, and memories that both precede and escape the formulation of the ‘I’.

One of the imperatives of the conventional autobiography has always been the act of reconciliation. Whether it be in epistolary or confessional forms, the autobiographical subject performs the stitching of fragments and actively filters things that cannot be synthesized into the discrete subjectivity.

Reconciliation is a performance towards an external authority that requires for the production of this discrete subjectivity so that it can be isolated, tracked, managed, and controlled in its unfolding. Within digital networks, there is, however, a possibility to exploit the mechanics of ‘hyperlinking’ which do not need to perform causality or synthesis between two disparate objects within a network. The hyperlink is a freedom from the tyranny of the narrative, and allows for new modes of co-existence where information can be stacked at the level of the index rather than at the semantic level of the lexicon.

Using this as a trigger point, we examine the potentials of mythobiography as straddling paradoxes without the burden of reconstitution:


The possibility of mythobiography is in letting go of the aesthetics of representation and leaning into the world of simulation, where there is no ‘external reference’ because it is a self-contained loop of small world phenomena. We are looking at mythobiography as an act of interpretation with tainted factuality – not a narrative of proof but a simulation of stake, and thus offer the space for wilful misreading.

If the autobiography is a space for narrative, then this digital mythobiography is a space for metaphors, where the ‘auto’ – the self, which is a representational and realist construction, is replaced by the ‘mytho’- a simulated and an imagined programmed entity, that allows us to explode the probability horizon through potentiality functions.

The autobiographical turn in digitalisation has often been celebrated because of the multiplicity of sources through which the personal narrative can be written. In an age of internet of things, where extreme surveillance is our de facto mode of existence, the presence of multiple recording devices from phones to drones, allows for a multi-faceted narrating of the subject through different sources. The montage of simultaneous streams that each offers a different vantage point and perspective has often been presented as the exploding point of the individual centred narrative.

However, in all of these processes of polyvocality, the autobiography stays compliant to the demands of fidelity. Even though we are already engaging in critical conversations around fakeness and reality, with fake news, misinformation, and deep fake becoming a part of our regular vocabulary, the question of fidelity – having that external referent which will make the distinction between real and fake, or clean and contaminated information continues to hold command.

Kiraṇ Kumār

Kai Tuchmann

The collaborative research between dancer Kiraṇ Kumār and dramaturg Kai Tuchmann is towards the making of 'Dear Dead Doctor', a work of digital and documentary theatre. In the form of an open letter to Kiran’s late grandfather, who was the first doctor of western medicine in his family, the project explores performative strategies of bringing medical and somatic knowledges into dialogue on stage. This address to the doctor is conceived through Kiraṇ's grandchild: a parthenogenetic, proto-progenic being (P3B). P3B will be digitally materialized by drawing on 'data points' from yogic, dance and martial embodied practices. 'Dear Dead Doctor' re-imagines what 'being human in the world' could imply in its continuity across pre-modernities and futurities.

Dear Dead Doctor

Motion Capture/Tracking

Dance

Data Visualisation

Documentary Theatre

2021

, is an artistic/methodological movement research. 

The aim of this research project is to take core principles of (analogue) puppetry animation and to translate them on the moving/dancing human body using motion capture techniques, in order to explore how this movement method can increase the experience of aliveness of 3D avatars, by making their movements more organic and establishing them as breathing/alive creatures.

I am inspired by, and draw upon my background as pluridisciplinary artist, with a focus on dance, movement, and puppetry/object theater. 

I'm interested in approaching 3D avatars as another form of body language with its specific dynamic and needs, which also implies other possibilities and limitations. For this language, the human body acts as the vector as well as a translator. The fundamental principles of puppetry animation are considerably different from the human way of moving regarding impulses, dynamics, rhythm, accentuation, tension, stop/echoes of the movements, etc. When these principles of puppetry are applied to the human body, and the resulting movements are used to animate an avatar, an act of translation occurs. It results in more precise movements and sequences, and the impression of ‘organic’ movement, because the avatars are established as ‘breathing’ and ‘alive’, which is the core of puppetry’s art.

You will find here the long interview about the Research and the Process itself:

{ More to come here, about the Process, the Whys, the Discovery }

As a showing from this research, ‘A_live, became a video installation on 3 canvases about those movements, impulses and breath, accompanied by live music.  

The setting is composed as follows: Movement sequences, recorded using motion capture techniques, are projected on the three canvases. The embodiment of this exploration is interpreted by three different avatars, each one with its own texture and characteristics. One avatar has a water texture, which has an ‘explosive’ capacity related to the strength and speed of the movement impulses. The second avatar is more ‘typical’: a humanoid shaped form, yet connected to a cloth which is reacting intricately and precisely to the avatar’s impulses, creating a ‘wind’ feeling as well as an extension of the breath’s embodiment. The third is made of particles which leave traces of light following each movement.

The emphasis of this visual experience is on the quality and precision of the movements, and the different impulses, explorations and nuances embodied by the avatars: How the different textures are reacting to those elaborated momentums, innovative way of moving and to the avatars breath are the leaders of this experience. Each texture with its respective features reacts in a different way to the impulses of the performer, creating various and specific visual echoes in harmony with one another. 

Thoughtful dramaturgical choices and precise editing creates an additional layer of choreography, from the timing of the appearance (and disappearance) of the sequences upon the canvases; the smoothness (and suddenness) of the transitions; the synchronicities and delays between the sequences which underline the specificity of the each movement or breath. We are invited to witness each avatar’s individual breath as well as experiencing a collective organic entity as it moves and breathes as one.

The animation’s cameras are connected to the pelvis of the avatars, which is to say, to the core of the movements. In fact, it is important to note that absolutely no extra effects were added, and there was no need at the end to clean the files. The cleanliness of the movements, and the possibility overall to use ‘raw’ files in this way, are the direct results of the method I’ve explored and developed. 

Although this showing is the first creative response to my research; the frame became not only an explicative presentation of the project so far, but an immersive installation in its own right. It was important to me to create a unified, elaborate setting, and to invite the audience to feel immersed in an atmospheric ‘island’: connecting with senses, finesse of movements, beauty, breath and ultimately a deep exploration of aliveness through external bodies.

                        If you wish to discover more about the installation itself, I invite you to consult the project description on my website. *

Concept, Movement Research, Embodiment: 


Baris Pekcagliyan / @0bapek
Beka Tcharbadze / @bekaarba
Alptuğ Çavuş / @talkingrocks

Warm thanks to the Academy for Theatre and Digitality, 
Mario Simon,
& KOPRODUKTIONSLABOR.

Laura Waltz

My fellowship project 'A_live' is an artistic/methodological movement research, and the use of MoCap technology to explore the possible 'organicness' and feeling of 'aliveness' of avatars through animation fundamentals from puppetry.


The aim of this research is to take core principles of (analogue) puppetry animation and to translate them on the moving/dancing human body using motion capture techniques, in order to explore how this movement method can increase the experience of aliveness of 3D avatars, by making their movements more organic and establishing them as breathing/alive creatures.

A_live

2023

Puppetry

Avatars

Sensors

How can we (as a field) make a dance in a virtual environment so that the audience “feels” the presence of the digital body?

What is needed for the audience to find new aesthetics when dance is mediated with digital environments like VR headsets?

, which explores the performative possibilities of VR/XR technologies through dance. It questions the concept of a 'stage' when dance occurs simultaneously upon hybrid stages (for instance, in both virtual and physical realities) and asks: how can this kind of content be shared with an audience?

 Virtual reality creates an experience where introspection can be achieved. This opens up possibilities for somatic and other movement practices. Working with the body and technology presents the opportunity to explore rigid computer systems through an ontological approach (praxis/doing), and to explore the medium's own possibilities. Often, dancers who work with technology forget their own embodied language (the 'why/how') and get confused and carried away by the pragmatic reality of technology, focusing instead on the content (the 'what'). They forget their own embodied power. The result is a superfluous object.

To tackle this I propose a praxis which privileges the process over the result. I work with avatars and sigils as a ritual practice with a non-anthropocentric approach, and the key aspect is to shift the focus in choreographic strategies. Instead of asking "what to 

This project continues my research into dance in VR that started in 2022 at 

Motion Bank - University of Applied sciences Mainz

 (Project originally founded by choreographer William Forsythe). 

Using a markerless motion capture system I created, I explored and documented simple visual representations of the body (avatars) in VR. 

. I achieved this using a non-anthropocentric approach. In the documentation it was important to use an inclusive, clear language that addressed both dancers and technologists. In the 1st cycle at Motion Bank, the focus was on the dancer.

In the 2nd cycle at the Academy I want to add a layer where I introduce the stage, thus exploring the relation between audience and dancer.

The new performance rather offers different entry points to the audience so that every audience member can have a different interpretation. Nevertheless, the core of the performance remains the same; we investigate a theatrical narrative while having virtual reality as an actor at the center of the stage. In the first performance, we used a linear narrative around VR to convey how we conduct a research. In the second performance, we used a less rigid structure, namely structured improvisation, to show how we develop a performance. It can be seen as a making-of where Jorge runs around the stage and prepares each technical element for a “real” performance although there is no such a “real” performance that comes out of the making-of.

Though our intention is to show behind-the-scenes of developing a VR-performance, we do not want to limit the scope to “struggle of working with technology in theater” because this theme may be too specific in the industry. We try to add embodied elements and add breaks in between to show humanness of a theater maker. The audience can relate this process to everyday technology such as smartphones, smart devices and potentially VR headsets, which are becoming a commodity.

For the overall structure, we divided the performance into small skits so that each skit features one element (e.g, video of eyes, VR meditation app). As a structure, we might think it follows an idea of Fluxus or it is minimalist; nonetheless, in the actual performance, we see that each element is not separable from each other and we can notice the interconnection between the selected element and other actors on the stage that are not mentioned (Jorge’s body, desk, floor, …). This is because working with technology is inherently a complex process.

Between Information and Noise :: a Practice on dance and VR

: To explore different perceptions of realities when dance happens within Hybrid stages - (VR and on-site)

Missing conceptual context to apply technical tools.

The natural empathic and embodied relation between dancer audience is partially lost when using VR headsets. This research aims to help the audience to find new aesthetics (

mediated experience of time created between the artwork, the artist, the interface and the audience

), to find engagement, new meanings and purpose when dance is mediated with digital environments like VR headsets In hope to 

create a visceral sense of unfolding or revelation, but also a feeling of immediacy and loss.

Exercises on subjective perception of time and space. The aim with this series of videos is in questioning, What is happening in real time.

. An action of a person drinking water (action 1) is recorded with 2 different camera perspectives. A setup in OBS is set to switch between 3 different perspectives of the camera; the 2 recordings and a 3rd live feed. A person comes into the space. There is a projection that switches between the 3 perspectives while a person is in the space doing the action of drinking water. This action is recorded. 


Sigil

Pathfinder

Choreographer, Media and Interaction Designer, Researcher

Jorge Guevara

The natural empathic-embodied relation between dancer - audience is partially lost when using VR headsets. This research aims to help the audience to find new aesthetics, new engagement, new meanings and purpose when dance is mediated with digital environments. Through two live performances, I created a visceral sense of unfolding or revelation, but also a feeling of immediacy and loss. 


Sigil :: bringing the inner world out

Choreography

Lighting Design

In the last phase of cicatrization, fibroblasts form a new layer to replace lost epidermal tissue. This abundant collagen secretion not only forms a scar that persists visibly, but also alters the properties of local sensitivity and thus the memory of the body.  

Through corrosive and raw landscapes, the exploration of 

Post-Organic Bauplan's practice is developed from the construction of, and interaction with, robotic prostheses and body research.

 For this instance we want to explore the relationship with holographic avatars and go further in the link between digital, analogue and robotic bodies.

We want to continue to research dance, visuals, expanded reality and motion capture systems to go further on the creation of environments that play with the relationship between natural/artificial, organic/not-organic, body/space. 

We are motivated by a cross between art, technology and science that is not focused on increasing the productivity of the body but rather on bringing up questions about it.

 This is important for us as it is our way of exploring, opening up different experiences for us as corporealities as well as a way of meeting and connecting with other people interested in the topic of post-humanism, robotics, body modification and movement.

We generally start each process by choosing a concept that we take from biology science. Concepts such as autotomy, "bauplan", chimeric parasites, etc, are denominations that biological science uses to define different processes that take place in the body of different species (or between them). Then our methodology is divided into two main lines of work, which of course are not independent but shape each other:

1.	Development of Robotic Devices

2. Movement Research

Post-Organic Bauplan

Motivated by a cross between art, technology and science, Post-Organic Bauplan research dance, visuals, expanded reality and motion capture systems, and play with the relationship between natural/artificial, organic/not-organic, body/space. Whilst at the Academy, Post-Organic Bauplan developed 'FASE DE CICATRIZACIÓN', a performance exploring digital, analogue and robotic bodies. 

Robotics

Performance

2022

What happens to the narrative when dissolving the singularity of virtual reality?

How do group dynamics work in a virtual environment?

One technician to run the show (could be the same person)

A mark to help with calibration (optional)

Research Blog

Audio and Game Designer, Performance Artist

Alexander Nham

Gloria Schulz

This is a tool to dissolve the singularity of virtual reality. It has two components. The first one is an app that helps calibrate and connect multiple virtual reality headsets of a constrained physical area to a shared virtual environment. The second one is a supportive software for managing and monitoring of the devices used.

multiVRse

App/UI Design

Narrative Design

2020

Our third PlayOn! production will be a game in which we will discover both the history and mysteries of Nowa Huta, legendary district and our everyday environment. We want our viewers, or rather gamers, to follow the Ludowy Theatre history guided by iconic figures like former theatre directors, first Nowa Huta builders, or our next-door neighbours. The game will be powered by a mobile application which will give special tasks to reach the levels and achieve awards. The final of this game will take part on the theatre stage, and it will be final match. Gamers will be actors and actors will be masters of this half-real, half-digital ceremony.

Nowa Huta - 70 Years Later is based on true stories given by the oldest inhabitants of Nowa Huta. We want to make their story heard again and connect them with the next generations who are living in this place. The application will be the tool to know each other and to meet in this special moment of history, on the eve of the 70th anniversary of Nowa Huta and Ludowy Theatre.
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A Ludowy Theatre production as part of the Creative Europe project PlayOn! 

Nowa Huta – 70 Years Later

At the start of this project, our central question from a content perspective was: what is the meaning of theatre within a community? From a technical standpoint, since this was our first experience using augmented reality (AR), our key question was: how can AR technology support us in engaging with our audience while addressing the broader question of theatre’s role in the community?

The focus of the project was augmented reality (AR), inspired by the innovative example of the Honolulu Theatre for Youth. They used AR to give voice to important monuments, highlighting the cultural and historical heritage of native Hawaiian traditions. This approach demonstrated how AR can connect audiences with meaningful stories outside traditional theatre spaces.

We saw AR as a compelling tool to bring theatre beyond its traditional confines and to make our theatre’s content accessible in a new way—outside the theatre building and on demand. This exploration aimed to expand the reach of theatre, creating opportunities for engagement that are more flexible and open to diverse audiences.

How did the collaborators work together on this project?

The collaboration primarily took place remotely. The work required constant communication among the various collaborators and an ongoing process of testing that actively involved members of the theatre’s local community. This continuous feedback loop ensured that the app was both functional and meaningful to its intended audience.

The main focus of testing was user usability. How could someone unfamiliar with the app intuitively understand what to do, where to look, and how to engage with the experience? It was crucial to gather feedback from actual user experiences, study different approaches, and consider the environmental conditions in which the app would be used. This iterative process allowed us to refine the user interface and experience.

Did you use existing software and/or applications?

What were the key milestones in the development of the production?

The project’s key milestones included identifying the content, designing a structure that could accommodate the content while aligning with the chosen AR technology, and conducting thorough testing to ensure the app’s usability and effectiveness.

The final outcome was the creation of an augmented reality app that extends the theatre experience beyond the physical space, making it accessible "on demand" and in outdoor settings. Initially, the project was driven by questions about how AR technology could support theatre's role in the community. While we expected the app to offer a new way to engage with audiences, the outcome exceeded expectations by fostering a stronger connection with the local community through the testing processand by demonstrating how AR could amplify theatre's reach and accessibility.

In what ways was the production a success?

The production was successful in multiple ways. It innovatively blended theatrical content with AR technology, creating a bridge between traditional theatre and digital experiences. It reached a broader and more diverse audience by making theatre accessible in non-traditional spaces and formats. The app proved to be user-friendly, thanks to the extensive trial-and-error process, and successfully engaged community members who participated in testing and provided feedback. It strengthened our theatre’s connection to its community and sparked conversations about how digital tools can support cultural engagement. 

What elements of the final production would you change?

Rather than changing elements of the final production, we would like to expandits scope. For example, we envision creating a similar AR experience tailored specifically for younger audiences, offering a version of the content designed to engage children. Additionally, we would love to periodically update and vary the content over time to amplify the sense of event, enrich the overall experience, and encourage audiences to return and engage with it multiple times. The structure we have developed is fully capable of supporting such future enhancements, making it adaptable for new iterations and additions.

What advice would you give to artists taking a similar approach?

Involve your community early on: Engaging your intended audience duringthe testing phase is crucial to ensureusability and relevance.

Prioritize accessibility: Make the app intuitive for users unfamiliar with AR, and design experiences that can adapt to various environmental conditions.

Collaborate consistently: Maintain open and constant communication among collaborators to navigate challenges and align on goals.

ELSINOR AR is born: not an event, but a great novelty ready to stay with us permanently. An app downloadable from the main stores for smartphones and tablets, which allows you to enjoy an Augmented Reality experience in front of the Teatro Testori, which has been active in experimenting with art and technology for years. 
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An Elsinor Centro di Produzione Teatrale production as part of the Creative Europe project PlayOn! 

RESEARCH PLATFORM

Academy for Theatre and Digitality

Picasso

Justo Moret
Fehime Seven

Dance App/UI Design
completedPlayOn!

Introduction

Creative Process

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