Choreographing Cycling Anims
Scott deLahunta

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Notes:
1.  ‘Choreography, in a Web services context, refers to specifications for how messages should flow among diverse, interconnected components and applications to ensure optimum interoperability.’

2. See in this book Johannes Birringer. ‘Data Art & Interactive Landscapes’

3.  ‘A game engine is the core software component of a computer or video game or other interactive application with real-time graphics. It provides the underlying technologies, simplifies development, and often enables the game to run on multiple platforms such as game consoles and desktop operating systems’ (Wikipedia/ Game Engine). For more on the evolution of the game engine in connection to artists see in this book Shiralee Saul and Helen Stuckey. ‘Art is DOOMed: The Spawning of GameArt’

4. All quotes attributed to John McCormick and Ruth Gibson, unless otherwise noted, are drawn from three main interviews: June 2005, January and May 2007.

5. See in this book Johannes Birringer. ‘Data Art & Interactive Landscapes’.

6. For description of motion capture systems see igloo's website

7. For description of some of this work see Company-in-Space website

8. First session at Motek April 2004 with 8 cameras Vicon Optical. Performers: Julia Griffin and Kirsty Little. Second session at Motek April 2005 with 12 cameras Vicon Optical. Performers: Antonia Grove and Julia Griffin. Third session outside Gypsy Gyro, August 2005. Performer: Joanne Fong

9. See in this book Adam Nash. ‘Real Time Art Engines 2: Sound in Games’.

10. Motion Blending is the term in 3-D human figure animation that refers to the seamless clipping together of sequences automatically; however the requirements of SwanQuake dictated that the team had to prepare this for manual production.

11. see Gypsy Gyro / Animazoo website

12. From igloo's website: ‘ Summerbranch explores movement and stillness in nature. Using camouflage and other disguises, a person or a computer character can blend into a ‘natural’ environment captured and treated through the moving image. This installation uses the tools of the military-entertainment complex, computer gaming, motion capture, 3D environments and special effects to question what is truth and what is artifice in our attempts to reproduce nature.’ Also see in this book essays by Johannes Birringer, ‘Data Art & Interactive Landscapes’; and Helen Sloan ‘Cultural Resonance: Participation, audiences and interface’.

13. Because of the computing power needed to redraw these, if the object is also moving it means that an animated character in a real-time game has what is referred to as a ‘polygon budget’. SwanQuake at the time of this essay had a polygon budget of approximately five to six thousand polygons per character.

14. Quote from conversation with Alex Jevremovic. See in this book: ‘ Pushing Polygons: interview Bruno Martelli and Alex Jevremovic’.

15. Most recently Summerbranch was featured in the New Forest Pavilion, 52nd International Art Exhibition, La Biennalede Veniezia (June/ July 2007).

16. This had in part to do with the fact that igloo had simultaneously been developing Summerbranch and had learned from the experience. (RG, 24.01.07)

17. 'My concerns are with the imperfections and the spaces between things, tonal & atonal, discordant & harmonic, sound organised in different relations to pitch, vibration and resonance.' (RG, 20.08.07)



References:

Foster, Susan (1992) / 'Dancing Bodies' in Incorporations / Jonathan Crary & Sanford Kwinter eds /New York: Zone Books.
Lepecki, André (2005) / Exhausting Dance: performance and the politics of movement /London: Routledge
RG (2007-8) /  Email communications with Scott deLahunta / January, May 2007; August 2008


Biography:
Scott deLahunta
works from his base in Amsterdam as a researcher, writer, consultant and organiser on a wide range of international projects bringing performing arts into conjunction with other disciplines and practices. He is an Associate Research Fellow at Dartington College of Arts and Research Fellow with the Art Theory and Research and Art Practice and Development Research Group, Amsterdam School for the Arts. He lectures on the Amsterdam Master of Choreography and serves on the editorial boards of Performance Research, Dance Theatre Journal and the International Journal of Performance and Digital Media.