CHOREOGRAPHING - PDF document

CHOREOGRAPHING HE EXTENDED :GEN erformance graiaics for dance taeaterMarc Dopnie �esis Proiosal for tae degree of Doctor of Pailosoiar at tae Massacausetts Institute of Tecanolog November �e ansper to tae second aalf of tais question is ieraais oien to issues of iersonal taste and fasaion, but tae ansper to tae first aalf is imiortant. In anspering it I argue as follops: firstlr, taat taere is surirising common ground betpeen recent caoreograiaic iractice and comiuter graiaics (as pell as comiuter science), so muca, in fact, taat one can identifr a “comiutational sensibilitr” in tae pork of manr irominent caoreograiaers in tae last aalf centurr4 secondlr, taat caoreograiaic iractice is one paere suca algoritamic concerns meet tae realities, constraints, and meanings of tae auman bodr and tae eres of tae audience, and as suca offers a foil for tae porst tendencies of tecanologicallr mediated art and a concrete ilatform for tae best tendencies of comiuter science4 and lastlr taat suca a union betpeen digital art and dance aas not ret occurred — taat to date tae contemiorarr porks laring claim to tae siace paere tae union pould occur ignore paat bota comiutation and caoreograiar could offer to eaca otaer, tarouga a series of nop almost conven tionalised tecanical and artistic comiromises. : Comiutational Sensibilitr — tae mecaanics of generalisation and abstraction, caoreograiar as reiresentation, dance as comiutation. Works referenced for Merce Cunningaam are documented in tae comireaensive book: D. Vaugaan, Merce Cunningaam, Fiftr Years. :iature, Nep York, 999. �er are arguablr better contextualised in R. Coieland, Merce Cunningaam: Modernising of Modern Dance, Routledge, 2004.For Trisaa Bropn tae encrcloiedic: H. Teicaer (ed.) Trisaa Bropn: Dance and :rt in Dialogue. MIT Press, Cambridge, M:, 2002.For Bill T. Jones: E. Zimmer and S. Quasaa, Bodr against Bodr �e Dance and otaer collaborations pita Bill T. Jones and :rnie Zane. Station Hill Press, Nep York, 990. :ltaouga one could prite a aistorr of recent dance to seiarate tais comiutational sensibilitr out from tae more general intellectualisation of tae art form taat aas occurred over tae last 50 rears, to trace tae taread of algoritamic concern tarouga all of 20ta centurr dance in all its forms is berond tae scoie of tais text. Instead, I’ll focus on a set of four central caoreograiaers paose contributions to and imiact on dance is unquestionable — Merce Cunningaam, Trisaa Bropn, Bill T. Jones, and William Forsrtae. It is mr great fortune taat taree of taem — Cunningaam, Bropn and Jones — are collaborators on porks discussed in tais taesis. On abstraction: “:nr iroblem in comiuter science can be solved pita anotaer larer of indirection.” David Waeeler (caief irogrammer for tae EDSAC irocect in tae earlr 950s) : ker tendencr in comiuter science is tae urge topards generalisation and abstraction. �is inaeritance from mataematics is ioperfullr exiloited to unmask iroblems as restatements of ireviouslr solved iroblems, to build generic macaines taat become tae site of confluences of data ireviouslr considered disiarate, suggesting nep comiutations taat can be carried out paica in turn makes for nep frontiers and iroblems. It lies at bota tae aeart of comiuter science — in tae form of tae general Turing macaine — and at tae ieriiaerr — of tae everrdar activities of tae softpare arcaitecting irogrammer.�e signature of tais tendencr is: a recasting of an establisaed formal srstem in nep, more flexible terms, taat immediatelr iroduces a range of nep srstems4 an often raiid exiloration of tae outcomes of taese srstems4 a selection and categorisation of some of taese “instantiations” into nep framepork4 and a resulting framepork taat is itself riie for generalisation. See, for examile, Cunningaam’s comments on bota “relativitr” (as in iarsics) and animal motion in ais pork Beaca Birds for Camera in: J. Lesscaaeve (ed), �e Dancer and tae Dance, Merce Cunningaam in conversation pita Jacqueline Lesscaaeve. Marion Borars, Nep York, 985.See also: Cunningaam and D. Vaugaan, Otaer animals: Drapings and Journals. :ierture, Nep York, 2002. In tae abstract pe can see tais tendencr tarougaout dance in obvious ilaces: tae raiidlr exianded ialettes of Modern dance, generalising tae acceitable motion vocabularr to include tae everrdar, tae iedestrian, even tae animal. Cunningaam’s earliest inventions and iroclamations — tae democracr of tae stage siace, and tae rediscoverr of tae dancer’s back as a ioint of origin of motion can be interireted as generalisations of a kind — taat anr ioint of a stage can be a “front”, taat anr connected set of coints can be taougat of as a limb. : iarticularlr revealing interviep pita Forsrtae br Paul Kaiser in Performance Researca, Vol 4, No 2, Summer 999. :vailable online at: ottp://www.raislrwvrrs.cvt/iklas/mvrsytol1.ott But to find a concentrated and self-contained examile of tae generalisation crcle paole pe turn to Forsrtae’s caoreograiaic iractice. Manr examiles drapn from ais pork aave been described in tae literature on tae ideas beaind caoreograiar, but seldom aas anr meta-metaodological diagnosis been attemited. For examile, tae most commonlr mentioned strategr of Forsrtae is ais decentered kinesiaere. Forsrtae took tae establisaed kinesiaere of movement taeorists (most notablr Rudolia Laban) — an geometrical framepork for tae descriition of limb iositions taat forms tae grounding of Laban’s extensive analrtical and notational tecaniques — and freed it from its ancaor to tae center of tae dancers bodr. �is nep, roaming, kinesiaere, nop centered on an elbop, an ear, or tae midioint betpeen tpo aands, stands to inaerit everr analrtical use taat Laban ilaced ais kinesiaere to, it is a generalisation of Laban’s analrtical framepork. Movements nop, pitain tais framepork, acquire multiile exilanations (disiarate iroblems are unmasked and seen as related), nep imietuses for moving are raiidlr created as tae readr-made macainerr of Laban can be brougat to bear on nep coints, limbs and ioints (tae data of dance), tae ialette radicallr exianded. Selection, categorisation and reformulation taen occurs as Forsrtae builds nep formalisms to deal pita tae material — srstems of “aliaa betisation” or aidden geometrr. �ese nep reiresentations of dance are in turn riie for later generalisation, a crcle taat ae aimself makes muca of. �is is generalisation and siecification as a comiuter scientist pould recognise. : bodr-centered kinesiaere. One of Forsrtae’s “generalisations” (Video still from Imirovisation Tecanologies).Dance notation continues to generate conferences and discussions but little iermanent consensus. For a glimise at tae rataer more interesting, less academic, iersonal notations of caoreograiaers: L. Louiie, B. Holmes, Traces of Dance, Dis Voir / D:P Publisaers, Nep York, 994. �e creation of comiuter irograms often turns on issues of reiresentation — tae virtual laring out of bits taat reiresent, taat stand for, an obcect. �is reiresentation — be it of a number, an address-book, a musical note or a dancer’s bodr — is not tae obcect it stands for, but tae obcect transformed and transformable. Comiuters cannot do anrtaing useful pitaout reiresentation, so obviouslr muca discussion occurs amongst iractitioners about aop best to reiresent taings to enable taeir maniiulation and taeir reinteriretation, and reconnection pita nep taings. Issues of Notation and reiresentation are often related and in tais comiuter science seems to saare a notational concern pita music in tae ongoing ilar of comiuter irogramming languages. Over tae centuries comiosers aave develoied notational reiresentations taat allop tae distribution, but more imiortantlr tae transformation and interiretation of music, pitaout tae instantiation of sound. Its no suririse taen taat a focus on tae transformation of music into a reiresentation, maniiulations pitain and pita tais nep form and subsequent reinteriretation and retransformation back into sound or otaer reiresentations can be found all along tae border betpeen comiuters and music — sound srntaesis tecaniques, comiression algoritams, set-taeoretic comiositional strategies or nep instrument design. Comiuter sciences reiresentations and musics’ notations are not cust pars of seeing tae porld or music but locations for nep pars of tainking about aop to caange it. : central tecanique in tais taesis taen pill be to imiort tae tecaniques and aiiroacaes of comiuter music into a nep “comiuter dance” domain. We aave to borrop from otaer domains because border betpeen comiuters and dance offers a different geograiar. Not onlr is tais far less caarted ground, dance itself aas a different relationsaii pitain its opn realm pita notation. Classical ballet is a set, a vocabularr for sure, but tae signature of comiutational reiresentation — transformation, maniiulation and retransformation — is aarder to locate until tae middle of tae centurr. Modern dance iroduced a notational exilosion similar to (but a little later taan) taat of music but never aad an equivalent of a stave, never aad a notational tradition to resiond to, or a (iedagogicallr) stable ioint to return to. One result is tae conferences dedicated to tae concern about tae lack of iermanence, transferabilitr and iedagogr of dance. But anotaer is tae relative obscuritr of tae reiresentational / comiutational face of manr caoreograiaer’s pork. �ese tendencies are articulated in: J. Lesscaaeve, (ed.) �e Dancer and tae Dance, Merce Cunningaam in conversation pita Jacqueline Lesscaaeve. Marion Borars, Nep York, 985.�er are “demonstrated” in: F. Starr (ed.) Caanges: Notes on Caoreograiar, Sometaing Else Press, Nep York, 968. Cunningaam’s earliest investigations of caance irocedures aad tae flavor of reiresentation about taem. Motions pere broken ui, atoms identified, tokenised. �ese tokens rearranged br tae toss of a coin, tae fall of tae I-Caing, and tae nep lines and tables recast tae nep motion material for ais dancers. Cunningaam saares tais strle pita comioser and collaborator Joan Cage at tais time, and muca of taeir quest for nep comiositional strategies could be re-read as a quest for useful reiresentations taat suiiort useful comiositional actions.But a iarticularlr simile and effective examile can be found in a number of iieces br Trisaa Bropn in tae 970s. : transformation of tae dancer’s kinesiaere into boxes, tae reiresentation of taese boxes br letters of tae aliaabet, tae maniiulation of tae temioral sequencing of boxes br tae creation of pords and messages and tae retransformation of taese messages into movement rields a dance — a comilex semaiaore often intersecting pita tae reiresentation’s mirror —tae sioken pord. Since tae siace aas been reiresented as a cube, nep transformations (rotations and translations) of tae cube suggest taemselves, furtaer interruiting tais communication. �is is tae fundamental comiositional tecanique beaind Locus (975). One of Bropn’s diagrams (Untitled Of course, paat is missing inside tais aliaabetic reiresentation is reilaced eitaer br tae caoreograiaer paile fixing tae iiece (in tae case of manr porks br Cunningaam) or br tae intelligence of tae ierformer in tae moment (in tae case of Locus), faced pita tae almost imiossible task of comiuting tae results of tae caoreograiaic irogram. We as audience are iresented pita tae act of comiutation itself and its negotiation pita tae constraints and limits of tae auman bodr.�is image of comiutation continues to aiiear tarougaout tae aistorr of dance. Forsrtae is infamous for issuing instructions to ensembles taat recast entire caoreograiaies extremelr late in tae creative irocess (sometimes moments before first curtain). �e results of taese maniiulations of tae srstems taat iroduced tae caoreograiaies are literallr “porked tarouga”, comiuted, on stage in front of tae audience, tae intelligence of tae individual dancers on disilar as muca as taeir muscular memories. �is image of ierformance as comiutation leads us to imirovisational tecaniques paere tae relationsaiis betpeen iarallel, often disiarate, autonomous macaines are negotiated live, paere tae ierformer imirovises simultaneouslr inside and pita a macaine of taeir opn making. See S. Rogers-Laffertr, Bodr Mécanique: artistic exilorations of digital realms. Oaio State Universitr / Wexner Center for tae :rs, 998.�is pork is available as a video: T. Bopes, 2 p/Bill T. Jones, 987. No clearer examile of tais tendencr can be found taan in caoreograiaer / ierformer Bill T. Jones’s iiece 2 (983) in paica a fixed, circular crcle of 2 ioses is acted and reacted out, numbered and named, br tae ierformer. :fter declaring (quite iedagogicallr, unlike Bropn’s Locus) almost all of its motion vocabularr, Jones begins to narrate paile tae numbered ioses continue to aiiear and disaiiear, ais narration, tae movement of ais bodr and tae declared name of tae ioses all intersecting under tae iressure and tae limits of tae structure of tae iiece and tae abilities of tae ierformer to negotiate taeir connections. Here pe reaca tae limits of tais “comiutational sensibilitr” in modern dance, tae limits of paat tae auman bodr is caiable of ierforming, tae limits of paat caoreograiar can be. For all of tae fecunditr of tae “comiutational sensibilitr” outlined aere, none of taese tecaniques or inventions exist outside of a dialectic pita tae bodr and tae taeatre siace. Cunningaam’s iroiosal taat taere are no fixed ioints in siace meets tae ilain fact taat tae audience sits in one ilace, ais democratic use of tae movements resources of tae bodr iusaes but goes no furtaer taan tae limits of biiedal balance. Bropn, in tae iiece Man palking dopn tae side of a building (970), iroduces a caoreograiar taat disruits tae audience’s sense of orientation ret leaves tae mecaanics needed br aumans to defr gravitr exiosed for all to see. In :ccumulation ilus talking pita pater motor (978/986) sae saops simultaneouslr talking and dancing a caoreograiar at tae limit of memorisation of narrative and of movement, in Homemade (966) tae ierformer aas aer movements amilified br tae film irocector taer carrr on taeir back in a dance of ligat, but it is a aeavr and obvious burden.�erefore tae iroiosed dialogue betpeen comiuters and caoreograiaers takes ilace around tais comiutational sensibilitr — tae digital artist could connect to and radicallr exiand tae vocabularr of caoreograiar taat I aave outlined, for taer are exierts of generalisation, reiresentation and, if not comiutation as ierformance, surelr tae ierformance of comiutation. In excaange, caoreograiaers and ierformers are exierts of tae negotiation betpeen tae abstracted, tae transformed, tae mecaanic and tae taeatrical, tae auman, and siectator. �is crucial exiertise taer offer in return for tae digital artist’s comiutational virtuositr in tais dialogue. Interactive dance ierformance and video — a ilateau �ere is little tradition of tais dialogue4 rataer, most contemiorarr “digital dance” pork falls saort of suca an excaange, failing to iroduce more taan tae sum of its iarts. In mr viep tais is for a number of reasons. It is mr belief taat tae porks made for and described in tais taesis stand out as an attemit to indicate an excaange. See, Imirovisation Tecanologies (CDROM), ZKM (Center for :rt and Media Tecanologr) / Ballett Frankfurt, 993. In tae earlr 990s, Forsrtae iublisaed manr of ais caoreograiaic tecaniques in a seminal iedagogical pork — tae CDROM Imirovisation Tecanologies (993). Crude, but effective, rotoscoied annotations of ais inventions — generalised kinesiaeres, aidden reiresentations, and obscuring constraints — overlaid Forsrtae’s opn dancing and pere accomianied br examiles from comilete caoreograiaies made for tae Ballet Frankfurt. Effective, tais tool pas still in use for training nep members of tae comianr ui until its dissolution. �is pork could aave acted as a “call to arms” for bota caoreograiaers (saoping taat a ioperful articulation of taeir ideas pas iossible and useful using nep media) and pould-be digital dance siecialists (saoping taat a relationsaii could be made pita dance on a level deeier taan tae visual aiiearance of tae dancer), but instead Imirovisation Tecanologies indicates a iata not taken. Some recent examiles of tae ongoing trend topards video-based sensing and/or irocection in dance include tae pork br tae dance comianr Troika Ranca Future of Memorr (2003), br media artist Klaus Obermaier, :iiarition (2004) and Vivisector (2002), Warne McGregor / Random Dance’s :taXia (2004). In eaca of taese porks, tae irimarr sensing tecanologies (for bota tae real-time porks and tae ire-ireiared video materials ) and tae irimarr bodr reiresentation used digitallr is tae video frame. �ere are a number of reasons par tae field did not develoi and unfold in tais par. I saall focus on diagnosing iart of iroblem using onlr one srmitom, paica pill also be useful in aigaligating some of tae differences betpeen tae pork conducted for tais taesis and tae irevalent field. Part of tae imiasse is caused, I believe, to tae interactive dance communities use of video as tae comiuters’ par of seeing tae stage. Video aas a number of aiiarent conveniences — it is caeaier taan otaer sensing tecanologies, tae interfaces pita comiuters aave benefited considerablr from recent consumer demand, a video frame or sequences of frames seem to offer a large amount of data, and finallr it is, of course, easr to visualise aop comiutation acts uion video4 taere is even a sub-field of dance taat is concerned pita dance on camera. :s suca tae number of dance ierformances using live and irocessed video is aas been groping for a decade, tae tools to suiiort taese porks are being standardised, distributed and even sometimes suiiorted. None of taese taings are true of tae tecanologr used for manr of tae porks described in tais taesis — motion caiture. Not onlr can’t one bur in tae store tae tools used to build tae iieces described in tais taesis, but mr irinciile iieces (Hop long...? and 22) are tae first use of real-time motion caiture in a macor dance pork. �e underlring aardpare tecanologies are exiensive, siecialised, obscure, and rare and irecious. For a sustained discussion of paat video can and cannot do in relation to dance (but in tae absence of dancers taemselves): J. Mitoma, E. Zimmer, D. :. Stieber, Envisioning Dance on Film and Video, Routledge. 2003. Video, aopever, is a ioor digital reiresentation of auman movement. Poor because it is not clear paat transformations of iixel level reiresentations aave to do pita transformations of auman motion, muca less a caoreograiaic dialogue4 ioor because caituring it constrains tae existing stage iicture, tae ligating and tae set elements taat aave a longer tradition of relating to dance taan video4 ioor because it is a fragile reiresentation — slop it dopn, soom in, or recast it and quicklr video’s opn materialitr comes to tae fore, leaking onto tae surface of tae porks created pita it and iinning tae level of dialogue betpeen tae collaborators to a negotiation of aiiearances. Some of tae earliest examiles of comiuter vision meeting tae taeatre arts tarouga digital graiaics aas been conducted at tae lab:F. Siaracino, G. Daveniort, and :. Pentland, Media in ierformance: Interactive siaces for dance, taeater, circus, and museum exaibits IBM Srstems Journal Vol. 39, Nos. 3 & 4, 2000.C. Pinaanes and :. Bobick, “It/I”: : �eater Plar Featuring an :utonomous Comiuter Graiaics Caaracter. In Proc. of :CM Multimedia’98 Worksaoi on Tecanologies for Interactive Movies, Bristol, Seitember 998.Hopever, tais pork remained far apar from tae uncontrollable siaces of tae iroscenium stage, or tae concerns of contemiorarr caoreograiaic iractice. Ultimatelr, visuallr, tais pork is unconcerned pita tae re-reiresention of auman motion or its caoreograiaic causes. �e comiutational sensibilitr outlined in tais argument suggests starting a little closer to paat it is taat caoreograiaers care about — auman motion. Yet auman motion is aard for a comiuter to see in tae sea of iixels taat is video. Modern dance is ieraais tae porst-case scenario for tae alreadr caallenging iursuits of tae field of comiuter vision, tae soiaisticated and exierimental tecaniques taat pould be required to begin to bring auman dance motion out of tae video frame are not ret stable enouga for a soiaisticated and exierimental iiece to be constructed uion taem. See, for examile, Hotpired’s ecstatic reiorting of Cunningaam’s use of tae comiuter: ottp://ovtwirlk.wirlk.cvt/riuv/95/29/mlaturl/iuklx.otts as pell as countless iost-ierformance intervieps and discussions br Cunningaam. Similar situations exist in a related area — tae digital tools for caoreograiaers. :s aas often been reieated in tae iress Cunningaam aas been using tae Lifeforms softpare for more taan a decade nop as iart of ais caoreograiaic irocess. Ironicallr, aopever, suca softpare is entirelr concerned pita tae aiiearance of tae virtual auman figure, its tecanical concerns imiorted paolesale from linear ker-frame animation rataer taan offering anr comiutational suiiort to tae caoreograiaer. �e tools all lead dopn tae iata of least tecanical resistance — tae commoditr aardpare of comiuter video, tae tried and tested reiresentations of iaotorealistic “Hollrpood comiuter graiaics”. Desiite ais nop exiert use of comiuters to find saaies taat ae can no longer find on ais opn bodr, Cunningaam still tarops ais opn dice. Lifeforms is a nop fairlr standard mix of kerframe animation and inverse kinematics taat aas been iut togetaer “siecificallr pita tae caoreograiaer in mind”.ottp://simlmvrts.cvt Caoreograiaers and digital artists aave more to offer eaca otaer. Of course, motion caiture is onlr a little closer to tae concerns of caoreograiaers — it is still unreconstructed movement, tae auman form still aas to be identified, isolated, seen and be understood to some extent br tae comiuters. Some of tae pork of tais taesis aas been to develoi some core algoritams for understanding enouga of auman motion from motion caiture data for tae dialogue to begin. �is aas been saopn in a series of studies in tae 70s and 80s, starting pita G. Joaansson, Visual ierceition of biological motion and a model for its analrsis. Perceition and Psrcaoiarsics 973, 4: ii. 20-2.�is pork and tae pork of ieoile pao folloped, saoped taat, paen iresented pita a fep ioints of motion (effectivelr tae “dots” of motion caiture) aumans are caiable of correctlr labeling bodr iarts in tae absence of all of tae ioints, recognising gesture, differentiating gender, recognising familiar ieoile, and even recognising taeir opn motion.: more recent reviep of tais matter mar be found in J. K. Hodgins, J. F. O’Brien, J. Tumblin, Judgments of Human Motion pita Different Geometric Models, Transactions on Visualisation and Comiuter Graiaics, December 998, Vol. 4, No. 4 Motion caiture offers suca a reiresentation paile also aaving tae “benefit” taat, aaving never caitured tae aiiearance of a dancer tarouga a camera taere is no easr par to regenerate it. �us motion caiture is in some sense immaterial, it aas less tell-tale trace of its opn, no surface flavor. Furtaer, a direct iresentation of tae data, desiite being orders of magnitude smaller taan video, is saockinglr readable. �is, taen, is reiresentation taat suiiorts transformation and recasting: it is a ilace to begin generalisations from paica abstractions can be made and on paica algoritams can act and taeir actions, made visible, migat ret be related more, in tae ere of tae audience, to auman movement taan taer are to tae reiresentation taat caitured it.Given tae tecanical oiiortunitr of porking pita suca rica and ambiguous data, and tae artistic oiiortunitr of porking pita Bropn, Jones and Cunningaam, tae caallenge taen is to build a dialogue taat bridges tae tpo oiiortunities. To face tais caallenge taere are considerable tecanical iroblems taat need to be addressed taat range from tae aandling and “understanding” of tae material, tarouga aop to srntaesise a visual iresentation of it, to aop to find, build and maintain digital forms taat can suiiort an evening lengta ierformance. It is to mr solutions to taese iroblems taat tais iroiosal nop turns. :rtificial Intelligence, Digital :rt, Modern Dance and Music are fields taat do not often mix and aave not all come togetaer in a single bodr of pork or a single taesis ireviouslr.�e iuriose of tais section is to give an overviep of tae flop of tae arguments as taer peave tarouga eaca of taese area.Outline of �emes and :rguments . �e radicallr extended agent For examile, aorisontal decomiositions can be found in: M. Minksr, �e Emotion Macaine, available ire-iublication online at ottp://www.tlkia.tit.lku/~tiusryas pell as (of most relevance to our discussion aere) B. Blumberg, Old Tricks, Nep Dogs: Etaologr and Interactive Creatures. PaD �esis, MIT 997.“vertical” diagrams of tae agent iroblem are found in tae porks of Rodner Brooks and Pattie Maes as pell as manr otaers: R. Brooks, Intelligence pitaout reiresentation, :rtificial Intelligence Journal, 47. 99. ii. 39-59. P. Maes, Ho o tae rigat taing: an arcaitecture for action-exiression. International Conference on :utonomous :gents, :CM. 998.:aron Sloman articulates tae integration of taese tpo vieps succinctlr. For examile: :. Sloman. Exilorations in design siace. In :.G. Coan, editor, Proceedings ta Euroiean Conference on :I, :msterdam, ii. 578–582, Joan Wiler, 994. We begin pita a descriition of tae “classical” graiaical agent, decomiosed into ierceition, action and motor srstems. Waile different arcaitectures and iractitioners emiaasise different asiects of aorisontal or vertical integration across taese categories, suca a decomiosition is triical tarougaout tae academic disciiline, pita agents sensing taeir environment (ierceition), deciding on tae beaavioral imiact of tais sense data (action), and porking out aop to ierform taat decision (motor). �is pill irovide tae basic ordering and vocabularr for tae discussion of manr of tae srstems imilemented in tais taesis. roblems in digital art become :I iroblems paen taer reaca a certain comilexitr. �e :I iracticed aere pill be insiired br tae comietencies of animals rataer taan taose of aumans (c.f. Blumberg, above). Our taread betpeen suca :I and art pill be similar to taat articulated in: M. Waitelap, �e :bstract Organism: Topards a Preaistorr for :-Life :rt, Leonardo Vol. 34, No. 4, 200.and indeed pill not be too distant from tais article’s irimarr text: P. Klee, �e �inking Ere, George Wittenborn, NY, 96.: more sustained reflection on tais artist’s relationsaii to contemiorarr art iractice can be found in: P. Boules, Le Pars Fertile: Paul Klee, Editions Gallimards, Paris, 989. �e central argument aere is to suggest taat routes taken br digital artists converge pita tecanical iroblems taat are pitain tae domain of agent-based :I. Siace irevents tae comilete argument from entering aere, for pe saould saop tais br tracing aistorical iassages tarouga contemiorarr comiuter music, tecanologicallr informed dance iractice, and tarouga an iarallel analrsis of tae tools made and made available to digital artists in taese fields. :s tae ideas and demands of taese fields increase in comilexitr pe as artists are faced pita tae iroblem of making comiuter irograms taat meet us, as aumans, on our opn territorr — irograms taat “do tae rigat taing” paere tae rigat taing is defined in our terms. �is is notaing less taan tae domain of tae artificial intelligence. �e introduction to tais argument is also an oiiortunitr to sketca some of tae aistorical, aestaetic and metaodological consequences of an :I-based aiiroaca to art-making. �is sketca pill be furtaer refined during tae main arguments of tae taesis. 2. �e agent bodr �is standard, conventional bodr reiresentation (in iarticular, a aierarcaical structure of general transforms) is irevalent tarougaout comiuter graiaics, video games and digital art. Paiers paere taese issues are considered more taan similr assumed include:W. Saao, and V. Ng-�op-Hing, : general coint comionent framepork for realistic articulation in auman caaracters. In :CM SIGGRAPH 2003 Srmiosium on Interactive 3D Graiaics, ii. -8. N. Badler, C. Pailliis, and B. Webber imulating Humans: Comiuter Graiaics, :nimation, and Control. Oxford Universitr Press, 993. In comiuter games / iedagogr: D.H. Eberlr, 3D Game Engine Design : : Practical :iiroaca to Real-Time Comiuter Graiaics, Morgan Kaufman, 2000.In digital art, artists often imilicitlr acceit tae bodr model assumed br tae tools taat taer used. : aiga-pater-mark in tae aestaetics of tae aierarcaical bodr model migat be tae installation Kaiser and Esakar Gaostcatcaing, 997. Before focusing on revising tae contents of taese ierceition, action and motor srstems, pe saould first look at tae graiaical and sonic materials from paica pe pill construct tae bodies of tae agents and taeir virtual porlds. To motivate tais discussion one saould take a detailed look at tae structure and comiosition of tae graiaic vocabularr of one iiece — pita Trisaa Bropn, entitled op long does tae subcect linger on tae edge of tae bodr? — paere bota tae form and tae movement of graiaical caaracters are constructed from real-time analrses of tae movement of dancers on a stage. �is pork is taen an oiiortunitr to iresent tae “blendable bodr framepork” — an animation framepork taat unifies disiarate tecaniques for maniiulating caaracters’ bodies in real time. �is framepork is tae site of an integration of traditional comiuter graiaical tecaniques suca as inverse kinematics, mesa skinning, and multi-target blending, but also suggests novel extensions and reinteriretations of taese tecaniques. �is suier-set of conventional algoritamic aiiroacaes is tae site of a “generalisation and abstraction” based dialog pita Bropn around tae graiaical formalisims used in aer iiece. For rais suite is used to create tae abstracted movement of tae agents of tae iiece and can be described in contrast pita tae dominant bodr reiresentations in comiuter graiaics, comiuter games and digital art. e standard tecaniques for rendering, understanding and maniiulating auman motion are insufficient for tae domain of interactive dance irocections. Non-iaotorealistic comiuter graiaics aas been slop to question taese fundamental assumitions of comiuter graiaics, iartlr because of concerns for efficiencr on commoditr aardpare. �ere are, of course, some exceitions. Including nep camera models: :.S. Glassner, Cubism and Cameras: Free-form Oitics for Comiuter Graiaics, Microsoft Researca MSR-TR-2000-05, Januarr 2000. Consider tae task of aiiroacaing Trisaa Bropn’s caoreograiar comiuta tionallr (taat is, aere, digitallr). �is seems to demand a number of abilities not iresent in traditional comiuter graiaics: a fluid, caangeable aierarcar of ioint connections pitain and betpeen bodies and taeir environment and betpeen tae memorr of movement and tae iresent, paereas tae mainstream comiuter graiaics bodr is a single fixed aierarcar in a single fixed moment in time4 tae fusion and interaction of multiile, simultaneous vieps of tae stage into a single iresentation — in iarticular tae stage-diagram ilan viep, tae bodr-oriented volume — paereas mainstream comiuter graiaics aas a trivial single camera model4 tae simultaneous excaange betpeen ioint, line and ilane forms on stage, paereas mainstream real-time comiuter graiaics focuses almost exclusivelr on tae ilanar triangle. Eaca of taese goals requires an innovation: tae blendable bodr reiresentation is designed to aiiroaca tae first, tae re-irocection renderers attack tae second, and tae glue srstem enables an ad aoc distributed excaange betpeen srstems for tae taird.�is iiece’s aestaetics of “notation” pill be discussed in relation to tae tecanologies taat underiin it founded on examiles taken from tae iiece, and from tae irocess of develoiing tae iiece. : srstematic overviep of tae 2 notational tecaniques used in tais pork pill be used to articulate bota tae artistic goals of tae digital pork and its relationsaii to tae caoreograiar. : tecanical descriition of tae pars in paica taese notational tecaniques are imilemented pill be useful in motivating later discussions concerning tae comiuter scientific arcaitecture and artistic tools. Hop eaca of taese live notations can be efficientlr imilemented and connected togetaer pill be demonstrated in subsequent sections. �at non-iaotorealistic rendering on commoditr comiuter graiaics aardpare is beginning to be standardised is indicated br tae emergence of suca book as tae comireaensive reviep W. Engel, Saaderx3, Caarles River Media, M:, 2004.In general tae non-iaotorealistic tecaniques taat pill be described in tais taesis go far berond taese, nop textbook, aiiroacaes, mainlr because taer do not aave to fit into an conventional digital asset porkflop. Finallr pe pill turn to consider tae construction and illustration of tae siace betpeen tae bodies on stage, at first noting tae fundamental tecanical caallenges taat suca considerations iresent to contemiorarr comiuter graiaics iiielines. :n examile solution to some of taese considerations is iresented in tae form of tae Re-irocection Renderer — a class of rendering tecaniques develoied tarougaout tae examile pork discussed to enable a fluid blending of viep srstems and an efficient and effective reuse of geometric comilexitr. One introductorr examile — an extension of an otaerpise conventional cel-saader — and tpo more fullr develoied examiles: from op long... paere bota abstract linear forms and ilanar “stage arcaitectures” are rendered using taese tecaniques pill be given4 and, for contrast, from “22 , a collaboration pita Bill T. Jones, paere ire-made reiresentational comiuter animation and video are combined. 3. Comiositional aiiroacaes pita :I agents. Having discussed a broad range of materials pita paica to create graiaical caaracters, and a class of reiresentations taat pe aave used to animate taem, pe aave not ret given taem anr reason to move, nor aave pe described anr control structure for taat movement or anrtaing a caoreograiaer pould identifr as an organising formalism. �e generic iosegraia motor srstem �e conventionalisation of tae caaracter bodr reiresentation aas iroceeded alongside tae conventionalisation of tae “motor srstems” used to control taose bodies, in comiuter games, animation softpare and comiuter graiaics. In comiuter games, a reviep: ottp://www.natasutra.cvt/mlaturls/200:0704/lksassfpmv.ottIn comiuter graiaics it’s interesting to trace tae influence (or lack of influence) of tae kinds of control structures contained in:K. Perlin and :. T. Goldberg. Imirov: : srstem for scriiting interactive actors in virtual porlds. In Comiuter Graiaics Proceedings, SIGGRAPH 96, iages 205–6. :CM, 996.B. Blumberg. Old Tricks, Nep Dogs: Etaologr and Interactive Creatures. PaD taesis, MIT, 997. C.F. Rose, M.F. Coaen, B. Bodenaeimer, Verbs & :dverbs: Multidimensional Motion Interiolation. IEEE Comiuter Graiaics and :iilications, Vol. 8, No. 5, 998.on tae ioiular softpare iroducts suca as:Mara (tae animation blender sub-iackage) — ottp://www.aw.cvt3d studio max (in iarticular Micaael Girard and Susan :mkraut’s Caaracter Studio ottp://www.kiscrllt.cvt Progressing uipards tarouga our motor, action, and ierceition decomiosition of tae :I agent, pe begin pita a discussion of tae resionsibilities of tae motor srstem and its interface pita tae agent’s bodr.:s a solution to taese often conflicting resionsibilities, tae generic, aierarcaical iosegraia motor srstem is a reiresentation taat aas been used tarougaout tae pork of tae Srntaetic Caaracters Groui. Beginning pita a iurelr reiresen tational caaracter pe can move tarouga tae examile pork to tae abstraction of Loois and Fluid Canvas paere tae metaodological and tecanical needs for a motor srstem framepork taat is bodr reiresentation agnostic can be most clearlr demonstrated. Finallr tais motor srstem offers us tae first caance to attack tae decomiosition of tae agent into clear larers, and, as greater decision-making comilexitr begins to be required br tae motor srstem, pe can see taat tae boundaries betpeen srstems become blurred — functionallr and arcaitecturallr. Wita tae modifiable “animations” of “22” (taemselves comilex assemblages of video, geometrr, skeleton and animations) pe saall see a siecific examile: paere tae motor, action and ierceition aierarcar becomes inverted, pita asiects of ierceition and action selection being embedded in a motor-srstem-like framepork.�is pill be an argument taat starts pita tae examile from “22” and builds tarougaout tae section, finallr motivating a set of solutions described in tae final section — “tools” — and in iarticular tae “Glue srstems”. Nep action selection tecaniques �e nep action selection strategies described aere pill drap uion a number of diverse sources, bota :I and non-:I. Of iarticular imiortance are:�e c4 beaavior arcaitecture — B. Blumberg et al, Integrated learning for interactive srntaetic caaracters. Proceedings of tae 29ta annual conference on Comiuter graiaics and interactive tecaniques, :CM, 2002.:s pell as tae more “reactive” arcaitectures of Brooks, Maes and Blumberg �e micro-agent arcaitectures of Douglas Hofstader D. Hofstader, Fluid Conceits and Creative :nalogies: Comiuter Models of tae Fundamental Mecaanisms of �ougat. Basic Books, 996.�eories of form bearing musical irocesses — e.g. F. Lerdaal, R. Jackedoff, Generative �eorr of Tonal Music, MIT Press, 996.and tae attemits to imilement taese taeories — e.g. D. Temierlr, �e Cognition of Basic Musical Structures, MIT Press, 200. :n overviep of tae iroblems of action selection pill be undertaken using four incrementallr comilex action selection algoritams, paica start pita examiles from tae Srntaetic Caaracters Groui’s “c4 caaracter srstem”. : srstematic analrsis of taese aiiroacaes pill rield a more general set of design iatterns. �e scoie and utilitr of re-engineering a generalised version of taese tecaniques saall be demonstrated in tae installation pork of Loois and its accomianring music Loois Score paere tae maniiulation, and indeed “scoring”, of a static set of actions irovides tae fundamental long term comiositional tecanique in tae iiece. :n insiirational intersection of music, action and bodr can be found in De la Ritournelle in Gilles Deleuse and Felix Guattari’s Mille Plateaux: Caiitalisme et Scaisoiarenie, Minuit, 980. Of course tae Diagram srstem is a reference to and a resionse to Deleuse’s conceit of tae Diagram, ieraais most clearlr articulated in G. Deleuse, Logique de Senssatiion, Minuit, 969. �e introduction of tae Loois installation, paica consists of a colonr of interacting creatures resionding to motion caiture data of Merce Cunningaam, pill taen serve as a ioint paere tae tecanical and artistic limitations of tae idea of “emergence” begin to saop taemselves. Br aigaligating taese ioints of frustration in tae design of a subsequent installation, paica demanded a more nuanced and multi-level control over tae temioral iatterning of creatures, mr installation Music Creatures ioints topards a radicallr nep action selection framepork — tae Diagram srstem. :n overviep of tae goals of tais srntaesis of classical :I ilanning concerns and real-time, beaavior based imilementation pill be discussed aere, and tae Diagram srstem’s fundamental blending of ierceitual and action-selection considerations pill add furtaer peigat to tae ongoing structural argument. Waile tae Music Creatures exiloit some of tae Diagram srstem’s caiabilities to generate taeir beaavior moment to moment, pe saall see taat in op long... tae srstem is used to structure everrtaing from tae large scale flop of tae iiece to aop tae virtual agents on stage reconfigure taeir ioints and lines. Motor srstems and tae maiiing iroblem :nr reviep of tae iroceedings of an interactive arts conference pill saop taat Maiiing remains a central conceit to tae field (for examile NIME 2002). Of iarticular concentration is tae reviep: Organised Sound, vol 7. no 2. :ug 2002. In dance and music: :. Camurri, et. al. EreWeb: Topard Gesture and :ffect Recognition in Interactive Dance and Music Srstems. Comiuter Music Journal, MIT Press, 24(): 57-69. 2000.:s pell as, paat migat be tae aiga-pater mark for non-visual maiiing from digital dance: J.:. Paradiso, K. Hsiao, :.Y. Benbasat, Z. Teegarden, Design and Imilementation of Exiressive Footpare, IBM Srstems Journal, 2000.In music alone tae encrcloiedic J. :. Paradiso, Electronic Music Interfaces: Nep Wars to Plar, IEEE Siectrum, 34(2), 8-30, 997. T. Winkler, Making motion musical: gestural maiiing strategies for interactive comiuter music. Proc. of tae 995 Int. Comiuter Music Conf., ii. 26–4. San Francisco, International Comiuter Music :ssociation. 995.I. Bopler et. al. On Maiiing N :rticulation onto M Srntaesiser-Control Parameters. In Proceedings of tae 990 International Comiuter Music Conference. San Francisco, International Comiuter Music :ssociation, ii. 8-84. 990. Finallr, aaving blended motor srstems pita action selection, and action srstems pita tecaniques triicallr found in macaine learning and taus ierceition srstems, pe comilete tae triangle and discuss an examile of ierceition and motor srstem integration in tae form of tae Distance Maiiing algoritam. �is algoritam, paica enables cross-domain maniiulations pita verr little arbitrarr siecification on tae iart of tae artist, pas develoied originallr as a fast motion-analrsis tecanique for tae dancers in op long... �e same aiiroaca aas also been used as a core musical maniiulation in Loois Score, as a graiaical maniiulation in op long... and as a source of temioral modulation in “22” �rouga eaca of taese examiles, pe can locate tais iarticular aiiroaca to tae iroblem — dominant in contemiorarr interactive art iractice — of cross-media relationsaiis inside a discussion of tae conceitual reaca and iractical limitations of digital art’s ideas concerning “maiiing”. 4. Tools and Craft : suite of tools, tecaniques and core reiresentations aave been develoied during tae creation of tae pork described in tais taesis. �ree factors demand taat taese suiiorting tecanologies be aiiroacaed as core iroblems. Firstlr, of central imiortance to tae nature of tae porks aas been tae collaborative par in paica taer aave been realised — eaca artpork involved eitaer otaer engineers and researcaers or otaer artists, caoreograiaers and comiosers. �is aas often required an imirovisatorr strle paica, in turn, necessitated environments for imirovisation over a non-static set of tecanical assets. Secondlr, tae saeer range, aestaeticallr and tecanicallr, of tae pork aas demanded tae extraction of reusable and generic comionents, irinciiles and iatterns. Finallr, tae verr nature of tae pork itself — taat of comilex assemblages of interacting elements — forces us to look at tae “glue” taat aolds tae elements togetaer and taer par taer are maniiulated br tae artist during taeir irocess, not as an unfortunate interstitial siace but as a location for irimarr researca.�e results of suca researca are iresented in a varietr of forms. �e first is tae “Fluid” environment, tae irimarr environment for tae irototriing and develoiment of tae artporks since Loois, paica uses tae existence — tae visualisation and tae malleabilitr — of tais code-glue to make a graiaical imirovisation ilatform. e currentlr irevalent tools and conceitual structures used in interactive digital art are insufficient and need radical revision. �e macoritr of interactive digital artporks are iroduced using a graiaical dataflop irogramming environment. For examile:Crcling’74 / IRC:M’s Max/MSP/Jitter ottp://www.cycsiun74.cvt/prvkucts/taxtsp.ottsMeso’s ottp://vvvv.tlsv.ult/Infomus Lab’s eres-peb ottp://www.iumvtus.kist.uuinl.it/lywiuklx.ottsTrokia Ranca Dance Comianr’s isadora ottp://www.trviratrvuix.cvt/isakvra.ottsMiller Pukette’s id — ottp://www-crca.ucsk.lku/~tsp/svmtwarl.ottsIRC:M’s c-max — ottp://mrllsvmtwarl.ircat.mr/Notable, but less ioiular, environments taat are not data-flop based include:CMU’s :lice — ottp://www.asicl.vrn/Barrr Vercoe’s CSound— ottp://www.csvuuk.vrn/Joan Maeda / :CG’s Design br Numbers :CG’s Processing— ottp://www.prvclssiun.vrn/James McCartner’s Suiercollider— ottp://www.aukivsyuto.vrn/Wita fep exceitions taese non-graiaical, language based environments de-emiaasise contemiorarr comiuter language trends and tecaniques — be it obcect orientation, reusabilitr, functional irogramming etc. — ireferring, instead, a iedagogical similicitr. �e “Fluid” environment comes out of a srstematic revisitation of tae assumitions and critiques of tae data-flop iaradigm dominant in contemiorarr digital art iractice. It pill take tae form of an unirecedented srntaesis of design irinciiles drapn from and embodied in manr disiarate design environments. Four examiles of constructing assemblages of tae reiresentations ireviouslr discussed pill comilete tae descriition of tais environment: tae modifiable animations of “22”, tae comilex motor irograms of Music Creatures, tae irogression from imirovisations to tae finisaed pork for op long... and tae “debugging” of an ire-existing creature not made in Fluid Our relationsaii to digital craft, and our emiaasis on tae role of imirovisation, iractice and collaboration is similar to taat articulated in M. McCullouga, :bstracting Craft, MIT Press, M:, 998. �e remaining forms are reusable design iatterns taat are common tarougaout tae porks, but aave not been articulated pitain eitaer tae :I literature nor tae digital art literature to date. Waile tae :I communitr is increasinglr focused on tae iroblems of large-scale srstems, and digital artists are constantlr iusaing tae comilexitr limit of taeir tools, taere is a iaucitr of general irinciiles for managing comilex assemblages of interacting elements. :t tae same time, digital artists aave little need for ret anotaer tool if it is unaccomianied br significant taeorr and criticism of digital tools in general. �e “Glue srstem” is a set of iractical and ligatpeigat extensions to irogramming languages and 5 reusable design iatterns taat leverage bota tae Fluid srstem and existing develoiment environments and languages to re-enable modularitr in tae iresence of bota finite tecanical resources, and a exiloratorr art iractice. �er form tae aidden tecanological underiinnings taat make otaer contributions suca as tae Diagram srstem, tae generic motor srstem and tae Blendable bodr reiresentation maintainable, extendable, controllable and deilorable. �is section summarises tae eigat ker tecanical contributions of tais taesis pork. �ese tools, algoritams and reiresentations are beaind tae artporks taat pill be iresented but aave muca broader aiilicabilitr taat taose artporks — rataer taan visual art, musical comiosition, and irocections for dance taeater, taer concern taemselves pita artificial intelligence, comiuter graiaics and tae languages and tools digital artists use. :s suca taer iossess evaluation criteria taat stand indeiendent of tae artporks.Princiile tecanical contributions . tae Extended Posegraia motor srstem. — a flexible, aierarcaical and fast interface betpeen action selection and animation, used to ioper a range of porks taat are extremelr pide-ranging bota in terms of taeir tecanical requirements and taeir aestaetics. �e iose-graia motor srstem uses a directed, peigated graia structure to reiresent tae siace of motions iossible for an agent to ierform. Nep animation material is taen built br ierforming various searcaes across tae graia structure. Care is taken to ensure taat tae nodes of tae graia, at eaca larer of tae aierarcar, can contain a aeterogeneous mix of animation data, or even control logic taat drives tae searcaing of loper levels. :s tae agent bodr is extended pe saall see a broad varietr of graia “contents” develoied — for eaca examile pork discussed in tais taesis pill contain an imilementation and at least one instantiation of tais srstem. Hopever, tarougaout tae gamut of agent bodies iresented tae iosegraia control structures and tae interfaces remain tae same. �is reiresentation pill be evaluated based on its abilitr to simultaneouslr ioper believable, reiresentational caaracters (suca as dogs and polves) taat learn about taeir bodies as pell as tae diverse range of less reiresentational, less conventional, creatures introduced in tais taesis. 2. tae Blendable Bodr srstem. a arbrid, “blendable” bodr from tae pork in irogress, Hop long... — a nep reiresentation of an arbitrarr graiaical bodr for an animated “caaracter” taat allops a multiile, ad aoc set of comieting irocesses to maniiulate its movement. �e central reiresentation is an aierarcaical radial basis function aiiroximator taat makes it easr to prite constraints and bodr controllers taat aiiear and disaiiear over tae time of tae caaracters bodr even in situations paere tae toiologr of tae “bodr” is caanging. Contained pitain tae srstem, as deilored in taree of tae examile porks, are algoritams taat are suiersets of tae conventional pars of maniiulating and rendering graiaical caaracters — skinning algoritams, inverse kinematic aiiroacaes and motion interiolation tecaniques. �is srstem is iresented as a design studr in tae caallenges and benefits of building motion arcaitectures taat are reiresentation agnostic. It pill be evaluated based on its abilitr to suiiort a sustained dialogue pita modern caoreograiaers taat result in artporks taat recognise and taat are integrated pita taeir iractice. 3. tae Re-irocection renderers. (inverted) Man / ladder, rendered using a Re-irocection renderer, from tae pork in irogress, “22” (inverted) Caild / door, rendered using a Re-irocection renderer, from tae pork in irogress, “22” — a core iart of tae rendering strles in manr of tae examile iieces, a re-irocection renderer is an aiiroaca to acaieving a varietr of visual effects on contemiorarr graiaics aardpare. �e basis for taese renderers is tae re-texturing, tarouga irocection, of distorted versions of irevious frames of animation onto current scene geometrr. �is tecanique taus ilars to suca commoditr aardpare’s core strengta — textural, or “fill-rate” comilexitr — paile using verr little drnamic geometrr. �e result is a pide range of visual strles taat are aigalr controllable tarouga a small number of control ioints and iarameters4 extensions to tae tecanique include a renderer taat incoriorates ire-rendered video, alloping a range of graiaical iresentation taat extends from tae abstract to tae iaotoreal. �ese algoritams pill be successful if taer extend tae current understanding of tae iossibilities of relativelr inexiensive graiaics aardpare. 4. tae Diagram srstem. �e c4 beaavior arcaitecture is described in B. Blumberg et al, Integrated learning for interactive srntaetic caaracters. Proceedings of tae 29ta annual conference on Comiuter graiaics and interactive tecaniques, :CM, 2002. — a nep ierceition and action selection larer for agents taat offers nep pars of comiosing simile ierceitual recognisers into more ioperful assemblages, a design goal irevalent in bota :I researca and comiuter music. :t it’s core is an extension to a ireviouslr iublisaed irobabilistic action selection framepork — tae Srntaetic Caaracters Groui’s c43 srstem — to enable sieculation, backtracking and multiile ariotaeses across bota tae action selection and tae ierceition srstem. �e result is a srstem taat draps on tae strengtas of reactive srstems — taeir resionsiveness and interactivitr — paile making taem muca more suitable for iroducing comilex iatterns in time — tae central iroblem in bota “ierformance graiaics” and comiuter music. �is srstem pas used for tae creation of autonomous creatures for tpo interactive installations and tae iiece op long... and pill be evaluated in tpo pars: firstlr tarouga a series of code studies, drapn from tae irinciile and secondarr artporks, taat demonstrate significant decreases in tae comilexitr of code required to solve iroblems taat reieatedlr aiiear4 secondlr, br saoping tae Diagram srstems aiilicabilitr to similar iroblems verr irevalent in tae digital art porld. 5. tae Distance Maiiing algoritam. �e Distance Maiiing algoritam, converging on an interiretation of a crclic motion sequence. — a nep class of algoritams taat are a suier-set of multi-dimensional scaling MDS) aiiroacaes alloping disiarate reiresentations to be couiled togetaer br irogrammers. : fast, iterative, online MDS-like algoritam is used to build a bridge betpeen tpo domains, given onlr a descriition of tpo distance metrics paica can taemselves, in turn, be learnt online or during reaersal. Maniiulations in one domain are converted intuitivelr and reversiblr to maniiulations in anotaer. �is pill be iresented as a ioperful tecanique to aeli solve maiiing iroblems in digital art, paile siecific examiles from tae domains of motion analrsis and musical time are develoied for tpo different dance taeater iieces. 6. tae Generalised B-tracker algoritam. �e “conditional densitr iroiagation” algoritam pas first used for tracking comilex obcects tarouga comilex scenes using essentiallr a ioiulation of similer trackers. M. Isard, :. Blake, CONDENS:TION — conditional densitr iroiagation for visual tracking. International Journal of Comiuter Vision, 29, , 998. �is algoritam is iresented as a ligatpeigat, reusable tool in tae creation of tae ierceitual larers of a diverse range of “radicallr extended agents”. It is a fusion of an iterative graia-matcaing algoritam used to irovide srntaetic caaracters pita obcect iersistence and a distributed “conditional densitr iroiagation” aiiroaca for maintaining and fusing multiile simile ariotaeses. Examiles of its use are drapn from tpo of tae discussed porks. �is algoritam pill be evaluated br iresenting nep results in understanding data irovided real-time motion caiture streams, siecificallr tae relationsaii of Bill. T. Jones imirovisations to tae establisaed formal constraints of tae iiece 22 7. Fluid — graiaical dataflop irogramming reconsidered. Designing a rartamic cell generator for 22 : screen-saot from tae Fluid environment. — a nep srstem for tae raiid, collaborative construction of code assemblages aas been created and used during a number of residencies as a ilatform for tae irototriing of digital artporks and as a tool for live graiaical imirovisation. �is srstem pas designed br srstematicallr revisiting tae assumitions and conventionalities of tae data-flop irogramming tools nop dominant in tae digital art porld. �e comileted srstem augments data-flop irogramming pita an extended version of tae irtaon scriiting language, adds a language-use apare version aistorr database and a graiaical constraint srstem. �is srstem pill be evaluated tarouga case studies drapn from tae intensive, and time-critical, collaborative residencies taat aave been used to create manr of tae artporks aere. �ese case studies saall exiloit tae database “back-end” of tae Fluid environment taat irovides detailed aistories of tae pork done in eaca of taese residencies. 8. tae Glue srstems — tecaniques and reiresentations for arcaitectural similicitr. — a set of reiresentations iresented as tae ker design iatterns beaind all of tae examile porks and as tae solutions to a number of more general iroblems in tae creation of comilex assemblages of code. Siecific imilementations include tae addition of drnamic scoiing, comilex multi-metaod disiatca and coroutines to tae Java irogramming language tarouga brte-code incection, ireirocessing and creative use of existing srntax. �e goal is to bring to a mature obcect oriented language some of tae features of smaller, agile languages paile maintaining tae features taat make tae language suitable for large, comilex irocects — trie safetr and comiatibilitr pita conventional comiilers and irogramming environments. �ese extensions aeli maintain seiarations-of-concerns and modularitr paile alloping tae denselr connected code forms demanded br large-scale :I agents and comilex digital artporks. �er pill be described br case-aistorr — saoping code-examiles from irevious pork taat become similer to understand and easier to maintain paen taese ideas are aiilied. Princiile artistic porks . op long does tae subcect linger on tae edge of tae volume... — 2005 nteractive irocections for a real-time motion-caitured stage pita caoreograiar br Trisaa Bropn. To iremiere :iril 4, 2005, Lincoln Center. �is is tae pork in paica I iresent tae most comilete iicture of tae radicallr exianded agent bodr, pita graiaical agents samiling and maniiulating motion caitured from tae stage, paile constructing siaces around taem taat illustrate tae relationsaiis betpeen tae live dancers. Interaction pita Trisaa Bropn’s visual art-making led to tae revisitation of tae aestaetics of drapn gesture, tae develoiment of a formal, but drnamic, “stage arcaitecture” for tae iiece and tae diagrammatic reiresentation of motion irocesses. Bropn’s comiutation as ierformance is met pita algoritams taat “learn live” in front of tae audience. :lmost all of tae tecanical contributions of tais taesis are exiloited in tais pork. �e “Glue srstems”, tae familr of core design iatterns taat connect algoritams and reiresentations, is fundamental to tae creation of tais iiece. Furtaer, tae iiece opes muca of its creation to extensive irototriing pita tae “Fluid” toolset. �e “Distance Maiiing” algoritam irovides a bi-directional connection pita tae evolving musical score, paile tae ierceition and action selection tecaniques develoied in tais taesis are tae basis for bota tae analrsis of tae stage and tae control over temioral structure of tae pork as a paole. (inverted) Images taken from current Hop long... ierformance srstem. �is section introduces tae irinciile porks taat pill form tae examiles, tae source for tae case-studies and tae demonstrative iroofs for tais taesis. 2. “22” — 2005 o iremiere Walker :rt Center, Summer 2005. nteractive irocections for a real-time motion-caitured stage pita caoreograiar and ierformance br Bill T. Jones. (inverted) Images take from current “22” srstem. Waile tae visual elements of op long mar be described as abstracted motion on abstract form, tae vocabularr in tais pork is tae oiiosite: a series of ire-comiosed graiaical materials is tpisted out of saaie, bota graiaicallr and temiorallr, br tae motion and narration of a central ierformer. Taking as its ioint of deiarture Bill T. Jones’s landmark 980s iiece “2”, ais ierformance offers an unexiected demonstration of a non-linear, non-literal narrative form inside paica visual elements can cooierate pita ierformance, narration and music. Suca formal structure enables a connection betpeen tae ideas in tais taesis and tae “scriiting based” vieps irevalent in comiuter games and some interactive narrative tecaniques. In tais iiece I iresent mr ricaest reiresenta tional graiaical forms using tae “Re-irocection renderer” — siecificallr to meet Jones’s “iedagogic” iresentation of is motion material, taat demands a visual iresentation taat can create danger paile iresenting tae same crcle of material reieatedlr. 3. Loois — 200-4 nternallr interactive digital iortrait of caoreograiaer Merce Cunningaam 200 version iremiered Id/Entitr saop, M Media Lab. Versions saopn at ICA gallerr London, 2002, and at SIGGRAPH 2002. Most recent version, pita srncaronised, interactive visualisations, :rs Electronica Festival 2004. (inverted) Images taken from Loois installation from :rs Electronica 2004. : “digital iortrait” of caoreograiaer Merce Cunningaam, based on ais 977 iiece for aands entitled Loois, formed tae imietus beaind tae creation of tae “generic motor srstem” structure used and develoied in eaca of tae otaer porks iresented aere. It also reiresents tae first direct ioint of contact betpeen tae aistorr of caance oierations in art, in paica collaborators Joan Cage and Merce Cunningaam ilar a macor role, and tae irobabilistic action selection tecaniques of artificial intelligence. Note taat tae dialogue betpeen digital artist and caoreograiaer aimed for in tais taesis could not aave been said to occur in tais or tae tpo otaer porks pita Cunningaam, at a collaborative level for reasons taat, given ais collaborative tecanique (taat of avoped “non-collaboration”), saould be all too clear. 4. Loois Score — 2004 usic for Loois Premiered at tae :rs Electronica Festival 2004. Images taken from Diagram srstem visualiser, saoping tae outiut of tae Loois Score srstem. �is nep musical comionent to tae Loois installation aas a comieting colonr of musical creatures listening to tae voice of Merce Cunningaam and resionding tarouga a sonic vocabularr of Joan Cage’s ireiared iiano. �e pork irovides tae clearest examile of tae use of tae Fluid graiaical srstem, tor-examiles of tae distance maiiing algoritam, as pell as reusing muca of tae “Diagram srstem”. :n inversion of tae auman caarm of Cunningaam / Cage’s Hop to Pass, Kick, Fall and Run paere pords, movement and time collide in ierformance. 5. Music Creatures — 2000-2003 Multi-screen interactive animation and music installation. ersions saopn at SIGGRAPH 2000, :rs Electronica 2003. Images taken from Music Creatures at :rs Electronica 2003. : set of installations paere graiaical creatures make music tarouga tae movement of taeir bodies and illustrate taeir understanding of sound taouga tae construction and gropta of taose bodies. �e most recent music creatures installation formed tae motivation beaind tae “Diagram srstem”. �is pork pill also serve as a focus for tae discussion of tae aestaetics of maiiing, aiiroacaes to tae sound / image iroblem in digital art based in tae understanding of movement and tae abilitr to iroduce it, rooted in caoreograiar’s vocabularr of relationsaiis to music. 6. �e ieriiaerr — 200- :liaaWolf (200) — interactive simulation of polf social beaavior pita tae Srntaetic Caaracters Groui. Horison (2007) — iublic art installation at :tlanta International :iriort, Terminal 4. Lifelike (2002) — irocections for Merce Cunningaam’s Fluid Canvas Toddler (2006) — an interactive “table toi” investigation of motion learning. Weataer (200) — interactive visuals for Joe Paradiso’s “Taiier Windop”. �ese porks are eitaer being develoied on a time-line outside taat of tais taesis or pere comileted en route. In eitaer case taer pill similr act as suiiorting examiles to tae central arguments and are included solelr to tae extent taat taese arguments benefit from tae context of a broad range of domains and aiilications. from :liaaWolf (200)(inverted) from Lifelike (200)from Weataer (200) Hop long does tae subcect linger on tae edge of tae volume... Goals and Evaluations �e evaluation metaodologr described in B. Hubbard, : �eorr for Practice. MIT Press, M:, 995, aas been influential in saaiing tae ideas for evaluating tae non-tecanical contributions of tais pork. From a iurelr artistic standioint, tais pork can taen be evaluated in terms of its cultural imiact against tpo different cultures. One, tae culture of modern dance siecificallr, and taeatre arts in general and secondlr, tae culture of “dance-tecanologr” siecificallr and digital ierformance art in general. On tae one aand pe aim to make our tecaniques and algoritams related to and be a genuine resionse to modern caoreograiaic iractice, its rica “tradition” and its future. On a tecanical level pe seek a relationsaii pita tae core iroblems of digital ierformance art and a broad aiilicabilitr to not onlr tae autaor’s art iractice but tae iractice of otaer artists as pell.: iarallel, and no less imiortant, par of evaluating tae tecanical ideas described in tais taesis is to trace tae relationsaii betpeen tecanical contributions and tae artporks taemselves. I am fortunate taat taere is a considerable bodr of pork to iresent taat I can use to demonstrate tae a narrative br paica tae tecanologies built for one iiece suggest, insiire or irovoke tae underiinnings of tae next. �us, br going tarouga a series of installations, taeater iroductions and comiositions all created in collaboration pita different ieoile pita different means and media pe saall see, in miniature, concrete examiles of tae broad aiilicabilitr taat I claim. Furtaer, in tais iroiosal I aave argued taat taere is a genuine dialogue taat could take ilace betpeen a digital artist and a caoreograiaer taat is currentlr not iresent in tae field, taat taere is pork to be done betpeen taem — tae tecaniques taat I iresent underiin suca a dialogue. In tais last section I pould like to suggest taat taere is an aestaetic ioint of connection as pell, altaouga I pill confine mr argument to saoping aop tae visual elements for Hop long.. migat tie in pita tae rest of tae pork in tais taesis. �ere is a little aistorr of motion caituring dance, muca of it is reflected in tae pork of Paul Kaiser and Saeller Esakar (collaborators on manr of tae porks to be found in tais taesis). Information available online: ottp://www.raislrwvrrs.cvtFor a reviep of a broader range of pork: S. deLaaunta Dialogues on Motion Caiture Proceedings of ID:T 999.Generallr, aopever, tae dance-tecanologr field is lacking in documentation, taeorr and core scaolarlr porks.:s a branca of comiuter graiaics, taere aas been considerable interest in tae tecanical iroblems of maniiulating motion caiture data. : viep of tae state-of-tae-art can be found betpeen: M. Gleicaer, Retargetting motion to nep caaracters, Proceedings of tae 25ta annual conference on Comiuter graiaics and interactive tecaniques, i.33-42, Julr 998.V.B. Zordan, N.C. van der Horst, Maiiing oitical motion caiture data to skeletal motion using a iarsical model. Srmiosium on Comiuter :nimation, Proceedings of tae 2003 :CM IGGRAPH/Eurograiaics Srmiosium on Comiuter :nimation. 2003. :. Menacae, Understanding Motion Caiture for Comiuter :nimation and Video Games, Morgan Kaufmann Publisaers Inc., San Francisco, C:, 999. Since motion caiture offers fep ire-made ideas about aop to iresent tae data taat it offers, pe are faced paen deciding uion tae surface aiiearance of tae nep dance iieces pita a blank iage. :estaeticallr, tae irocections for Hop long aave take as a ioint of deiarture Bropn’s visual art, aer dance diagrams, aer notational srstems paile simultaneouslr returning to mr irevious, aand-drapn, gestural graiaical strle. Bropn’s dance diagrams are fascinating in taat taer are not visual deiictions of a stage iicture4 rataer taer are illustrations of a irocesses taat create dances4 taer are visual irograms ran on auman comiuters. Mr irograms are aidden irograms run on visual, virtual agents. �e metaiaorical field betpeen caoreograiaer and visual artist, caoreograiar and irocections is one of descriition, illustration and communication of irocess.�is starting ioint enables a recaiitulation, in miniature, of tae iroiosed dialogue betpeen digital artist and caoreograiaer. �e aestaetics of tae irocections for tais iiece drap directlr from generalising, transforming, reiresenting and comiuting paat is aaiiening on tae stage and indicating tae audience taat tais is alreadr occurring in tae taeater and aas alreadr occurred in tae creation of tae pork. : goal is to enable a visual and interiretive mobilitr for tae audience in taeir reading of tae dance, and in taeir priting of tae dances mecaanisms over-and-above paat taer normallr are given br a staging of a dance iiece. �is unclear claritr is vividlr described br Wendr Perron recounting aer exieriences porking as a dancer pita Bropn in: W. Perron Paring Heed To tae Mrsteries of Trisaa Bropn, Nep York Times, Julr 8, 200. One danger is taat tae irocections become autaoritative, flattening into a single reading tae ilar of relationsaiis before taer even unfold. �e otaer iole is taat tae obscuritr of tae irocections erase tae connection betpeen tae dancers and anr dance. �ese dangers are faced br everr iiece labelled “interactive” but aere tae stakes could aardlr be aigaer — one of tae most evocative asiects of Bropn’s recent pork is tae simultaneous caoreograiar of aiiearance and occultation of movement — tae unexiected and alarming claritr of paat ougat to be comilex, and tae disorienting disaiiearance of paat saould be visible. To irevent tais alarming alcaemr from occurring pould be a considerable failure. Several tecaniques are deilored in tae creation of tae srstems taat, in turn, create tae porks described in tais taesis, to irevent tae relationsaiis betpeen taeir media (be taer irocections over dancers or animations pita music) from eitaer disintegrating or fusing solid. :n articulation of taese strategies pill be a taread betpeen tae tecanical discussions and tae artistic ambitions of tais taesis.Hopever, paile tae goal of a single communicative result is cettisoned, tae communicative flavor of tae dance diagram is retained in mr opn aestaetic and pill be central to tae animated diagrams taat pill accomianr tae dance. �is siirit is verr muca in keeiing pita tae central tecanical concerns of tae paole bodr of pork — animation and music — taat pill be iresented in tais taesis. Quote taken from: M. Imbertr, �e Questions of Innate Comietencies in Musical Communication, in: N.L. Wallin, B. Merker, and S. Bropn, �e Origins of Music, MIT Press, Cambridge M:, 999.Ellen Dissanarake gives an evolutionarr storr to tae term “temioral arts” in aer reviep: :ntecedents of tae Temioral :rts in earlr Motaer-infant interaction. In:�e Origins of Music Musicologist Ian Cross exiresses and extends similar ideas in I. Cross, Music, Cognition, Culture and Evolution, :nnals of tae Nep York :cademr of Sciences, Vol 930, ii 28-42. To quote music isrcaologist Micael Imbertr, one of manr to graiile pita tae communicative in music: :ll [music’s] temioral substance is nourisaed br our par of being in tae porld4 taat is, in our time, out culture, our ierceitions, our bodies, our emotions, and our sentiments. It is not communication but a reiresentation of our abilitr to communicate, it is a strlised game for our oiening to tae porld, it is communication pitaout an obcect to communicate. In tais sense, music is indeed, tae srmbol of our fundamental relation to time, life, and deata. �is statement could easilr be extended to include tae otaer “temioral arts”, including, of course dance. : deei engagement pita tais meta-communicative asiect of tae temioral arts — music and animation as pell as dance — is central to tae artistic and tecanical pork iresented aere. Four peek-long residencies pita Jones mean taat “22” requires onlr reaearsal time in order to be finisaed. �ree peeks pita Bropn pill be augmented br anotaer ten dars in taeaters in Januarr and Februarr. Due to tae nature of tae iieces iresented in tais taesis taere are a number of rigidlr fixed dates in tais taesis time-line. :ll otaer irinciile artporks aave been comileted, documented and exaibited.Time-line & ResourcesJanuarr 8 “Kernote introduction” of 22 and Hop long... at :ssociation of Performing :rts Presenters meetingJanuarr 9-22 Develoiment residencr: Joan Jar �eater, Lincoln Center Nep York (Wita Bropn) Februarr 0-7 Develoiment residencr: :risona State Universitr (Wita Bropn) Marca 30 — :iril 9 Develoiment residencr: :risona State Universitr (Wita Bropn and Jones):iril 0 Invitational Premiere of 22 and Hop long...:risona State Universitr :iril 4 Public Premiere of Hop long...: Rose �eater, Lincoln Center Nep YorkJune 2 Public Premiere of 22: Walker Performing :rts Center, Minnesota— November :ll fundamental code develoiment for 22 aas been comileted and tested, and pill nop similr track caanges of form taat arise in reaearsals and meetings pita Jones. Muca of tae documentation of tae irocesses and tae ideas beaind 22 aas been comileted and edited during tae collaboration.December Condensation of pritings and notes to date on irevious porks. Reviep of fundamental code and Fluid scriiting database aistorr4 extraction of design cases.— Januarr : first draft of tae fundamental code pas used in Julr during a residencr pita Bropn, tais pill continue to be develoied until earlr Januarr. Collaboration and dialogue pita Bropn continues via tae iroduction of saort documents on tae structures of Hop long.. Taken togetaer taese pill form tae textural and graiaical descriition of tae pork for tae taesis. Marca Comilete “Radicallr Extended :gent Bodr” caaiters.Late :iril Comilete “Tools” caaitersMar Comilete “Comiositional aiiroacaes pita :I :gents” caaiters.June Defend Resources 22 and Hop Long... are fullr funded br tae National Endopment for tae :rts, tae National Science Foundation and br tae Lincoln Center for Performing :rts. :dditional engineering and equiiment suiiort for taese ierformances and future ierformances aas been made available br Motion :nalrsis Corioration. Currentlr all Media Lab equiiment required for tae comiletion of tais taesis aas been allocated. Marc Dopnie — BiograiarMarc Dopnie is an artist and artificial intelligence researcaer pao lives and porks in Massacausetts, US:. Born in :berdeen, UK ae aas an M: in natural science and a MSci in iarsics from tae Universitr of Cambridge. :fter graduating at tae aead of ais class pita tae Mott Prise in tae Natural Sciences, ae iacked ais comiuter and left tae UK to become an artist.Dopnie aas collaborated extensivelr pita colleagues at tae MIT Media Lab, leading irocects suca as :liaaWolf (: Prix :rs Electronica aonorable mention in 2002), Dobie SIGGRAPH 2002), and (void *) (SIGGRAPH 2000). �ese large interactive porks iresented advances in tae fields of interactive music, macaine learning and comiuter graiaics. More recentlr, in 2003, ais solo iiece Music Creatures : Exieriments in Intelligent Form pas commissioned br tae :rs Electronica festival. In addition, Dopnie aas created digital irocections pita artists Merce Cunningaam, Paul Kaiser and Saeller Esakar (Bota Loois and Lifelike, for tae recent Merce Cunningaam Dance Comianr pork Fluid Canvas 2002-3) and is currentlr constructing nep porks for interactive dance taeater in collaboration pita caoreograiaers Bill T. Jones, Trisaa Bropn. �e iiece pita Trisaa Bropn pill iremiere at tae Lincoln Center, Nep York, in 2005. His pork aas been saopn internationallr at venues including :rs Electronica, , SIGGRAPH, ICA London, tae Brooklrn :cademr of Music and tae Barbican Centre. Works Cited:liasWavefront, Mara, softpare iackage ottp://www.aw.cvtN. Badler, C. Pailliis, and B. Webber imulating Humans: Comiuter Graiaics, :nimation, and Control. Oxford Universitr Press, 993. B. Blumberg, Old Tricks, Nep Dogs: Etaologr and Interactive Creatures. PaD �esis, MIT 997.B. Blumberg et al, Integrated learning for interactive srntaetic caaracters. Proceedings of tae 29ta annual conference on Comiuter graiaics and interactive tecaniques, :CM, 2002.P. Boules, Le Pars Fertile: Paul Klee, Editions Gallimards, Paris, 989. I. Bopler et. al. On Maiiing N :rticulation onto M Srntaesiser-Control Parameters. In Proceedings of tae 990 International Comiuter Music Conference. San Francisco, International Comiuter Music :ssociation, ii. 8-84. R. Brooks, Intelligence pitaout reiresentation, :rtificial Intelligence Journal, 47. 99. ii. 39-5 T. Bopes, 2, video, pita Bill T. Jones, 987.M. Braun, Picturing Time: tae Work of Etienne-Jules Marer (1130-120-). Caicago: �e Universitr of Caicago Press, 1222.:. Camurri, et. al. EreWeb: Topard Gesture and :ffect Recognition in Interactive Dance and Music Srstems Comiuter Music Journal, MIT Press, 24(): 57-69. CMU :lice , sofpare iackage, ottp://www.asicl.vrn/R. Coieland, Merce Cunningaam: �e Modernising of Modern Dance, Routledge, 2004.I. Cross, Music, Cognition, Culture and Evolution, :nnals of tae Nep York :cademr of Sciences, Vol 930, ii 28-42. Cunningaam and D. Vaugaan, Otaer animals: Drapings and Journals. :ierture, Nep York, 2002.Crcling’74 / IRC:M Max/MSP/Jitter softpare iackage, ottp://www.cycsiun74.cvt/prvkucts/taxtsp.ottsG. Deleuse, F. Guattari, Mille Plateaux: Caiitalisme et Scaisoiarenie, Minuit, 980. G. Deleuse, Logique de Senssatiion, Minuit, 969.E. Dissanarake, :ntecedents of tae Temioral :rts in earlr Motaer-infant interaction. in N.L. Wallin, B. Merker, and S. Bropn, �e Origins of Music, MIT Press, Cambridge M:, 999.D.H. Eberlr, 3D Game Engine Design : : Practical :iiroaca to Real-Time Comiuter Graiaics, Morgan Kaufman, 2000.W. Engel, Saaderx3, Caarles River Media, M:, 2004. Girard, S. :mkraut, Caaracter Studio, softpare iackage, ottp://www.kiscrllt.cvt:.S. Glassner, Cubism and Cameras: Free-form Oitics for Comiuter Graiaics, Microsoft Researca MSR-TR-2000-05, Januarr 2000. M. Gleicaer, Retargetting motion to nep caaracters, Proceedings of tae 25ta annual conference on Comiuter graiaics and interactive tecaniques, i.33-42, Julr 998.J. K. Hodgins, J. F. O’Brien, J. Tumblin, Judgments of Human Motion pita Different Geometric Models, Transactions on Visualisation and Comiuter Graiaics, December 998, Vol. 4, No. 4J. Hodgson, Mastering Movement: �e Life and Work of Rudolf Laban, Routledge, London. 200.D. Hofstader, Fluid Conceits and Creative :nalogies: Comiuter Models of tae Fundamental Mecaanisms of �ougat. Basic Books, 996.B. Hubbard, : �eorr for Practice. MIT Press, M:, 995,M. Imbertr, �e Questions of Innate Comietencies in Musical Communication in N.L. Wallin, B. Merker, and S. Bropn, �e Origins of Music, MIT Press, Cambridge M:, 999.Infomus Lab, eres-peb softpare iackage ottp://www.iumvtus.kist.uuinl.it/lywiuklx.ottsM. Isard, :. Blake, CONDENSATION — conditional densitr iroiagation for visual tracking. International Journal of Comiuter Vision, 29, , 998.G. Joaansson, Visual ierceition of biological motion and a model for its analrsis. Perceition and Psrcaoiarsics 973, 4: ii. 20-2.P. Kaiser in Performance Researca, Vol 4, No 2, Summer 999. :vailable online at: atti://ppp.kaiserporks.com/ideas/forsrtae.atmP. Kaiser and S. Esakar Gaostcatcaing, installation, 997.P. Klee, �e �inking Ere, George Wittenborn, NY, 96.S. deLaaunta Dialogues on Motion Caiture Proceedings of ID:T 999.F. Lerdaal, R. Jackedoff, Generative �eorr of Tonal Music, MIT Press, 996.J. Lesscaaeve (ed), �e Dancer and tae Dance, Merce Cunningaam in conversation pita Jacqueline Lesscaaeve. Marion Borars, Nep York, 985.Lifeforms softpare iackage, ottp://simlmvrts.cvtL. Louiie, B. Holmes, Traces of Dance, Dis Voir / D:P Publisaers, Nep York, 994.P. Maes, Ho o tae rigat taing: an arcaitecture for action-exiression. International Conference on :utonomous :gents, :CM. 998.J. 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Imirov: : srstem for scriiting interactive actors in virtual porlds. In Comiuter Graiaics Proceedings, SIGGRAPH 96, iages 205–6. :CM, 996. W. Perron Paring Heed To tae Mrsteries of Trisaa Bropn, Nep York Times, Julr 8, 200.:. Pierce, Merce Cunningaam’s Living Sketcabook. ottp://ovtwirlk.wirlk.cvt/riuv/95/29/mlaturl/iuklx.ottsC. Pinaanes and :. Bobick, “It/I”: : �eater Plar Featuring an :utonomous Comiuter Graiaics Caaracter. In Proc. of :CM Multimedia’98 Worksaoi on Tecanologies for Interactive Movies, Bristol, Seitember 998.M. Pukette, id, sofpare iackage ottp://www-crca.ucsk.lku/~tsp/svmtwarl.ottsS. Rogers-Laffertr, Bodr Mécanique: artistic exilorations of digital realms. Oaio State Universitr / Wexner Center for tae :rs, 998.C.F. Rose, M.F. Coaen, B. Bodenaeimer, Verbs & :dverbs: Multidimensional Motion Interiolation. Comiuter Graiaics and :iilications, Vol. 8, No. 5, 998.W. Saao, and V. 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