interdisciplinary explorations on the performance of motion

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Do want this account to represent:: organization of humans (us) many of you

If you are an organization, what kind of organization?: ALTROEQUIPE, a multimedia research team which consists of the gruppo ALTRO, the architect Orazio Carpenzano, the biomechanic Aurelio Cappozzo, Marco Donati and Mounir Zok, computer engineers, Flaviano Pizzardi, art director motion graphics. The group rests on the use of Motion Capture, for the tri-dimentional capture of movement, and on the use of Motion Graphics, for 3D animation. The research, defined as «Reversible Performative Organisms» targets in priority and as a verification ambient, the live stage, and aims at producing different spectacular forms, in interactive spaces. The performances from this period are Sylvatica (2003 - 2004), Prototypa (2003 - 2004), Pycta (2005 – 2006).
In 2007 ALTROEQUIPE starts the new project HALLALUNALALONE. The whole project HALLALUNALALONE has a three year time/prototyping, beginning in 2007 and ending in 2009. Every year will be dedicated to a special state of art, especially the year 2009, Centenary of the Italian Futurism, will be dedicated to the potentialities that the Manifesto tecnico della scultura futurista by Umberto Boccioni (1912) has transmitted to the responsive environment of HALLALUNALALONE.
The gruppo ALTRO comprises: Lucia Latour, choreographer and art director, Loïc Hamelin, light designer, Marta Bichisao, Marta Capitani, Pamela Caschetto, Miranda Secondari, dancing performers, Adam Bourke, sound performer, Luana Piermarini, administrator and stage director, Chiara Ciucci Giuliani production coordinator assistant.
We want to underline the creative and scientific co-living of the operative group of ALTROEQUIPE, that propose spectacular forms that have the precious characteristic of using the most recent technological instrumentation on the live scene. For ALTROEQUIPE the live scene is presented as a theatre, a lab, where it is possible to experiment special creative devices, that becoming show transmit an high degree of flexibility and modification among all the artistic and scientific forms that operate.

Website:: http://www.altroequipe.it - www.altroteatro.it both websites are un...

About Me (human):: LUCIA LATOUR
CHOREOGRAPHER
Rome, 1940. She got her diploma at the National Academy of Dance in Rome. In 1968 she graduated in architecture at the University of Rome. In 1972 she took part to the birth of the Group “ALTRO/Lavoro Intercodice” where she carried out for ten years research and experimentation activities together with painters, musicians, poets, and architects. In 1981 “Gruppo Altro” ended its activity with the publication of the book ALTRO, Dieci anni di lavoro intercodice, Kappa editions. For years she based her research on the performing body in an inter-code environment and focused her study on the new conception of body movement through contact-improvisation experiences and other acknowledgements of the contemporary techniques coming from post-modern-dance. In 1981 she created the “Gruppo Sperimentale Movimento Suono Spazio Immagine” (Experimental Group of Movement Sound Space Image), in 1986 she created the Contemporary Dance Company ALTROTEATRO. Since 2000 Lucia Latour’s research has been moving toward the “body – that - becomes - space” and dance is conceived as the forming strenght of the “physica” matter. Since 2002 she has been ALTROEQUIPE’s choreographer and art director, a multimedia system looking for the interaction between dance, sound, architecture, motion capture and motion graphics technologies, and light design. All projects produced in these years have been presented at the most important theatres in Italy, France, Portugal, Germany, Ex-Yugoslavia, Ex-URSS, Argentina. Since 2001 she has been Professor at “La Sapienza”, University of Rome, College of Human Sciences – Art History Sciences department, and at the National Academy of Dance – Dance and New Technologies department. Among her publications, she is author together with Orazio Carpenzano of the work Physico. Fusione danza-architettura, Universale di Architettura, edited by Testo&Immagine, Turin, 2003.

Where are you based?: Rome, Italy

Area of interest on performance and new media: Dance, sound, architecture, light design, motion capture, motion graphics
We have to work on new cognitive process that use the programming of “intelligent environments”, new scenes to interact and generate other possible realities, where the multi-sensorial flow spreads from the actual to the simulated, in a process of “co-definition of the living’s circularity”.
The simulated environment becomes one of the many possible worlds from which it is possible to get knowledge, as a result of the continuous mutuality between the intentions of the agents and the feedback received by the transformation of the contest in which we operate. From this continuous circulating, from the real to the digital to “become mutant bodies”, emerges the cognitive condition that generates the theatre of “existence”.
In our specific contest, the creative is a system stratified by the layers and the trajectories that are present in the “thousand” configurations connected among the innate motility, the dancing bodies, and the artificial mobility impressed by the digital performers.
In this way it is originated a “inside/out” that is able to recognize and ambient new energies, between the perceivable and the perceived. In this way it is obtained a body that is multiplied not by the “engine” as the futurists proposed, but by the multi-perceiving system that makes it able to assume the reversible kynetics, in a corporeal space in extension between the sensorial inside and outside; a over-body that can co-definite itself through the algorithms, with all the other bodies, in a stereoplastic state of the performance. The space is seen as protetic amplification of the body, where the stereo-formation of the matter is the existence itself, so the generative necessity of self-producing through the living sense of the gait. The “creating” of the corporeal matter develops among the “thousand plans” that, through the digital imaginary, layer themselves from the actual to the virtual.
The different aspects of the vision, the largeness, the shapes, the orientations, are configured in this “crystalline” depth that is distributed in the space following a tridimensional periodical order, “crystalloid”, able to develop itself easily through fragile membranes, the ones belonging to the space generated beyond the skin, where it is indispensable the feeling as coexistence.

How did you learn about dance-tech.net?: at Monaco Dance Forum and I'm member of dance tech mailing list

Enviornments and applications that you use the most for your projects: Maya, mocap, other

Which other:: Hardware: Vicon MX Real Time, Jazz Mutant Lemur - Software: Autodesk Motion Builder, Ableton Live, IQ.

How do you train yourself or your performers. How do you approach your embodied practices? what kind of technique do you use?: Connections between performative art and the processes of the new robotics
It is very interesting to reconsider «dance» from the vantage of interrelations between innate motility (Merleau-Ponty) and artificial motility (e.g. the adaptative processes of the new robotics - MIT - etc.), and that sense interrogate the processes that use high tech instruments such as real time motion capture, and the vast potentialities of simulation and transfiguration of the multiperceptive reality through 3D animation and motion graphics.

A reactive environment for performances
Situatedness, embodiment, artificial intelligence, emergence, autonomy, self sufficiency are all key words that today define interesting research projects on artificial intelligence. As an example, it is no information that should be considered as determining the possibility to modify the environment, but its real use in the environment itself (Responsive Architecture, Domotics, Environmental Forces), i.e. a situated information through the medium of the body.

Performers and criteria for a formation towards the multimedia performance
The contemporary performer, specifically the dancer, today operates in mutating and multimedia environments, between the actuality of live dance and the digital simulation for example produced through the capture of the dancing body (motion capture) and the 3D animation (motion graphics) that interpolates a mutating architecture/scenic space.
His/her formation cannot remain based on a self contained technical preparation, culturally separates from the multimedia context in which it must happen. It is important to reflect and work to introduce innovative criteria into the public and private institutions in charge of artistic formation.

Any additional information about your self or your organization:: We are interested in focusing the choreography in a particular poetic system, autopoietic, that communicates par excellence the transmission of the strength – in state – of – formation, where the forming strength is the intrinsic property of the “movement”.
Instead of remaining in the anatomic body and in the Euclidean space, continuing to refer to the iconographic sign of the gesture and to the rhetorical expression of the body, the creative field of the dance enlarges its interests towards the “theory of emergence” in the areas of the researches oriented towards the “artificial life” and the “new robotics”, since it thinks that the contest of the scientific research is always more connected to the contemporary permormative art.
The production of these complex spectacular forms ask an accurate work of équipe that needs an interactive deepening between the different performers, artists, and computer researchers who operate on the live scene. From this transversal condition, that moves among the creative and scientific processes, instead of a project-object show, a living system is born, an interactive process in continuing mutation following the IDEAS at the base of the process itself:
- The “emergency” implies the creation of new qualitative structures and behaviours that can’t be compared to the ones already existing, this is useful to go over the specificity of the designer (Peter Cariani in his 1991 paper "Emergence and Artificial Life").
- It is very important to reconsider the “dance” under the aspect of the interrelations between the innate mobility (Merleau-Ponty) and the artificial mobility (as the adaptive processes of the new robotics – MIT – etc.), and to reflect in this sense on the processes that use the instruments of high technology, as for instance the capture of the movement in real time, Motion Capture and the vast potential of the simulation and transfiguration of the multiperceiving realities, produced by the 3D Animation, Motion Graphics.
- “A reactive environment for the performance”, situatedness, embodiment, artificial intelligence, emergence, autonomy, self-sufficiency are all key words that at the moment constitute interesting researches on the artificial intelligence. For instance, it is not the information itself that must be considered as determining for the possibility of changing the environment, but its real actuation in the environment itself, responsive architecture, domotic, environmental strengths, information situated through the corporal support.
So the different artistic formations: choreography, architecture, dance and sound, share a process so far unknown with the scientific formations of the computer researchers who operate with the motion capture and the motion graphics.