Cycle 2

For cycle 2, it was important to me to begin looking at the projection in the Barnett Theatre and with my dancers and understand what I was working on from the “performance” aspect of the RSVP cycle. Something I had noticed from previous dance performances in the Barnett Theatre, that because the theater is arranged in-the-round, a lot of top-down projection felt quite flat due to the close proximity of the audience. As a result, I wanted to focus on creating some more dimension in my projections. Much of what I have been designing has been video projection that is constantly moving.  

In cycle 1, I created a series of different scenes to try out in the Barnett and was able to discern that some of them did not read very well as a floor projection. I ended up staying with the projection that had a bit more of a “pinched effect.” Another difference in cycle 2 was moving away from depth sensors. Part of this was a resource issue—I was extremely limited on time. I was concerned that I would spend too much time finagling with the depth sensor and not enough on actually designing the projection that I am hoping to use for my MFA project in February. I was also limited by the amount of time I could spend working in the Barnett Theatre as it is a shared space within the dance dept. All of those factors led to me choosing to facilitate interaction through the use of a mouse watcher actor which has a similar effect as the depth sensor, but just without the use of a sensor that needed to be hung from the grid of the Barnett.  

I ended up designing a projection that could track the movements of my dancers in the space. Below is a video of that exploration.  

My dancers did share with me that the movement of the projection was a bit motion-sickness inducing for them as they are dancing and I heard similar feedback from audience members during our cycle 2 demonstration in class. That is one of my goals going forward, which is to adjust the speed at which everything is moving, so that it does not feel too overwhelming for both dancers and audiences. I’m discovering that there truly is a fine line in design. I am hoping that the projection and choreography read well together and that all design elements will coalesce into the world that I’m building. One of my biggest concerns is that audiences will only watch the projection and not any of the choreography. As all of these elements are being developed together, I know that I will have some more information by cycle 3 to know if I am overdesigning the video projection and thereby flattening the choreography or if the video projection does really help highlight some of the nuanced gestures and movements in the choreography.  

Cycle 1: Depth Sensor and Choreography

Regarding the cyclical projects for the rest of the semester, my goal is to create video projection in Isadora to support my MFA thesis project which will be presented in February 2025. I am choreographing a group ensemble piece that is centered upon the idea of intercultural encounters. I currently am viewing the piece as a moving palimpsest which refers to a manuscript where text has been effaced and rubbed out to write new text. This allows for ghosts or hauntings of previous text to be seen and witnessed alongside something new. Metaphorically, this reads to me as intercultural encounters where people’s life experiences intersect, conflict, merge, and bubble.  

I have been obsessed with the idea of a moving projection that tracks slow subtle movement and wanted to try this in cycle 1. I initially had a lot of ideas for the video that I wanted to project from a top-down projector. It ranged from textural video to gestures to excerpts of my dancers moving in the space. Due to the short amount of time that we had for cycle 1, I chose to focus primarily on developing a patch in Isadora that utilized a depth sensor as a form of tracking. Regarding the video that was projected, I ended up working with a clip of plastic overhang waving in the wind. In Taiwan, these rows and rows of plastic are utilized as an outdoor car cover or for an outdoor swimming pool.  

I spent a large chunk of my time playing with video effects. I knew that I wanted to abstract the image and desired to create a sort of otherworldly feel from the projection. Other time was spent figuring out how to use a depth sensor and have the projection track a body in space. The exploration started with a simple shape tracking to eventually having the whole projection track a body. Below is a video of the different scenes that I created. 

Choreographically, I imagine that the sensor will be tracking dancers from the top (bird’s eye view), so focusing primarily on their heads as they moving in the space. I have been working on a section of choreography that draws from ideas of processions. This emerges from my memories of watching temple processions in the streets of Taiwan but take a more hybrid creature approach. The video below is an example of what this looks like at this moment in the creative process 

In our feedback session, I was glad to hear that the abstraction of the video was landing with viewers. I found it fascinating that it felt kind of microscopic to people and was still tethered to ideas and aesthetics of this world. This reframing was very helpful for me to think about the intentional hybridity that I want to play with aesthetically. I really appreciate the feedback on softening the edges of the projection and playing with how color might fade in, grow, and fade out throughout. Looking towards cycle 2, my goals include taking the depth sensor and projection into the Barnett Theatre and seeing what it actually looks like from a top-down perspective, while still continuing to adjust the video effects. In cycle 2, I think it might be helpful to share a performance of this so that I can see what the full effect truly is in space with sound, projection, and dance. 

Pressure Project 3: A Sonic Quilt of Taiwan

As a choreographer, much of my creative research and artistic practice emanates from my identity as a Taiwanese-American. My choreography is deeply concerned with ideas of hybridity, multilingualism, and interculturalism. I see intercultural encounters existing within each and every interaction with another individual or environment.  

This past summer, I had the opportunity to return to Taiwan for a 6-week research trip. During this trip, I created a daily practice of capturing artefacts of Taiwan through video, photo, and sound. I am particularly drawn to sonic artefacts due to their ability to completely just place me in a fully embodied sensory memory. In all honesty, upon returning to the US in June, I had procrastinated listening to and digesting what all these sonic artefacts meant to me. This pressure project 3 felt like the perfect time to listen to and layer these artefacts into a quilt of what Taiwan sounds like to me.  

Because I had captured sound recordings daily, I spent a considerable amount of time identifying which sounds I wanted to integrate. The first sonic artefact that I instinctively wanted to utilize was an audio recording of my mom and two of my aunts in conversation. I was deeply drawn to this recording for many reasons. I can track a different closeness with each of them and I have, at various times throughout my life, lived with and depended upon each of them. There is a strong feeling and memory of home in this recording; it immediately evokes early memories of sitting around the living room table, eating snacks, and hearing a wash of languages over me. In the sound recording, they are speaking in both Taiwanese and Mandarin Chinese, sometimes switching between languages every other word. I am not very fluent in Taiwanese, but have always been so enthralled by the rhythmic quality of the language and its seven tonalities. I initially desired to split up the audio track by speaker but found this process quite difficult due to my mom and aunts interrupting and speaking over each other. 

I chose to interrupt the sequence of the conversation with recordings of birds chirping at the Sun Yat-Sen Memorial in Taipei, the sounds of cicadas on the mountains near Taipei National University of the Arts, a local temple playing rhythmic cymbals and gongs on a procession, and the theme song of the grocery store Px Mart. As I was selecting each of these sounds, I was reminded of the most quintessential sound of Taiwan through a garbage truck playing Für Elise to signal that it was time to take out the trash. At any time of day, throughout all of Taiwan, you can hear Für Elise played through the sound systems of a garbage truck to let people know it’s time to bring their trash out. I chose to layer all of these sonic artefacts together to build a cacophony. This layering is legitimately how Taiwan sounds to me—that at any moment, you can hear ancient cymbals and brass instruments against the electronic humming of Für Elise, the zooming of mopeds, and people speaking in multiple languages.  

In our in-class feedback, it was super interesting to hear how people resonated with feelings of home, comfort, and traveling in and out of different locations. I deeply appreciated how people identified that there was clearly a different meaning for Für Elise in the context of these sonic artefacts, perhaps evoking a memory of ice cream trucks in the US. I always personally experience an activation of the imagination when listening to these sounds and was encouraged to hear that others had a similar experience—that they were able to imagine for themselves what visuals or memories might accompany the sounds.  

Lastly, we briefly touched upon why I chose to use Isadora to edit the sound together and it prompted a very interesting reflection on ways of making and how different programs and software support different ways of making. It reminded me of our class conversations about Software Takes Command and how different software embody a myriad of values based upon their design and how those values might ripple down to us as users. This prompted a lot of self-reflexivity on my biases in making and what is rippling out into the work that I create. I value non-linearity in making. I frequently will take movement apart and put it back together again in a different sequence in an attempt towards meaning-making. This approach was supported through using Isadora. I felt incredible freedom to start in what ended up being the middle or climax of my sonic quilt with layering different sounds before I chopped up the conversation recording and added the beginning and ending.

Pressure Project 2: A Magical Door in the Woods

For pressure project 2, Annelise and I collaborated on creating our magical door. From the very beginning, we both desired to work with another person due to what felt like a huge learning curve in utilizing both the MakeyMakey and a webcam as a sensor. Considering the RSVP process, I think that being able to collaborate with another person was immensely helpful as a resource. We were able to fill in each other’s understanding of the technology and have another person to balance the ideation process. Our planning and designing process felt very nonlinear—we would work on one aspect of the magical door and shift to working on another section when it became overwhelming due to the learning curve before returning to a previous section having found success with another section. 

In our very first brainstorming session, we identified wanting to make the door interactive with the MakeyMakey. However, neither of us had any previous experience using a MakeyMakey. This led us down an initial experimentation process in just figuring out how to use a MakeyMakey. We played with different ways of creating buttons on paper with alligator clips and drawing before landing on utilizing aluminum foil as the “earth” and the door handle associated with the keyboard watcher actor to create our trigger. The initial play with the MakeyMakey was the most time-consuming aspect of the pressure project.  

The photo above is reflective of what we ended up designing. Our participant (thank you Alex!) stood with their foot on a piece of foil on the ground connected to the MakeyMakey and touched the metal door handle. The body of the participant acted as the conduit for the trigger. By stepping on the foil and touching the handle, it triggered a sound in the Isadora patch, which said “open.” As seen in the photo of the patch below, this was connected to a trigger delay that played a delightful tinkling sound as the door opened. We estimated the amount of time it might take for an individual to open the door in order for the sound to play as participants opened the door.  

Shifting to the visual environment of the magic door, we wondered if there was way to entice or mesmerize a participant to come closer to the door. In our brainstorming sessions, our ideas ran the gamut from projecting eyes on the door to gaping mouths to reflecting the participant. We were not quite certain how to create those ideas in Isadora and decided to play with the webcam sensor and an appearing/disappearing shape to understand how to use the webcam as a sensor. Through using different actors such as swirl and shimmer connected to a wave generator, we were able to create a shimmery circular image that felt alluring and enticing. We designed a looping patch where the shape would change colors and textures based upon when a participant walked by the webcam. By projecting this image around the perimeter of the door, this seemed to center the handle of the door which was attached to the previously mentioned MakeyMakey.  

In the setup of our interactive design, I noticed that we relied heavily on each participant’s imagination. We set the scene for the magical door as something that appeared to an individual who was lost in the middle of the woods. This setup then allowed the participant to be surprised by opening the door and entering the hallway of Sullivant Hall. Environmentally, we chose to light the foil on the ground so that the participant could be aware of when to step on the foil. Due to the projector aimed directly at the door, we were able to see the outline of the participant as they walked closer to the door which seemed to highlight the mystery of what lied beyond the door.  

Considering the time pressure of this project, there were elements of complexity in the design that I would have loved to explore further. I would be curious how we could shift the evolving shape and color of the projection. The learning curve with the MakeyMakey consumed a huge portion of our time as it felt the newest to us and I would be very curious how, with our new knowledge, how we could integrate it further into the design.

Pressure Project I

For our first pressure project, I deeply appreciated that this was an opportunity to focus on design. As a choreographer, I have frequently regarded visual design as something deeply unknown to me. This is perhaps revealing of my narrow definition of design as so much of choreography lives within spatial design and revels in enacting movement amongst and between bodies thus producing tensions and eliciting questions for audiences.  

In considering spatial design of space, I found myself observing the common areas of the dance department particularly the green room and its close proximity to the dance studios, restrooms and the water dispenser. The water dispenser is such a deeply important aspect of the dance department—in between classes and during class break times, a line tends to gather as everyone refills their water bottles.  

As evidenced by the diagram, the water dispenser is directly across the hall from studio 370 which allows for easy access. In the visual design of the water dispenser, I noticed that I always watch the number count. There is something so deeply satisfying about seeing the numbers change and to know that your water bottle is responsible for that change.  

From this moment, I was intrigued by this form of positive reinforcement by the water dispenser and I found myself wondering how there could be other forms of positive reinforcement.  

To offer both a heroic and villainous design suggestion for the dispenser, I imagined the water dispenser as having the ability to either sing joyfully or to roast you as it fills up a water bottle. Fundamentally, the water dispenser would have the ability to sense if a water bottle was placed either from the right or left hand side of the dispenser. If a water bottle is placed from the right hand side, the dispenser would sing a joyous jingle. If a water bottle is placed from the left hand side, the dispenser would roast you for not filling up your water yet, asking if you were skipping class, or if you had met your daily water count.  

Both options offer a form of positive reinforcement where the singing or roasting offer a form of added stimuli to the action of filling up a water bottle. I wonder how this experience might linger for users of the water dispenser. Would the users sing the water dispenser jingle long after they left Sullivant Hall? Would they be terrified by the roasting and avoid ever using that particular water dispenser?  

After our group conversation and feedback, it is very clear that water dispensers are deeply important and have the potential to activate strong feelings and reactions. The sensory act of drinking water activates a shift in awareness in our corporeal bodies and I find myself curious how that experience can become even more sensorial through the inclusion of various sounds in a water dispenser.  

makey makey

Bumping old discussion post