Experimenting relations between artists and scientists : the appropriation of motion sensors by dancers
We want to show here how recent innovations called Motion Capture, still being tested in laboratory on their potential uses, invite us to change our way to relate to the “technique”. We don’t want to question what the technique does to the social, nor what the social structures does to the technique...
| Main Authors: | , |
|---|---|
| Format: | Article |
| Language: | English |
| Published: |
Etudes Scientifiques Spécialisées Appliquées aux Communications Humaines, Economiques, Sociales et Symboliques
2013-07-01
|
| Series: | Essachess |
| Subjects: | |
| Online Access: | http://www.essachess.com/index.php/jcs/article/view/199/211 |
| Summary: | We want to show here how recent innovations called Motion Capture, still being tested in laboratory on their potential uses, invite us to change our way to relate to the “technique”. We don’t want to question what the technique does to the social, nor what the social structures does to the technique, but we want to highlight the shifting principles that define interactions between technologies and humans. We therefore underline how using these motion sensors gives birth to different human modes of being present, co-present, or in a sensory and thymic interaction with technology. This article is based on experimental use tests, convoking both artists and engineers, questioning differently the relationship between technology, human and the interaction order. Our result is to question how using and being with these motion sensors, as a dancer, displace epistemological oppositions such as person/machine. It finally sheds light on how some others classical models can move, especially the semiotic decomposition of interaction processes and status. |
|---|---|
| ISSN: | 2066-5083 1775-352X |