The Departure and Arrival of Sculptural Qualities shaping improvising bodies within motion capture environments
Photo Credits: Adam Lyon, dancer and researcher Lucie Sykes (in the centre), movement participant A (on the right side).
The dancers wear motion capture suits with forty-one reflective and spherical markers attached by a Velcro. These markers capture the dancers’ sculptural motion--kinetic trace-forms (Laban,1966, 2011)--through the array of eight cameras placed around the room. The motion data are mapped onto a digital-three?dimensional model (skeleton markers) and visualised in virtual and external environments. The extended body-mind (Clark, 2008) trace-forms are shaped through dancers’ feedback loop responses: dancers respond to the departures of the visualisation, the action shapes the line, curve, and particles, and its arrival shapes the dancers’ perception of self and shapes trace-forms into a new, innovative, and spontaneous sculptural motions with expressive movement qualities while improvising within motion capture environments.