Table of Figures

Figure 0.1: An image from the residency at Dance Base in Edinburgh in 2011.

Figure 1.1: Bodycoder system.

Figure 1.2: The Spine instrument designed by Joseph Malloch and Ian Hattwick.

Figure 1.3: From the first act Self Meant to Govern of Eidos : Telos.

Figure 1.4: Fearful Symmetry (2012) by Ruairi Glynn at Tate Modern.

Figure 1.5: The dance notation invented by Rudolf Laban.

Figure 1.6: Motion-sensing device as interface to preserve the dancer’s freedom of movement.

Figure 1.7: Providing stimuli to dance with the motion-sensing device to result in sound composition.

Figure 1.8: Gametrak controllers.

Figure 1.9: Choreographer Skye Reynolds twists her body with six cables of Gametrak controllers.

Figure 1.10: William Forsythe explains how to read Rudolf Laban’s notation system in his lecture video Improvisation Technologies.

Figure 1.11: Forsythe explains a cubic space around his entire body.

Figure 1.12: William Forsythe examples how his movement variation can be created by re-orientating his body placement with the floor.

Figure 1.13: Using imaginary objects to devise choreography in William Forsythe’s lecture video Improvisation Technologies.

Figure 1.14: Sample tasks from Wayne McGregor.

Figure 1.15: Gametrak controllers’ cables work as physical restrictions in the process of developing choreography.

Figure 1.16: A diagram of the choreographic sound composition process.

Figure 1.17: A Volume, Within Which It Is Not Possible for Certain Classes of Action to Arise (2015) by William Forsythe.

Figure 1.18: Aufwand (2015) by William Forsythe.

Figure 1.19: Attached the cables of Gametrak controllers to chairs in Temporal.

Figure 1.20: The corner of the room is used in The Music Room.

Figure 1.21: Choreographic sound composition.

Figure 1.22: The first printed dance notation invented by Pierre Beauchamps.

Figure 1.23: The choreographic score of the second movement in Fase, Four Movements to The Music of Steve Reich (1982).

Figure 1.24: Forsythe’s choreographic procedure Alphabet used for Eidos : Telos.

Figure 1.25: A model of composition process by Simon Emmerson.

Figure 1.26: My adaptation of Emmerson’s model of composition process to choreographic sound composition.

Figure 1.27: Earle Brown’s graphic score for December 1952.

Figure 2.1: Mind and Movement, a practical resource for choreographic composition by Wayne McGregor and Random Dance Company.

Figure 2.2: Some of photographs taken in Manchester city centre and northwest Wales.

Figure 2.3: The artist Patxi Araujo presents a sketch of his new visual work created in vvvv.

Figure 2.4: The seven subsections of Untitled 10 in vvvv.

Figure 2.5: Three photographs used for the second part of Untitled 10.

Figure 2.6: Addition of a circular movement in vvvv. 

Figure 2.7: Several trees grown over each other creating a complex entanglement.

Figure 2.8: My vvvv patch started creating glitches by itself and froze my computer.

Figure 2.9: The interaction cycle in Locus.

Figure 2.10: Three photographs used for Locus.

Figure 2.11: Technical set-up for Locus.

Figure 2.12: My sketch of two dancers within the technical setting in Figure 2.11.

Figure 2.13: Locus at Electric Spring 2016 in Huddersfield, UK.

Figure 2.14: A screen capture from the documentation film of Locus.

Figure 2.15: Three Gametrak controllers placed on the floor in a triangle shape.

Figure 2.16: The main vvvv patch for NEON.

Figure 2.17: The third variation in vvvv contains three spheres in a triangle position.

Figure 2.18: Small LED lights were attached to the end of the Gametrak controllers’ cables for the live performance at La Escucha Errante Festival 2015 in Bilbao.   

Figure 2.19: The interaction map in Pen-Y-Pass.

Figure 2.20: The plan for Pen-Y-Pass.

Figure 2.21: The relationship of the visual composition and the dancer in the performance space for the first part of Pen-Y-Pass.

Figure 2.22: The additive synthesis with a triangle shape envelope.

Figure 2.23: The relationship of the visual composition and the dancers in the performance space for the second part of Pen-Y-Pass.

Figure 2.24: The relationship of the visual composition and the dancer in the performance space for the third part of Pen-Y-Pass.

Figure 2.25: The relationship of the visual composition and the dancers in the performance space for the fourth part of Pen-Y-Pass.

Figure 2.26: The grips installing the skateboard dolly.

Figure 2.27: Café Müller by Pina Bausch.

Figure 2.28: The second movement of Fase, Four Movements to The Music of Steve Reich (1982) by Anne Teresa De Keersmaeker.

Figure 2.29: Setting up chairs for UnoChair workshop.

Figure 2.30: I explain my choreographic method at the UnoChair workshop.

Figure 2.31: A waking-up scene in Inception (2010).

Figure 2.32: Technical set-up for Temporal.

Figure 2.33: Automation created to fade in and out of the three parts of the composition in Max.

Figure 2.34: The first part of the composition in Max for Temporal.

Figure 2.35: The poly~ sound players mapped for Gametrak 3 and 6 in Max.

Figure 2.36: The third part of the composition in Max for Temporal.

Figure 2.37: Photograph of Rudolf Laban’s pupil Lisa Ullmann working in a life sized icosahedron during a summer school at Ashridge in 1955.

Figure 2.38: The sphere around the body can be demonstrated with an icosahedron.

Figure 2.39: The kinesphere is cut into quarters.   

Figure 2.40: The technical set-up for The Music Room.

Figure 2.41: Six possible directions of movement while standing at the corner of a room based on the Laban’s theory.

Figure 2.42: I used function objects in Max to map easily the sound files for various positions.

Figure 2.43: Movement trace-forms in The Music Room.

Figure 2.44: Rosas danst Rosas (1997) filmed by Thierry De Mey.

Figure 2.45: Improvisation in kinesphere in 360°, 180°, and 90° degrees.