We increasingly move through and with technology in our homes. One could, using a dance metaphor, view our home as a stage where we become unintentional performers to an audience of digital devices. Still, the way we interact with our devices is mostly based on us, as humans, adapting to the technology – leading to technology-driven products rather than humanistic. By involving dancers and learning from choreographic approaches, the project aim is to consider the body in the design process to form more humanistic interactions where the technology adapts to our personal ways of moving.  Through interviews, autobiographical research, recurring workshops with professional dancers, and prototyping, the realisation came digital devices make us unlearn how to move creatively at an earlier stage but that feedback on our movements together with how a space is designed can encourage it. Furthermore, that when designing for movement one has a lot of power, since while claiming what is the right movement one is at the same time deciding what is the wrong movement– which might lead to exclusion. This led to the outcome of the project which suggest a way in which we might evaluate Choreographic Interfaces based on how open for personalisation they are. From this a concept is proposed where what role digital devices should have in our home is redefined.  Instead of using conventional ways of interacting with digital devices (e.g., buttons, phone, voice assistant, motion sensors), this project takes the shape of a system which lets the user configure and manage devices using existing “choreographies” and routines that naturally develop over time when people live together. The system learns how people move at home during different times and manifests it in contextual ”zones”, which, through visual feedback, allow users to change the appearance of their space, such as setting the room up for play mode, meditation, or a morning stretch. The suggestion is that future movement technologies might enable us to redefine how we live our lives at home through eliciting joy, play, and wellbeing while we interact with our digital devices.  This project aims to contribute to the field of interaction design through suggesting a shift away from designers creating each interaction and the users just adapting to them. Instead, the suggestion is the approach of Choreographic Interfaces where the designer empower the user to utilise their personal way of moving and encourages an active relationship with their devices at home.

[ES] Una parte fundamental de la historia del VIDEODANZA en la Comunidad Valenciana está ligada a CONTACTART (Acciones Artísticas Contemporáneas), proyecto artístico interdisciplinar que nace en Valencia en 1995, con el objetivo de impulsar el arte contemporáneo en sus diversas formas de expresión. Desde sus orígenes hasta la actualidad, CONTACTART VIDEODANZA ha canalizado numerosas acciones de carácter nacional e internacional alrededor de la actividad coreográfica, su historia y sus prácticas, en colaboración con entidades diversas. La recuperación y revalorización de esta memoria histórica, junto a un estudio más analítico de todo este recorrido y su transmisión como legado a futuras generaciones a través de una catalogación de documentos materializada como base de datos, constituyen los fundamentos de esta tesis doctoral sustentada en una metodología de investigación mixta. / [CA] Una part fonamental de la història de la VIDEODANSA a la Comunitat Valenciana està lligada a CONTACTART (Accions Artístiques Contemporànies), projecte artístic interdisciplinari que naix a València en 1995, amb l'objectiu d'impulsar l'art contemporani en les seues diverses formes d'expressió. Des dels seus orígens fins a l'actualitat, CONTACTART VIDEODANSA ha canalitzat nombroses accions de caràcter nacional i internacional al voltant de l'activitat coreogràfica, la seua història i les seues pràctiques, en col·laboració amb entitats diverses. La recuperació i revaloració d'aquesta memòria històrica, al costat d'un estudi més analític de tot aquest recorregut i la seua transmissió com a llegat a futures generacions a través d'una catalogació de documents materialitzada com a base de dades, constitueixen els fonaments d'aquesta tesi doctoral sustentada en una metodologia d'investigació mixta. / [EN] An essential part of DANCE FILMS history in Valencian Community (Spain) is linked to CONTACTART (Contemporary Artistic Actions), a multidisciplinary artistic project born in Valencia, in 1995, with the aim of boosting the contemporary art in its diverse forms. From its origins to the present time, CONTACTART DANCE FILMS has canalized numerous national and international actions around choreographic activity, its history and its practices, in collaboration with several entities. The recovery and reassessment of this historic memory, along with a deeper analytical study throughout this process and its transmission as legacy to future generations through a cataloging of documents materialized in a data base, constitute the foundations of the present doctoral thesis supported by a mixed research methodology. / Ricart García, R. (2024). CONTACTART (Acciones Artísticas Contemporáneas) 1995-2015: veinte años de Vídeodanza en la Comunidad Valenciana. Trascendencia, Documentación, Repercusión [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/203216

Este trabalho apresenta um catálogo da produção coreográfica do Balé da Cidade de São Paulo, de 1968 até 2007, indicando quais fontes documentais podem ser encontradas no arquivo da companhia. Baseado na abordagem funcional para a classificação dos documentos, o catálogo, ainda que não exaustivo, oferece uma visão da instituição como um todo e indica quais atividades foram, ou não, documentadas no processo de encenação de espetáculos. Além de constituir um instrumento para a pesquisa, este trabalho oferece uma proposta de como preservar a memória coreográfica. / The archives of the Balé da Cidade de São Paulo offer a panoramic vision of its institutional life, since 1968 till 2007. In spite of the lacks we observe in several series of records, it is possible to describe them and elaborate a finding aid where the essential characteristics of the whole are indicated, under a functional approach. Besides its role as a guide to researchers, this work also intends to offer an example of how to preserve our choreographic memory.

Este trabalho apresenta um catálogo da produção coreográfica do Balé da Cidade de São Paulo, de 1968 até 2007, indicando quais fontes documentais podem ser encontradas no arquivo da companhia. Baseado na abordagem funcional para a classificação dos documentos, o catálogo, ainda que não exaustivo, oferece uma visão da instituição como um todo e indica quais atividades foram, ou não, documentadas no processo de encenação de espetáculos. Além de constituir um instrumento para a pesquisa, este trabalho oferece uma proposta de como preservar a memória coreográfica. / The archives of the Balé da Cidade de São Paulo offer a panoramic vision of its institutional life, since 1968 till 2007. In spite of the lacks we observe in several series of records, it is possible to describe them and elaborate a finding aid where the essential characteristics of the whole are indicated, under a functional approach. Besides its role as a guide to researchers, this work also intends to offer an example of how to preserve our choreographic memory.

Les avancées technologiques, principalement au niveau des télécommunications, interrogent les formes de relation et les transferts d’informations dans le monde actuel. La danse contemporaine, affectée par l’usage des technologies sur la scène (image vidéo, internet, logiciel), voit se modifier les manières de chorégraphier. Si les éléments de base de la création chorégraphique, à savoir le corps dansant, l’espace scénique et le temps de la danse, sont transgressés par l’usage des technologies de la télécommunication (téléprésence), comment les chorégraphes pensent-ils et écrivent-ils la danse en incluant ces nouveaux paramètres ? Que peut perdre ou gagner la danse ? Assistons-nous à l’éveil d’une nouvelle danse, ou à l’émergence d’un autre art ? La redéfinition du corps dansant, en interaction avec son espace et son temps, se trouve au centre de cette recherche. Un projet pratique sous forme d’un laboratoire de création chorégraphique multidisciplinaire, Seuil-Lab, est proposé comme méthodologie de travail pour l’analyse théorique de cette recherche. / Technological advances, especially in telecommunications, call into question relationship modes and information transfers in today’s world. Contemporary dance has been affected by the use of technologies on stage (image, video, internet, software), which has modified choreographic practices. If the basic elements of choreographic creation - namely the dancing body, scenic space and dance time – are infringed upon by the use of technology and telecommunication (telepresence), how can choreographers think and write including these new parameters ? What can dance gain or lose ? Are we witnessing the dawn of a new dance, or the surfacing of a new art ? The redefinition of the dancing body, which interacts with its space and time, is at the core of this research. As a working methodology for the theoretical analysis of this research, we propose Seuil-Lab, a hands-on project in the form of a multidisciplinary choreographic creation lab.