This thesis formulates an approach towards the creation of a gesture activated and body movement controlled real time virtual 3d world in a dance performance context. It investigates immersion and navigation techniques derived from modern video games and methodologies and proposes how they can be used to further involve a performer into a virtual space as well as simultaneously offer a stimulating visual spectacle for an audience. The argument presented develops through practice-based methodology and artistic production strategies in interdisciplinary and collaborative contexts. Two choreographic performance/installations are used as cases studies to demonstrate in practice the proposed methodologies. First, the interactive dance work Suna No Onna, created in collaboration with Birringer/Danjoux and the Dap Lab, investigates the use of interactive pre-rendered animations in a real time setting and in real time by incorporating wearable sensors in the performance. Secondly, the potentials offered by the sensor technology and real time rendering engines led to the “creation scene", a key scene in the choreographic installation UKIYO (Moveable Worlds). This thesis investigates the design, creation and interaction qualities of virtual 3d spaces by exploring the potentialities offered by a shared space, between an intelligent space and a dancer in a hybrid world. The methodology applied uses as a theoretical base the phenomenological approach of Merleau-Ponty and Mark Hansen‟s mixed reality paradigm proposing the concept of the “space schema", a system which replicates and embeds proprioception, perception and motility into the space fabric offering a world which “lives”, functions and interacts with the performer. The outcome of the research is the generation of an interactive, non-linear, randomized 3d virtual space that collaborates with a technologically embedded performer in creating a 3d world which evolves and transforms, driven by the performer‟s intention and agency. This research contributes to the field of interactive performance art by making transparent the methodology, the instruments and the code used, in a non-technical terminology, making it accessible for both team members with less technological expertise as well as artists aspiring to engage interactive 3d media promoting further experimentation and conceptual discussions.

Thesis (Ph. D.)--University of Oregon, 1999. / Typescript. Includes vita and abstract. Includes bibliographical references (leaves 275-295). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p9948014.

Made available in DSpace on 2016-03-15T19:42:36Z (GMT). No. of bitstreams: 1 Paula Ferreira Tura.pdf: 3733621 bytes, checksum: 90ca850ef38cf31e3d0fbee359d7c06f (MD5) Previous issue date: 2014-02-12 / Fundo Mackenzie de Pesquisa / This research, through the visual arts sacralizes the contact of the human body with the natural environment. The author who is an artist-researcher has chosen the Contemporary Art as a language to her proposals. The dissertation was written in One Chapter composed as: interventions developed by the researcher with photos and descriptions followed by an artist of reference with images of it´s work and an analysis of the art work proposed by the researcher with concepts and discussion of arguments. To each posture of Contemporary Art there is a range of different art pieces to be viewed: Body Art there is a body painting and imprinting, and cast´s mold of body parts; Performance Art-there are registration of the shadows produced by the body during an yoga practice and the projection of the shadow of a tree leave on top of a body and the match of the body with a tree and a ruin of a building; Arte Povera there is a branch painted in red and the construction of a feminine body with sand and cloth; Land Art there is a construction of little cloth trees, the drawings on the beach sand, a collective work to make rocks softer, the creation of colorful and sand paths and the interventions with ink on sand sculptures found at the beach. The body, main object of this work, feels and become visible the marks of restlessness that carry about the social imposed patterns of behavior and esthetics and the relation with the natural environment. Carry itself the memories of choices made and paths coursed. The art proposals here included express what the speech misses, express the pains of the reflexive path coursed, the listening, the feeling, the contemplation, the process of waiting. / Esta pesquisa se utiliza da arte visual para sacralizar o contato do corpo com o ambiente natural. A autora que é uma artista pesquisadora escolheu a Arte Contemporânea como linguagem para suas intervenções. Desta forma, a obra foi escrita em Capítulo Único composto por: intervenção proposta pela pesquisadora com fotos e descrições, seguida de um artista de referência com imagens de seu trabalho e por fim uma análise do trabalho realizado contendo os conceitos e discussão de argumentos. Assim, estão em Body Art obras de pintura corporal, impressão corporal, molde de partes do corpo em gesso; em Performance Art o registro da projeção da sombra do corpo - durante a realização de movimentos de yoga e de projeção da sombra de folhas de árvores sobre o corpo; o encaixe do corpo em raízes de árvore e em espaços de uma construção em ruínas; em Arte Povera há a pintura em tronco de árvore, a construção de corpo feminino em areia com utilização de retalhos e em Land Art há a construção de pequenas árvores de tecido, a grafia na areia da praia, a construção coletiva de amaciamento de pedras, criação de rastros coloridos e caminhos de areia e por fim a intervenção com corante em esculturas e desenhos de areia. Todas as propostas artísticas acontecem em ambiente natural mais precisamente o litoral do Estado de São Paulo em relação ao qual a autora possui grande conhecimento e afinidade. O corpo, objeto principal deste trabalho sente e transparece a marca das inquietações que carrega como os padrões sociais impostos de comportamento e de estética, do tempo acelerado nos grandes centros e do convite à introspecção proveniente do contato com o ambiente natural. Carrega em si as memórias das escolhas feitas e caminhos traçados. As propostas aqui inclusas propõem a expressão que falta à fala, exprimem as dores do trajeto reflexivo, o ouvir, o sentir, o contemplar, o esperar.

The public arts is an unstable and a sustained idea of development from ¡§percent for art¡¨ to ¡§new genre public art¡¨. The public arts of Taiwan and the community construction develop together over 16 years. This research believes that, the future evolution of public arts must be combined with the community construction and should become a kind of medium, a kind of esthetics element. The author propose three patterns of community intervention from experiences and practices ¡G¡§To participate and to communicate continually¡¨, ¡§the meeting of arts and life¡¨ and ¡§the dynamic relations who are mutually main parts¡¨. We all take economic growth as the essential target since long time in Taiwan. However, we still can not catch up synchronously the cultural taste and the aesthetic value. Taking ¡§Art as Environment in Chiayi¡¨ and ¡§living aesthetics movement of Taiwan¡¨ to collate Joseph Beuys¡¦s concept and position of ¡§social sculpture¡¨ and ¡§everybody is the artist¡¨, thinks that the arts are a part of life and no longer separated from the daily life already. What the research wants to explore is, the development of public arts in the future will be based on community construction, coordinate with the political pushing ¡§living aesthetics movement of Taiwan¡¨, raise people's esthetics accomplishment from daily life, and enable Taiwan to become a rich country both in economy and culture.

Design is the meeting of the processes that one employs and the intentions that one brings. Exploring an inductive methodology situates the design environmentally. The inherent dynamic and constructive processes, which arise from the qualities of methodological inquiries, are the basis for the inhabitation within place. An inductive process began by exploring the role of aural perception prior to contextual and design intentions. This resulted in a strong emphasis on experience and presence. Research into analogous disciplines resulted in an exploration of methods that facilitate the inductive operations of media, particularly noise. The provision of a contextual framework for observations provided order to method. A strategy was posited, where the development of constructs that addressed the entire range of environmental dimensions, from site to structure, could supply integrity to the situation of contextual forces; their tension and release. Hence, a general theory for the constructive inhabitation of place.