nuve

source: jmartinhonet

Introduction
Contemporary art sets the scenery for a body exploration based on movements, actions and behaviors. Among the different crossings, the digital art is still under expansion on the dance domain. Despite the art of dance has appropriated a variety of new technologies, it is still a domain to explore with the potential at an aesthetic and at an artistic level. NUVE emerges from a line of work being developed by the first author [1] that explores full body interaction and expressive gestures to compose immersive audio and visual flows supporting artistic expressiveness. In the author’s previous work physical expressive gestures are rendered in digital compositions formed by musical and visual movements, composing an enriched audio-visual experience [2].

Concept:
In NUVE the body is the first engine of action, but the choreographic body evolves into a relation with its own “virtual double” in a way to create a dialog challenging the choreographic boundaries and adding new dimensions to the gesture. Throughout the choreography a tension is built between the performer’s silhouette and the “virtual double”. At some stage in the narrative, the “virtual body” detaches itself from the performer and the choreography evolves, the “virtual double” is no longer shadowing the performer but in a way seems to gain life from him/her and both perform together. NUVE follows the line of generative digital art, composing in real-time ever evolving visual scenarios that flow with the performer movement and gesture contrasting light and darkness, body and gestures, real and digital. The audio and visual sequences of the narrative are pre-established to follow the created choreography.

Implementation
NUVE is prototyped in the processing platform [3], an open source JAVA programming language, and developed with the openFrameworks platform [4], an open source C++ programming language toolkit. Communication between processing and openframeworks is made via OSC (open sound control). It relies on a hand modified infrared firewire camera to capture the image of the stage 30 frames per second. Appropriately infrared lights are employed to obtain the best possible image of the dancer. A combination of standard image processing techniques is then used to capture the silhouette and the movement of the performer. At some points during the choreography the performer interacts with a particle based system that flows in the scene. This seamless interaction between the full body of the dancer and the virtual particles is possible by computing the different speed of the different areas of the body and feeding it those to the particles physics system. The sound composition was created with the software SuperCollider, a system to program generative sound [5]. In opposition to previous work [1] in this project the audio is not generated in real-time, instead the sound aesthetics was carefully crafted specifically for NUVE.
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source: jmartinhonet

Researcher and media artist born in Portugal. His interests are focused in digital art, intelligent interfaces, digital music and computational aesthetics. João Martinho Moura has a special interest in realtime visualization and body driven digital interactive artifacts.

João Martinho Moura (photo: Ana Correia, 2011)

In 2013 João Martinho Moura received the National Multimedia Award – Art & Culture, from APMP Multimedia Association in Portugal.

João Martinho Moura has presented his work and research in a variety of conferences related to the arts and technology, including the International Festival for the Post-Digital Creation Culture OFFF (2008); World Congress on Communication and Arts (2010); SHiFT – Social and Human Ideas for Technology (2009); International Symposium on Computational Aesthetics in Graphics, Visualization, and Imaging CAe (2008); ARTECH (2008); ARTECH (2010); Computer Interaction (2009); ZON Digital Games (2007); International Creative Arts Fair (2008); ZON Multimédia Premium (2008); Le Corps Numérique – Centre Culturel Saint-Exupéry (2011); Semibreve Award (2012); TEI International Conference on Tangible, Embedded and Embodied Interaction (2011); Guimarães European Capital of Culture 2012; Bodycontrolled Series LEAP – Lab for Electronic Arts and Performance Berlin (2012); Futureplaces (2012); Ars Electronica Animation Festival (2012); SLSA Conference – Society for Literature, Science, and the Arts (2013), xCoAx – Computation Communication Aesthetics and X (2013), European Space Agency (2014). His work has been presented in a variety of places in Portugal, USA, Italy, USA, Brazil, UK, France, Hong Kong, Belgium, Germany, Israel, Spain and Austria.

Studied Technology and Digital Arts, with Professors: Né Barros, Adérito Marcos, Nelson Zagalo and Pedro Branco.

Since 2010, invited assistant professor at the Master Program in Technology and Digital Arts, at University of Minho, Portugal, teaching Programing for Digital Arts.

Co-founded the company TECField, specialized in Computer Graphics and Simulation/Visualization Software.

João Martinho Moura is conducting his research at engageLab, a laboratory at the intersection of arts and technology established by two research centres at University of Minho, the Centre for Communication and Society Studies and the Centro Algoritmi.
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source: diuminhopt

Tem desenvolvido e explorado a interactividade através de movimentos corporais, em sistemas digitais imersivos. A desenvolver a sua tese no Mestrado em Tecnologia e Arte Digital da Universidade do Minho, sobre a temática da expressão digital do movimento. Criador do artefacto YMYI, trabalho incluído na curated sellection da plataforma processing.org, do MIT Media Lab. Apresentou e publicou o seu trabalho em várias conferências internacionais sobre arte digital, interacção humano-computador e computação estética. Desenvolve o seu trabalho de investigação nas áreas da arte digital, algoritmia generativa, visão por computador, música digital, e visualização de informação.