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dc.contributor.authorKeay-Bright, Wendy
dc.contributor.authorHansen, Lise Amy
dc.contributor.authorLewis, Joel Gethin
dc.date.accessioned2018-01-19T12:14:34Z
dc.date.available2018-01-19T12:14:34Z
dc.date.issued2017-09-10
dc.identifier.citationKeay-Bright, W., Hansen, L., & Lewis, J. (2017) 'Stop Making Sense – Making the digital strange familiar through shared visualisations of kinesthesia'. dataAche DRHA 2017 The 21st International Conference on the Digital Research in the Humanities and Arts. Arts Institute, University of Plymouth, 10-13 September .en_US
dc.identifier.urihttp://drha2017.com/
dc.identifier.urihttp://hdl.handle.net/10369/9239
dc.descriptionThis paper was presented at DRHA 2017 The 21st International Conference on the Digital Research in the Humanities and Arts. Arts Institute, University of Plymouth, 10-13 Septemberen_US
dc.description.abstractContemporary sensing technologies have the capacity to capture precise data through increasingly pre-calibrated representations, supporting powerful interventions that indicate how people should move. This alludes to an ethical ache that stems from the computational prowess in processing and activating, smoothing out errors and generating system prompts. Our projects Somability and Sync have developed exploratory tools to capture and harvest movement data as a mode of relating to expressivity through performance. In this context, the body becomes a dynamic and sensate origin of action (Farnell 1999), and a relationship emerges that is independent of cognitive or emotional reasoning. Our practice-as-research undertaken with trained dancers and people with physical, developmental and intellectual disabilities aims to enrich the transformative potential of responsive technologies by celebrating actions that confront the norm. The creative partnership with ‘different movers’ has enabled us to observe and experiment with bodily interaction through the kinesthetic sense. Central to our investigation has been the capacity to make empathic connections through the visual representation of body schema, which extends beyond body position and muscle tension, and permits open scenarios for experiencing bodily presence and engagement. Through our work we have studied how movement data can highlight or intensify the user’s corporeal engagement, and thereby impact upon their self-awareness and social connection (Reynolds & Reason 2012). Of particular interest is how the relationship formed with the visualized moving body invites those on the perimeter of the action to make a connection that opposes convention or change. Movement data functions as a ‘provocation of the senses’ thereby offering access to different perceptual worlds (Bogdashina 2016). Our findings lead us to question the discarding of atypical movements that may reside outside the sensor’s pre-set concerns, and to argue for a more generous appreciation of movements that may appear dynamically still or joyfully hyperactive. This process of ‘capture – representation – responsiveness’ seeks to avoid diagnostic codes. We argue that there is a need to couple concerns of data materialisation with body-centric innovation, to understand the sensate means with which we all use our bodies to communicate and connect, rehearse and regulate.en_US
dc.language.isoenen_US
dc.relation.ispartofseriesdataAche DRHA 2017;
dc.titleStop making sense – Making the digital strange familiar through shared visualisations of kinesthesiaen_US
dc.typeConference paperen_US
dcterms.dateAccepted2017-07-18
rioxxterms.funderCardiff Metropolitan Universityen_US
rioxxterms.identifier.projectCardiff Metropolian (Internal)en_US
rioxxterms.versionNAen_US
rioxxterms.funder.project37baf166-7129-4cd4-b6a1-507454d1372een_US


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