On the webpage of the Real Academia Española (Royal Spanish Academy, RAE), the word “perspective” has, among several definitions, two that interest me: “to look through” and “to look closely at”. This is because the purpose of this article is to share my thoughts on the position of active spectator for the research process of the project Emovere and, in this sense, to analyze the role…
Emovere, Body, Sound and Movement sought to produce a specific sensitive experience through the capture of physiological signals associated with emotion, combining an interactive and reactive model of digital technology between dance, image and sound. The starting point is sensoriality as a form of experience, where the fact that the emotional states are associated with physiological expressions…
When I was invited to the project Emovere, I felt deeply attracted when I learned that in connection with its field of interdisciplinary experimentation-investigation, this project would have emotions as a foundation; that we, the dancers, would have to provoke and disarticulate these emotions and that this construction would be captured by physiological sensors…
From the perspective of dramaturgy, one of the fundamental questions proposed by the project Emovere: Body, Sound and Movement refers to the nature of language: what type of specificity emerges from the stage conjunction of the bodies, the sound layers and the movement based on the original motivation to work on the topic of emotion?…
The interdisciplinary project Emovere pursues a dance performance proposal that includes audio and video with interactive projections. To achieve this purpose, it proposes the utilization of technology used in medicine (sensors) in order to extract bio-data and create an interaction in real time. This technique has already been used by musician…
The following article has the purpose of commenting on relevant aspects of the work developed throughout the execution of the project Emovere in terms of Performance Design, all of this considering that one of the initial premises of this process sought to change the practical execution of the interdisciplinary…
The sound composition of Emovere was developed based on a set of decisions and boundary conditions that were addressed by experimentation and exploration. We decided to use audio files instead of synthesizing sounds with the data delivered by the sensors, which would have been much more complex for the sound composition and the design of the interaction modes. This way, everything that we composed was stored…
Emovere’s creative-investigative process allowed experimenting with a series of psychophysical, technological and sound materials that became determinants in the choreographic “form” that Emovere is founded on. The initial questions addressed how to expand the expressive possibilities of each discipline involved…
When we see a performer playing their instrument, the information flow is usually like this: the performer (duly trained and instructed in their instrument) performs an action (for example, pressing the space between two frets on an electric guitar and making a string vibrate through the movement of a pick), and this action…
For Emovere, the performers worked with an emotional induction technique called Alba Emoting. This method was developed to help recognize, induce, express and regulate six basic emotions: fear, sadness, eroticism, joy, tenderness and anger. Basically, the training consisted of introducing the performers in the postural, respiratory…