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''e-phos 01''    TRANSDANCE REPORT
''e-phos 01''    athens' festival of digital culture

  ''phos''       light in greek

     Apologies for cross posting

Here you will find the final report of the Research Lab on body, motion and
technology  ''TRANSDANCE'', produced and hosted by  festival ''e-phos 2001''
in Athens, 23-31 May 2001.

For more info and photos click or;

for the ones who are interested enjoy

"T R A N S D A N C E''

Research Lab on Body, Motion and Technology

Organised and hosted by festival "e-phos 2001''

23-31 May 2001, Athens, Greece

By Scott deLahunta (UK/ NL)


The TRANSDANCE research laboratory was conceived and organised by 
Yiannis Skourogiannis of ALAS as a part of "e-phos 2001'', the 3rd 
International Festival of Digital Culture, from 23 May - 2 June in 
Athens. "e-phos 2001'' was entirely devoted on  the BODY KINESIS and 
BODY ANAMORPHOSIS and included a wide range of activities such as 
telematic dance perfomance, multimedia theatre perfomance, live 
electronic music festival, video games festival, festival of 
documentaries on art, sm fashion show, lectures, and new media 

TRANSDANCE was advertised on the website as a 
'dance and technology' research lab on 'body, movement, technology'. The 
dates of the research lab were 23-31 May, 2001, the precise location was 
in two warehouses located behind IME (Foundation for the Hellenic World) 
at 254 Pireos str., Athens, Greece.

The lab was structured as a research project for professional artists 
with established practices. This means there was no separation between 
'students' and 'teachers', and all learning took place in the context of 
peer to peer exchange. The international selection of invitees came from 
a diverse range of artistic backgrounds: electronic music, the visual 
and theatre arts, dance and performance art, interactive/ digital media 
and net art. They were: Sophia Lycouris (UK); Jenny Marketou (USA); John 
McCormick (AU); Konstantinos Moschos (GR); Alexandros Psychoulis (GR); 
Konstantinos Rigos (GR); Yacov Sharir (USA); Christian Ziegler (DE). My 
role was described as research or process advisor for the project. The 
production coordinator was Maria Softsi,


The TRANSDANCE (always uppercase) research laboratory explored a variety 
of interfaces between the physical and virtual worlds. While taking the 
theme of 'dance and technology' as a starting point, TRANSDANCE 
supported a wider range of conceptions of the physical body or bodies, 
from the trained to the everyday, the social and the collective. It 
focussed on the virtual space as a networked space that can function as 
a performance space, a shared, creative, social and playful space. 
Through exploring interference and mapping processes, the participants 
worked towards realising the transformative possibilities inherent in 
emerging technologies. The lab has given rise to three extended projects 
(an animation and telematic project and a documentary). Hopefully the 
following report presented as a set of open conceptual tools and 
methodologies will help disseminate the results of the research to the 
wider community where further artistic investigation needs to continue 
to inform the technological developments in these areas.

The conditions for research:

Before TRANSDANCE, I had participated in four research projects of 
varying scale involving digital media, electronic networks, live 
performance and choreography (Migratory Bodies, Chichester College of 
Higher Education [UK], Summer 1998; Digital Theatre Experimentarium, 
Aarhus University [Denmark], Winter/ Spring 1999; Hot Wired Live Art, 
Bergen Electronic Arts [Norway], Winter 2000; Cellbytes, Institute for 
Studies in the Arts [Phoenix, AZ], Summer 2000). These projects each 
brought together a range of creative expertise, e.g. choreographers, 
dramaturges, composers, writers, digital media artists, programmers, 
scripters, graphic designers, video/ filmmakers, telematic and 
installation artists, etc. They have involved a variety of technologies 
from basic audio video graphic editing, to interactive systems (sensors/ 
triggers), mobile technologies and high end motion capture systems. Each 
project has involved the building of or use of an existing electronic 
data network to a) facilitate the sharing of materials and b) to support 
real-time performance interaction.

As one might expect, the research agendas and conditions for these 
projects have varied widely, depending on the mix of organisers, 
participants, cultural/ institutional contexts, funding and resources 
available, physical location, preparation work, etc. The aims and 
objectives of each project have not always been very explicit, partly 
because of the difficulty in knowing precisely what these can be 
beforehand. Usually some area of technology research that will be 
coordinated with an exploration of live performance forms is articulated 
(such as was done for TRANSDANCE). Often, some general cultural themes 
having to do with the transformation of the physical world confronted 
with emerging technologies are taken as a starting point for content 
exploration. The collaborative nature of these events is sometimes made 
explicit and an object for analysis during the working process while 
other times not. In all of these projects, there was an effort made to 
present something at the end of the event in order to give public access 
to the work that was done. Other forms of public dissemination of 
research outcomes have been through making project related videos, 
cdroms, websites and articles in journals.

Each of the projects mentioned above was a rich and productive 
environment for learning and exchange, but amongst these TRANSDANCE 
provided an unprecedented mixture of technical expertise and facilities, 
diversity of artistic approaches and the space and time to do some very 
focussed and specific research work.

The conditions for TRANSDANCE :

The organisation of the TRANSDANCE research laboratory followed a series 
of lectures on digital and interactive dance organised for the Festival 
of Dance of Kalamata in July 2000 by Yiannis Skourogiannis and the ALAS 
team. His e-mail of 4 September 2000 to me outlined the initial concept 
for the TRANSDANCE May 2001 event as follows: "... the invited artists 
will be provided the necessary means to work towards a completed event 
or concept that will use either the physical space, or the virtual 
space, or the combination of both."

The preparations over the next several months were mostly left to 
Yiannis until we had a confirmed list of participants. Following this, I 
took on a greater role as process advisor for TRANSDANCE which involved 
making regular contact with the participants and organisers via an 
electronic mail list (, identifying what resources would 
be made available and what sort of research everyone would be interested 
in pursuing (for a short list of the hardware/ software that was 
available see below). From these discussions, two main research areas 
were specified: 1) to set up for some web streaming and possible 
influence from viewers/ on line audience; 2) real time 3-D environments. 
There was also an interest in exploring some scenographic/ installation 
possibilities in the physical space, but due to various circumstances, 
e.g. the Vicon system took up much of the space, etc., it was decided to 
place less emphasis on this area.

"Web streaming" refers to the use of technologies such as Real Player and Quicktime that are able to compress and deliver 
audio/ video to the desktop via what is referred to as a 'live' stream. 
A popular technology for broadcasting using the internet, the player 
software for viewing the streams is available for free and often comes 
bundled with browsers such as Microsoft's Internet Explorer. The lab 
participants were interested in going beyond the broadcast model and 
exploring the interactive possibilities of using live streaming with the 
involvement of an audience. Despite the fact we had on hand the 
StreamGenie, Pinnacle's portable system for live, multi-camera web 
casting, it proved difficult to explore this 
area in depth as this would have required the organisation of additional 
resources such as an online server and more technical expertise to 
support artistic experimentation in the streaming medium. (For some 
artistic work already done using the possibilities of streaming media 
please see John McCormick's site and 
Jenny Marketou's Smellbytes site

We did have the technology and expertise to move forward in the second 
research area: real time 3-D environments. For this, we had the unusual 
good fortune to be able to work closely and for almost the entire 
laboratory with high end Motion Capture technologies. Briefly, Motion 
Capture refers to the computer hardware and software that makes possible 
recorded digital 3-D representation of moving bodies. Recording sessions 
involve the placement of markers or sensors on strategic positions on 
the body that provide the basic information for the computer software. 
The expense of these systems, which includes the cost of the equipment 
as well as the expertise to run it, is quite high with developments 
being driven primarily by the industries such as medical, military, 
entertainment and advertising that have the necessary capital. These 
costs make it difficult to pursue investigative artistic work. For some 
insight into recent uses of Motion Capture technologies in the field of 
dance go to

We were informed quite early on that there would be a "state of the art" 
Vicon Real Time ( Motion Capture system brought 
over from the United Kingdom and installed for us to work with, to 
include technical support. It is my understanding that this was arranged 
as an exchange with the Athens based AMY Digital Video company 
( AMY provided the technical facilities and 
support for the lab and had access to the Vicon system for the purpose 
of marketing and demonstration. The system installed for TRANSDANCE used 
twelve high resolution infra red cameras to capture the position of 20 
plus reflective markers placed on the performer. To this, John McCormick 
was able to add another Motion Capture system, an electro-mechanical 
suit often referred to as an "exoskeleton" made by Analogus / Meta 
Motion ( and called the "Gypsy". This system 
is able to sense, capture and process the motion data in the suit 
itself. Both of these systems would be able to drive an animated 
character in real time through Kaydara's FilmBox Motion Capture software 

With these systems, one is able to move in the motion capture suits 
(either wearing Vicon's marker suit or the Gypsy exoskeleton - or both 
at the same time) and simultaneously drive a three dimensional animation 
in the digital space of the computer. From a commercial broadcast 
industry perspective, this is often referred to as Performance Animation 
meaning real time animations can be used in the context of live media 
events - examples often used are to imagine the weather announcer on the 
local television station giving up-to-date forecasts in some animated 
form or combining live actors from remote locations as animated 
characters sharing the same scene. From a dancer's perspective, the 
possibility to watch one's movement in real time from any angle 
including from directly below to directly above is enabled in these 
systems and, despite the encumbrances of the respective body suits, as a 
movement visualization system for a dancer this has as yet unexplored 

Exploring real time interaction in 3-D environments evolved into a 
primary research trajectory of the TRANSDANCE laboratory. We were able 
to demonstrate in the final presentation a scenario that involved Jenny 
Marketou performing everyday domestic actions (e.g. cleaning the space, 
etc.) wearing the exoskeleton while sharing the same digital/ virtual 
space with a pre-recorded animation of one of the other participants. 
Jenny's wrist movements were mapped to the position of the other 
animation in space (vertical and axis orientation) so that as she 
performed her simple everyday tasks - the audience could see on the 
screen the outcomes of her actions in this shared virtual space. This 
demonstration built a representational bridge between a prosaic set of 
activities and a highly technologised, non-everyday virtual space. Jenny 
was also able to interact in the physical space with audience members 
making more explicit this connection between physical and virtual 
spaces. This was by no means a finished artistic work, but exemplified 
how it is that a research laboratory can produce an effective working 
demonstration of the artistic possibilities of a set of technologies. 
Out of this research, plans are underway to organise a larger scale 
telematic performance event linking three of four Greek Islands in the 
Aegean using some of these technologies and to advance some of the 
explorations made at TRANSDANCE.

Working at the level of the data:

interference/ mapping/ systems

In his useful survey of the field of electronic, communication, video 
and computer art, Art of the Electronic Age, published in 1993 Frank 
Popper writes:

"Although digital processing is more than a mere improvement in the 
treatment of the image, and although computer editing may dramatically 
change the traditional concepts of image-making, the main breakthrough 
in this area takes place in the synthetic generation of the image. Being 
a virtual image produced by mathematical formulae, the video image, 
unlike the traditional pictorial image, can only be considered as a 
proof of the model it simulates, not as a copy of a pre-existing object 
or model in the real world. Moreover, a three-dimensional synthesis 
enables the artist to intervene not only on the image, but inside the 
image. Image has become architecture, a space to visit, to explore in 
various ways. Editing, often highly sophisticated, has been replaced by 
a scenographic concept." pp. 76-77

A long quote, but it sums up a fundamental difference between the images 
we are accustomed to seeing on television and in the movies, which are 
rendered as two dimensional fixed entities, and the possibilities for 
developing digital artistic practices that expand on the new 
possibilities inherent in the production and manipulation of digital 
objects (images, sounds, texts, graphics, etc.). We can find the same 
concepts covered by other writers on new media, for example, Lev 
Manovich's recently published (MIT Press 2001) The Language of New Media 
in which Manovich attempts to develop useful terminology for the 
analysis and understanding of the processes and products of digital 
media. He describes a set of five "principles of new media" and one of 
these in particular, the principle of "Numeric Representation", outlines 
the underlying structures of digital, programmable media in ways that 
support Popper's proposal that the digital artist can intervene not only 
on the image, but inside the image.

This ability to work with the numeric properties of a new media or 
digital media image or sound means that in artistic terms, the basic 
materials of the new media/ digital artist is not necessarily the image 
or sound itself which is essentially a representation or manifestation 
of the underlying numeric representations or mathematical formulae 
(although this view does not take into account the needs of an audience/ 
viewers). Essentially these underlying numeric representations can be 
broken down further and used to represent a variety of "surface" media. 
Surface media refers here to the image or sound, text or graphics that 
are the generally accepted new media means for communicating and 
producing meaning for the viewers/ users. Generally speaking, today's 
average computer user/ consumer does not grasp the underlying numerical 
systems that lie at the heart of computation. However, for an 
experimental (non traditional) artist working with new media, it is 
normally not sufficient to simply manipulate the surface media as this 
does not allow for an interrogation of the basic materials or principles 
of the digital media - as defined both by Popper and Manovich.

For TRANSDANCE, interference became the operative metaphor for working 
with technologies that were available to us - many of which were mainly 
targeting the user/ professional/ specialist who prefers to work in a 
more traditional sense to manipulate the surface representations of the 
media. To explain a bit further, the StreamGenie system (mentioned in 
detail above) and DPS Velocity (broadcast television video editing 
system, were two hardware/ software combinations we 
had access to that are designed as increasingly miniaturized and 
transportable broadcast studios. The dozens of editing features are 
designed to produce endless graphical variations and combinations of 
image, sound and graphics. However, the systems are generally built to 
support an industry that is not in a position to interrogate or practice 
modes of interference in the images and sounds and graphics that it 
needs to produce in seemingly never-ending new (re) combinations for the 
consumer market place.

This is what is significant about organising an artistic research 
laboratory such as TRANSDANCE. David Chalkidis, from the commercially 
oriented AMY, summed it up for me in a short discussion we had about 
their support for the project by saying that the technology is 
developing so fast that those producing and selling for the market and 
the consumer do not have the time to keep up with and explore how best 
to use these new tools. For David, this is the role the artist can play, 
and his brother Alex and he are committed to trying to put these new 
media tools in the hands of artists to explore. I think I write the 
words here for all of the artists who participated in the project that 
AMY's support for the laboratory (and including the Vicon Motion Capture 
support team David Lowe and Tim Doubleday) was exemplary, beyond 
anything any of us had experienced before in similar types of research 

We wanted to interfere with the digital images, sounds, etc. by getting 
at the core of the digital media to the level of the data, and we 
explored the possibilities in three or four different scenarios. One of 
these was with the Motion Capture system in which normally three streams 
of information per marker or sensor are received by the computer to 
drive the animations. These three streams are roughly equivalent to the 
X, the Y and Z information that translates to the Cartesian coordinate 
system, the culturally accepted mapping of the physical space we still 
rely on today - despite the fact that Descartes devised this coordinate 
system almost 400 years ago.

Another of our research aims was to try and map one of these data 
streams across the network to drive sounds being synthesized in Kostas 
Moschos' computer. This would link the movement of someone wearing one 
of the Motion Capture suits (Vicon or Exoskeleton) to the sound 
synthesis patches Kostas had programmed in MAX. There would be too much 
data if one were to take all the coordinate information from one marker, 
so this would require being able to strip out the data stream of one of 
the coordinates and send it over the network to Kostas' computer. In the 
end, we were unable to accomplish this mapping in the time allotted due 
to constraints in the Kaydara Filmbox software, at the time the only 
means at our disposal for accessing the real time motion data streams in 
the first place. While failing at the task, in the process discoveries 
were made that may enable a faster resolution to the problem in the 

Working for several days to solve a technical problem may seem at odds 
with an artistic process, in particular when the problem is not solved. 
If indeed we had accomplished this mapping of the Motion Capture data to 
the sound the question could have still been raised - so what do we do 
with this capability now once we have it? This question needs framing 
from different perspectives, firstly, solving the technical problem of 
linking motion capture to sound using these particular systems is a step 
forward in that it gets the software and hardware to do something it was 
not designed to do. It interrogates or interferes with the software/ 
hardware system as an agent for the marketplace and opens up other 
options for thinking creatively about technology research and 
development. This is what might be described as solving a technical 
problem within an aesthetic framework. The resulting solution can be 
shared as a technical tool amongst a larger range of practitioners, 
enabling them to experiment in other artistic contexts with the results. 
Shared of disseminated as an open methodology (similar in concept to 
'open source'), the technical solutions find a manifestation in material 
form elsewhere.

As mentioned above, we were successful at another mapping process and 
that was to link the movements of Jenny Marketou to another virtual 
character in the 3-D space. In addition, data streams were extracted 
from another process using NATO.0+55 modular, a software programme that 
facilitates cross media synthesis, and sent to Kostas Moschos as will be 
described in more detail below.

Interference and Mapping may describe two forms of artistic process, but 
the diversity of artistic practice represented by the TRANSDANCE 
participants inspired the formation (or appropriation) of a conceptual 
tool I found quite useful as a pragmatic way of framing the 
interrelationships between participants, technologies and processes. 
This was to loosely employ the concept of self-generating systems across 
the wide range of these interrelationships. Thinking in systems can be 
rather easily applied to a technology, e.g. a network that may, for 
example, be an open or a closed system. A closed network system might 
refer to a setup with input and output and maybe one or two machines on 
it - and with no access to a wider network. Such a 'closed system' 
network can enable the prototyping of certain artistic concepts more 
easily than an open network for example. Once set up such a system can 
be seen as stable for the purposes of an intensive collaborative 
research process.

I am interested in applying this concept of 'systems' more broadly to 
further enable generative working conditions and cross practice 
fertilizations in the circumstances of a research laboratory such as 
TRANSDANCE. (While this conception was not employed explicitly during 
TRANSDANCE, several participants contributed to its formation, in 
particular Christopher Ziegler.) The blurring of boundaries around 
various traditional forms of artistic practices appears superficially to 
disable convention and enable experimentation and perhaps emergent art 
forms. This has always seemed an overly simplistic view to me when 
applied generally across all circumstances as it so often is under the 
heading of the 'interdisciplinary'. There seems an even greater need 
these days to be able to apply a self-referential system to arts 
practices of all kinds in order to re-enable interpenetration of 
practice and the potential for emergent, unexpected phenomenon.  This 
should be on a contingency basis, a flexible and workable set of 
protocols that can be applied to the situation as necessary and enable 
relocation and migration of certain aspects of practice between various 
systems more easily.

For TRANSDANCE for example, we had choreographers, digital artists, 
visual artists, net artists, performance artists and electronic 
musicians. Each of these categories implies a self referential system in 
the form of historical and philosophical continuities, of communities 
and cultural production networks that provide a sense of coherence to 
any one of these categories of arts practice. 'Categories' might be an 
optional term to use // but it does not appeal as much as the notion of 
'systems'. Taken more broadly, systems might be seen as social and 
cultural and indeed the concept has been applied to both biological as 
well as social systems by theorists working from the General Systems 
Theory developed in the 1950s. However, this is beyond the scope of my 
report to go into further detail. I share it here as a conceptual tool I 
found useful in these circumstances, and I may return to its application 
in the future.

Parallel Projects:

nato/ wearables/ choreograph-animation/ documentation

As this report indicates, the primary research aim of the workshop was 
to explore the possibilities of real time Motion Capture systems in 
exploring shared 3-D environments. The sharing of this data occurred 
over a high speed Ethernet (a closed system), but the Motion Capture X Y 
and Z vector data itself is a relatively small data stream (as compared 
to the full 3-d animation) and could potentially be used to drive an 
animation in real time on another server across the Internet. This may 
be explored further in another research laboratory.

Other research objectives were pursued in parallel to the primary 
research into real time 3-D environments, e.g. Christian Ziegler 
migrated an existing performance software tool written in Director's 
Lingo script called SCANNED ( to 
NATO.0+55 modular (a digital cross-media synthesizer). Christian's piece 
SCANNED uses a software performance tool that plays a video image in the 
background and is able to stop the image playing one horizontal or 
vertical line of pixels at a time. These horizontal or vertical lines 
can be triggered as single lines or sequentially moving across the 
screen from side to side or up and down. Whatever image is playing 
behind the scan appears to be frozen in time. By migrating this concept 
to NATO, Chris has enabled new interactive possibilities for SCANNED as 
NATO comprises a set of Quicktime externals building on and interfacing 
with MAX in the same manner as MSP so that MIDI and numerical data can 
be used to control any NATO function. This will open up Chris's SCANNED 
system to other systems. He has migrated an existing aesthetically 
coherent work from one platform to another that will offer more 
possibilities for transformation.

NATO.0+55 modular has many features usually referred to as 'patches' 
because of the way it interfaces with MAX. The Difference plugin and 
Quick Draw were two used during the final presentation of the research 
laboratory - each set to analyze motion from a video source in different 
ways and out put this data to sound and image.

Chris's research was of a very practical nature and involved many hours 
"inside the machine" studying and problem solving. At the same time, a 
conceptual project was evolving with the emergence of the notion of the 
everyday user's body interfacing with the virtual space. This conceptual 
project was founded on the presence of three technology systems offering 
to provide an interface between physical and virtual space that would 
use the whole body instead of just the fingers. Two of these systems 
have been mentioned, the Vicon Real Time and the Gypsy Exoskeleton 
motion capture systems. A third system was available - the Wearable 
Computer choreographer/ dancer Yacov Sharir had brought with him from 
the University of Austin, Texas.

The wearable computer is clearly something we are inching closer to day 
by day as computing science and engineering research laboratories focus 
on a future in which wearable computers are assimilated into our world. 
The use of the wearable is already embraced by the field of mobile 
workers from telephone repair to Federal Express, by the fashion 
industry both as cultural statement and means of collective 
communication, and into the fields of leisure and exercise where 
monitoring of vital sign information such as heart and respiratory rate 
can be performed by the wearable (see the Lifeshirt:

The concept of the wearable computer has penetrated live performance in 
the field of electronic music and to a lesser extent in the field of 
theatre and dance. One example of this would be Antunez Roca's 
AFASIA which was performed at the "e-phos 2001'' Festival 
( In this performance, wears an 
exoskeleton that allows him to interact and control sound, multimedia 
images, video and robots.  In the dance field it is more common to find 
artists working with interactive motion sensor or motion capture system. 
This has partially to do with the emphasis on unrestricted motion in 
dance. Generally, the 'wearable computer' introduces some motion 
constraints on the body therefore apparently rendering it less than 
ideal for the dancer/ performer. However, in Athens, partially due to 
the presence of the wearable and the nature of the motion that can be 
performed in it, we were able to engage in questioning the assumptions 
regarding full body motion that usually come bundled with the concept of 
choreography and dance.

Yacov's wearable has been designed with the intention of being able to 
wirelessly control live performance material. However, the world of 
wearable computing seems to suggest less the specialist functions of an 
artist and much the sort of technological systems we may in some not too 
distant future be integrating into our daily moment to moment existence 
(as mentioned above). Yacov's wearable consists of a small computer 
mounted in a heat insulated vest along the surface of his body with a 
small keyboard strapped to his wrist and a tiny head mounted video 
display window. The system is wirelessly transmitting data to a server 
enabling Yacov to control and manipulate media in real time in a live 
performance. Some of this data includes signals from EEG and EKG 
electrodes that he can place on his body during performances. While the 
conditions weren't right for us to experiment extensively with the data 
we might have received from this technological system, the presence of 
Yacov's wearable at TRANSDANCE helped to open up some of the conceptual 
terrain we explored in the laboratory.


Two further parallel projects evolved during the laboratory. For one of 
these a selection of approximately 20 minutes of high quality motion 
capture data was recorded using the Vicon Real Time system of 
choreographer/ dancer Konstantinos Rigos improvising several short 
segments of varied movement material. This motion capture data was 
turned over to Rigos and a professional MAYA animator, Spyros Frigas, to 
collaborate together in the making of a short animated film to be 
realised at some point in the future.

Final mention in this report goes to the documentary project begun by 
interactive installation artist Alexandros Psychoulis during TRANSDANCE. 
Alexandros observed and filmed the laboratory and interviewed all the 
participants. He edited together two short clips from the first and 
second half of the lab that proved invaluable when shown to the public 
to help them understand the process of the research. These short clips 
were constructed to be shown in the context of the laboratory and with 
some explanation. Alexandros and Yiannis Skourogiannis are in the 
process of raising funds to make a more thorough documentary to be shown 
to the public. This subsequent documentary, when completed, will be an 
important additional means of disseminating the objectives and outcomes 
of the research process of TRANSDANCE.

Scott deLahunta

Writing Research Associates, NL

Sarphatipark 26-3, 1072 PB Amsterdam, NL

mobile: +44 (0)797 741 2060 [messages too]

fax: +44 (0)845 334 2931

email: mailto:

Scott deLahunta  BIO

Began in the arts as a dancer and choreographer. Since 1992, as a 
partner of Writing Research Associates (WRA), he has organised several 
international workshop/ symposia projects in the field of performance 
including recently the third session of Conversations on Choreography at 
the Institute for Choreography and Dance, Cork, Ireland. From 
February-May 1999, Mr. deLahunta was a guest professor with the 
Department of Dramaturgy, Aarhus University, Denmark where he was also 
co-organiser of the Digital Theatre Experimentarium, a project 
investigating the relationship between motion capture, animation and 
live performance. He is frequently invited to facilitate workshops, give 
presentations and contribute to publications on the overlap between 
dance and new media technologies. In Autumn 2001, the WRA initiative 
*Software for Dancers* will conduct the first in a series of research 
labs/ thinktanks looking to develop new software tools for performance 

"e-phos 2001''

artistic director: Yiannis Skourogiannis

57 Archimidous GR-11636 Athens



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