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Body-Machine Interfaces Design. Entrevue avec Scott De Lahunta

Emanuele Quinz

L’interview réalisée avec le chercheur américain Scott de Lahunta commente et approfondit son intervention lors du colloque New Interfaces for Dance, organisé par Armando Menicacci et Emanuele Quinz à ISEA 2000 (Paris).*


++ invisibility/ corporeality ++ 

Change of perspective 



* Another version has been published in italian in  “Digital Performance”, edited by Emanuele Quinz, Paris Anomos Anomalie digital_arts, 2001.

1 Writing is arguably not the best descriptive metaphor for software programming – building is preferred as often coding more often requires the reuse or reassemblage of previously written code.

2 For a very useful and straightforward breakdown, I recommend Dobrian's website 'video motion tracking for musical input'

3 You can download the Wanderley/ Ross PDF here:

4 For an alternative perspective on 'mapping' – take a look at this article on *Mapping a single data stream to multiple auditory variables* by Greg Kramer on the sonification of data from Radionuclide Ventriculography (RVG)a non-invasive means for obtaining the blood volume change of the left ventricle. The article details how by working with complex mappings rather than a 'one to one' mapping auditory representations of a 'diseased heart' for example can become much more compelling to listen to – don't miss downloading the .wav files



Scott deLahunta has worked as writer, researcher and organiser on a range of international projects bringing performing arts with a focus on choreography into conjunction with other disciplines and practices. He is currently Senior Research Fellow Coventry University/ R-Research Director, Wayne McGregor|Random Dance and Project Leader Motion Bank/ The Forsythe Company. He serves on the editorial boards of Performance Research, Dance Theatre Journal and the International Journal of Performance and Digital Media.


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Cette publication a été rendue possible grâce au soutien financier d'Hexagram, du groupe de recherche des arts médiatiques (GRAM), de la Faculté des arts de l'UQAM, de la Chaire du Canada en esthétique et poétique de l'UQÀM (CEP), ainsi qu'à une subvention, pour une quatorzième année consécutive, du Conseil des arts du Canada (CAC).