Body.coding



Body.coding is a series of translations of type based programming languages into body motion based programming languages. An ensemble of choreographed body movements and gestures that enables people to program and code in collaboration with others. Its first chapters are body.processing and body.html.

Programming is a skill that is increasingly required in the working world, but the only people who seem capable of doing it are those who can sit staring at a screen for hours. It is a physically lonely and static task. I make it a collaborative and active task, using programming language environments, Labanotation principles and tracking technology.
The visual language is key to learn and perform the different programming tasks as it replaces the type paradigm. It guides the body.coder in understanding how the elements translate on a body level.
In that sense, someone fairly new to programming can — simultaneously — visually and kinetically learn to program. It involves both kinetic and visual memory.
The various kinaesthetics based languages are explored during residencies
where designers, dancers, and programmers are coming together to make it happen.



Body.coding is also an educative program that is brought to different institutions in order for learners to get sensitized to digital creation by movement.

From 6-9 years old kids, to primary school teachers, high school teenagers, art and design academies, body.coding proves to relate to most people eager to learn since digitization is impacting most of our contemporary lifestyle.

“ Typing is a process that discriminates most people when it comes to programming. Though, the latter is fun, and more and more relevant in a digitizing era. ”

“ Somaesthetics are not only for the Arts. They anchor meaning into one of our most basic abilities and needs : moving. ”

“ Learn programming by moving
your body. Literally. ”

“ At some point,
I've gotten frustrated staring at a screen while sitting on a chair, for hours. ”

“ Revival of pair programming. Body.processing is a dialogue. ”

“ Understanding the principles of precisely coded body motion potentially allows programmers to envision how the body can be used in their own discipline, which is also code based.
It’s important that both worlds agree upon their expectations on language precision and flow. ”



Credits

#kinaesthetics #programming #futureoflearning #futureofwork

In collaboration with
• Naoto Hiéda (machine learning developer)
• Hiroshi Matoba (front-end developer)
• Jing Wang (popping dancer)
• Alesya Dobysh (house dancer)

Concept & Direction — Alvin Arthur

Special thanks to —
Nicky Liebregts, Matthieu Leventis, MU Artspace, Simon Bus, Lionel Fabert, Ofer Kan Tor, Floor Hofman, Yen An Chen, Willem Van Hoff.
We Link in Motion
One of the peek moments for design in the world is Dutch Design Week.
The past DDW has been a blast. I was part of the Exhibition team for The Object is Absent @muartspace, welcoming 24.000 people to experience interactive and performative works. Through launching the project WE LINK IN MOTION, I have spent 9 days inviting people to move/dance in a passing spot of the exhibition. I met many incredible people and a very certain observation I made is they are funny when they try not to dance at all costs.
As entertaining as it has been, I’ve been observing many patterns in how people behave, some observations that I would like to share with you in the following slides. This is simply an open inquiry, considering many changing factors and conditions over 9 days, in the ephemeral socio-cultural context of DDW.
Find here how people reacted to the observations.

Observation 1 —
(Invited or not) « Duos of women (couple or friends) are more likely to dance than any other type of groups » of people passing by the exhibition.

Observation 2 —
« For older couples (50+) women are more likely to step in, while men almost never do.
For younger couples (30-) men are more likely to step in, while women almost never do. »

Observation 3 —
« When people try not to dance they do 3 things: going away, freezing or stepping back to observe. Almost inevitably they smile. In addition of smiling, if they freeze they are most likely doing 2 things: look away, and blink both eyes awkwardly. »

Observation 4 — 
(Proportionally) « Individuals with a rolling luggage are most likely to dance than individuals without it. »

Observation 5 — 
« Without a live invitation to dance, 3 profiles are more likely to dance: older women (by far), families with more than one kid, duos of females »


Observation 6 —
« Individuals are more likely to dance and ask questions.»

Observation 7 —
« If you have a smile from people, even awkward, they will most likely dance once they start walking. »

Observation 8 — 
« Regardless of the amount of people dancing, people are more likely to join dancing when they are invited by a female.»

Observation 9 —
« If you have a smile from people, even awkward, they will most likely dance once they start walking. »

Observation 10 —
« Long lasting motion brings long lasting serenity. »

Credits

#motionstudy #crowdstudy #pattern #behavior

In collaboration with Ambra Occhipinti (performer)

Concept & Direction — Alvin Arthur

Commissioned by — MU Artspace



See more reactions here
Embodied Interaction
for people with chronical pain


The IAM (Institute for Applied Motions) has been asked by the Danish Technical College of Skanderborg to frame a workshop allowing their students to explore how movement can provide a more viable computing experience to people suffering from Chronical Pain, due often to long periods of static postures at work. My role was to explore choreographic possibilities.
Credits

#motionstudy #visualsoftware #exoskeleton #chronicpain

In collaboration with Institute for Applied Motions

Concept & Direction — Pranav Balasubramanian

Special thanks to — Govert Flint, Mariann Juhl
Choreography of Interaction


Always, while going through this matrix, the designer is directly bodily involved in the making process and therefore can measure with more accuracy the inter-subjectivity of his/her process.
The Choreography of Interaction is a matrix — brought by Kees Overbeeke and Sietske Klooster — that decomposes any bodily related interaction into 3 inter-related pillars:
• Expressed Meaning
• Phygital / phygital involvment
• Dynamic quality
Each pillar is itself decomposed into smaller parameters. My role is to guide people into designing interactions using these different parameter in a powerful manner.

Credits

#education #creativityinmotion #choreography #interactiondesign

Direction — Alvin Arthur

Special Thanks to — Kees Overbeeke, Sietske Kloosters, Stephan Velema

GET IN TOUCH

OpenLab (nowadays Collective) is the first student driven course ever established in Design Academy Eindhoven.
Initiated by Jim Brady and I, we created a rhizomatic learning experience over a semester. We, design peers, faced many challenges in terms organization, financing, human ressources, curation, education and more.

Our experimental approach has also been studied by Felix Vorbeck & Johannes Vinkler for their research on education at the Hochschule Düsseldorf.

We design our own education!
« OpenLAB is a course created by students within the Design Academy Eindhoven. The course is about exploring a new educational framework based on collaborative peer-to-peer exchange. We develop self-initiated projects, but also teach our skills and think along with everyone’s process. We put a strong emphasis on mentoring each other by making use of the conceptual and practical competences already present in the community.
We see working on a self initiated project as essential. Everybody will bring its own project to the group, sharing its process, goals and questions; confronting points of view and reflections will help one to define its own creative process, deepen one’s identity and deal with the struggles that often come along with working within a personal frame. The richness of a group made of individuals coming with their own backgrounds, skills and expectations is the defining the strength of OpenLab. We want its members to develop their own practice and confidence by using this diversity, getting inspired by each other and defining themselves by contrast.
As a group we select and invite mentors and lecturers to share their professional expertise and guidance. We also initiate partnerships and collaborations with other schools, companies and studios. This ensures that every new semester adapts to the needs of the group.
We operate as a student body developing new ways to challenge education, learning, inspiration and foremost life! »

 « For me, often students are simply consuming. They pay for an education where most of them will follow the options given, as people pay for a flight where most of them will follow the rules. Why such a behavior when the possibilities are much more abundant and the empowerment so meaningful? What happens when you ask passengers of a flight to decide on their destination while they are flying? What are the personal on board made for? What does travel then mean? »

Alvin Arthur

Credits

#rhizomaticlearning #creativedemocracy #peer2peer #education #serendipity

In collaboration with Jim Brady (co-founder)

Peers — Runing Zhao, Boris T. Lancelot, Ruben Pater, Jacques van Haaster, Judith Faßbender, Martina Huynh, Clara Montrieul, Leif Czakai, Paul Slot, Arvid Jense, Juliette le Goff, Luca Claessens, Jim Brady, Ward Goes, Sunjoo Lee, Vito Boeckx, Alvin Arthur, Marie Caye, Cindy van den Bremen, Nai Yao Chiou,Studio KNOL.

Special thanks to — Design Academy Eindhoven, DesignHuis, Fontys Be Creative Minor, Fontys Psychology International Minor.

'Reversed Mentoring & Future of Design Education'
Talk @03:34 - 10:34

The Choreography of Ice Cream invites us to celebrate the making process of Ice cream, by simply embracing our ability to move.
The recipe is executed in five main stages, where the quality of the end product precisely depends on how well each task is performed. If one fails, there is no ice cream in the end!

As part of my cultural heritage from Guadeloupe in the Caribbean, I translate the way ice cream making, back home, is a strong ritual connected to movement and storytelling.
The exact origin of the coconut sorbet in the Antilles remains unknown still today. We only know the first ice cube arrived there back in 1820, shipped in a boat coming from Boston.

Ice cream is a largely spread commodity that often creates many happy emotions within us, no matter where we come from. Though, this commodity is very iconic, in a society that glorifies instant gratification, hyper-accessibility. Here, it is about the act of collective making.


Credits

#storytelling #heritage #icecream #performance

In collaboration with —
• Leif Czakai
• Martina Huynh
• Stéphane Borel
• Jeffe van Holle
• Virginia Lui


Last representation at — Everyone Loves Ice Cream Festival

Special thanks to — Pablo Hannon, The School Hasselt
© Alvin Arthur Consultancy, all rights reserved 2015 - current
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