Emergent behaviour: learning from an artificially intelligent performing software agent

This research investigates the possibility for emergent choreographic behaviour to arise from the interactions between a human dancer and a learning, digital performing agent. The cognitive framework is extended through theories of distributed cognition to take into account the two interacting agents rather than a single agent and its environment. The Artificial Neural Network based performing agent demonstrated emergent dance behaviour when performing live with the human dancer. The agent was able to follow the dancer, create movement phrases based on what the dancer was performing and recognize short movement phrases, as a result of the interaction of the dancer’s motion captured movement data and the agent’s artificial neural network. This emergent behaviour was not explicitly programmed, but emerged as a result of the learning process and the interactions with the human dancer.

Responding to human full-body gestures embedded in motion data streams.

 This research created a neural-network enabled artificially intelligent performing agent that was able to learn to dance and recognise movement through a rehearsal and performance process with a human dancer. The agent exhibited emergent dance behaviour and successfully engaged in a live, semi-improvised dance performance with the human dancer.

Snapshots of complexity: using motion capture and principal component analysis to reconceptualise dance

This article brings together the disparate worlds of dance practice, motion capture and statistical analysis. Digital technologies such as motion capture offer dance artists new processes for recording and studying dance movement. Statistical analysis of these data can reveal hidden patterns in movement in ways that are semantically ‘blind’, and are hence able to challenge accepted culturo-physical ‘grammars’ of dance creation. The potential benefit to dance artists is to open up new ways of understanding choreographic movement. However, quantitative analysis does not allow for the uncertainty inherent in emergent, artistic practices such as dance. This article uses motion capture and principal component analysis (PCA), a common statistical technique in human movement recognition studies, to examine contemporary dance movement, and explores how this analysis might be interpreted in an artistic context to generate a new way of looking at the nature and role of movement patterning in dance creation.

Emergent effects in massive agent swarms in real-time game environments

 Computational efficiency and hence the scale of agent-based swarm simulations is bound by the nearest neighbour computation for each agent. This article proposes the use of GPU texture memory to implement lookup tables for a spatial partitioning based k-Nearest Neighbours algorithm. These improvements allow simulation of swarms of 220 agents at higher rates than the current best alternative algorithms. This approach is incorporated into an existing framework for simulating steering behaviours allowing for a complete implementation of massive agent swarm simulations, with per agent behaviour preferences, on a Graphics Processing Unit. These simulations have enabled an investigation of the emergent dynamics that occur when massive swarms interact with a choke point in their environment. Various modes of sustained dynamics with temporal and spatial coherence are identified when a critical mass of agents is simulated and some elementary properties are presented. The algorithms presented in this article enable researchers and content designers in games and movies to implement truly massive agent swarms in real time and thus provide a basis for further identification and analysis of the emergent dynamics in these swarms. This will improve not only the scale of swarms used in commercial games and movies but will also improve the reliability of swarm behaviour with respect to content design goals.

Splitting centre : directing attention in trans-media dance performance

In theatrical vernacular, the term ‘splitting centre’ refers to two performers staged at an equal distance from a centre point and sharing the focus of the audience. This term encapsulates the notion that two people (or, in the case of trans-media dance, two or more performance entities) are dividing the attention of the audience, operating as equal collaborators in a performance context. The augmentation of live performance with 3D projected scenography and mobile devices offers a starting point for discussions on the potential for dramaturgy, choreographic process, and changing expectations for audience behaviour in the theatre. In 2014, Deakin Motion.Lab premiered The Crack Up, a trans-media dance work that incorporated live performance, 3D digital scenography, and The Crack Up App, an app for mobile devices that audience members were invited to interact with during the performance. This investigation into the potential of trans-media dance performance, (defined here as a live performance in which both the digital and biological elements are choreographed as artistic equals within the theatrical context) with the addition of a mobile device raises questions about how the makers of trans-media dance might direct the attention of their audiences when the work is performed simultaneously across multiple platforms.

Avian responses to an emergent, wetland weed

African boxthorn (Lycium ferocissimum Solanaceae) is a Weed of National Significance in Australia. It is particularly problematic in Victoria and is thought to not only threaten native wildlife but also provide important habitat, particularly to birds, when there is no native alternative. In a wetland ecosystem such as a saltmarsh, boxthorn has the potential to increase structural complexity because it can stand as an emergent above surrounding vegetation. We compared bird assemblages and behaviour in saltmarsh vegetation with and without boxthorn in a coastal wetland in south-east Australia. Species assemblage, but not richness, changed with the presence of boxthorn. The presence of singing honeyeaters (Lichenostomus virescens) and white-fronted chats (Epthianura albifrons), the two most common native bird species (based on numerical and spatial dominance), appeared to drive these differences; singing honeyeaters preferred boxthorn while white-fronted chats avoided it. The presence of boxthorn increased the seasonal availability of fruit and flowers, which was reflected by a high frequency of foraging for fruit and nectar where boxthorn was present. In saltmarshes without boxthorn, there was a higher frequency of foraging for insects. Some, but not all, species responded to increased structural complexity and fruit/floral resources provided by boxthorn. Consequently, management by reducing boxthorn is likely to alter bird communities and the usage of sites by some native species, thus management success should consider fine-scale biodiversity objectives, such as managing for particular types or species of birds.