Choreography & Composition of Internal Time (2014 – present)

 Composer John MacCallum and Choreographer Teoma Naccarato are currently engaged in a practice-based research and creation project with heart rate sensors, which examines temporal relationships between physiology, such as heart rate and breath, with rhythms in movement, music and mediated environments.  Central to this interdisciplinary investigation is a positing of the body as a process, through which individuals perceive, construct, and express time.  The project has been developed with support from research residencies at the Institut de Recherché et Coordination Aoustique/Musique (IRCAM) in Paris France, the Center for New Music and Audio Technologies (CNMAT) at UC Berkeley, and the Synthesis Center iStage at Arizona State University.  For details, visit the project blog:

3D Motion-Tracking & Sonificaiton with the Microsoft Kinect (2013)

In collaboration with interactive sound designers Adrian Freed, John MacCallum, Vangelis Lympouridis and others at the Center for New Music and Audio Technologies (CNMAT) at UC Berkeley, Naccarato explored the use of  3-D motion tracking with the Microsoft Kinect, in order to drive responsive audio environments for movement.  Experiments focused on the development of complex mappings between movement and audio, which challenge and reconstruct what the Kinect identifies as a (normative) human body in space.  Further, the research process queried the  intersubjectivity and material agency of both human and non-human agents at play in the sonificaiton process.

Initial experiments took place during the CNMAT’s Max MSP Workshop in Summer 2013.  Continued development during Autumn 2013 led to the creation of “X: Duet for dancer and Kinect, which premiered at the ReNew Digital Arts Festival in Copenhagen, Denmark in November 2013.

Video of Rehearsal for “X”

Responsive Audio Environments for Whole Body Interaction (2012-2013)

In collaboration with researchers at the Topological Media Lab (TML) at Concordia University in Montreal QC, Naccarato explored movement improvisation within immersive audio environments.  Interaction was driven via infra-red video motion-tracking and contact microphones on the floor.  Research interests for Naccarato centred on heightened kinaesthetic sensing and synasthesia for performers and audience alike.  The live reactivity of the floor via contact microphones both amplified and sonified shifts of body weight by performers, spurring an investigation of dynamic negotiations with gravity.  Through the development of behaviours and  algorithmic agency in the media, causality between human and non-human agents came into question.

Naccarato’s collaboration with the TML began in December 2012 during an intensive two-week “Whole Body Interaction Workshop”.  Collaborators included lab director Sha Xin Wei as well as sound designers Navid Navab, Julien Stein, Adrian Freed, Vangelis Lympouridis, and others.

Navid Navab and Naccarato continued collaboration during Spring 2013 in the Hexagram Blackbox at Concordia University, leading to the early stages of the production “Beneath the pavement, an ocean“.

What the body knows: Performance Practice as Research, Workgroup Convenor (2010)

Workgroup Blog:

This  workgroup at the ASTR/CORD conference 2010 will provide a space for dance and theater practitioners and scholars to investigate performance practice as research.  Central questions to be considered through movement and discussion include: How is it that we perceive, construct and express meaning via our bodies in dance, theater and life? What is the relationship of embodied episteme with other ways of knowing, such as language?  Does kinesthetic perception and expression necessarily require decoding by the brain into language to attain meaning?  What is lost in translation?  We will also look at what forces—external and internalized—shape our continual performances of identity and readings of one another.  Does training in codified movement techniques enhance or hinder a performers’ capacity for authentic expression?  What educational practices in dance and theater foster corporeal intelligence and agency? Our research will involve a personal treasure hunt, unearthing memories and experiences that have been inscribed in our bodies over time by training, the media, and diverse personal, familial and cultural realities.  Together, we will honor the unique nature of what our bodies know, foregrounding the value of embodied scholarship in dance and theater.