Xuechun Ni

Xuechun Ni is an industrial designer based in UK as well as China, and now she is studying Innovation Design Engineering(MA/MSC) at Royal College of Art and Imperial College London.

Before joining IDE, she did her bachelor’s degree in Yanshan University, studying industrial design and then joined a one-month International Organisation Program at Georgetown University in Washington DC, United States.

Her projects aim to explore multidisciplinary design methods, leading to a greater diversity of innovation. She has an insatiable curiosity for new technologies, trends, and human behaviors, so she keeps challenging herself and trying to develop creative insights and strategies when working on her projects.

Fast forward to today. Just as technology has changed dramatically in 200 years, composers now can use software and laptops to publish their scores and even compose music specifically for computer performance. The range of tools they use has also changed dramatically. The digital age has hardly changed any part of the music world.

However,Choreographers rarely have access to interactive tools that are designed specifically to support their creative process.

It is common that performers at least have experienced once "blank out" in their career lives. In order to improve their confidence and quality, some singers would rely on Stage Prompters, so that they can perform more songs.

Even though dancers have hours of practice and rehearsal that deeply integrate intricate movement sequences into their memory, when they forget some part of the choreography during performance , they are forced to improvise until they can recall the next sequence.

Dance Palace

Home Page – In the virtual dance memory palace, through the use of a AR headset, the dancer is able to creatively interact with their choreographic memories, compose choreographies they learnt before, organize dance experience, and create new connections between them in a spatially augmented reality environment. Alongside with a wearable device, which sense the position, orientation and movement of the dancer's body, this system enable dancers check the unseen patterns their bodies leave behind.

Creat New Palace – By embedding 3D modelling capabilities into the system, dancers can simply create virtual palaces through doing 3D sketches and accessing a range of 3D geometries. The interface includes basic tools such as move, scale, rotate, and select; rendering previews of different materials and colours; selection of avatar dance partners, etc.

Dance Planet – Here, dancers were able to organise these spaces to enhance the connections between memories. This means that they can enlarge or reduce the size of certain memory palaces; decompose a choreography into different pieces; merge two similar choreographies into a single memory palace, promoting associative memory; and put two totally different memory palaces together to get a brand new perspective of choreography.

My Motion – My Motion allows dancers to connect the system with wearable devices, explore the possibilities of memory and spatial interaction, stimulating dancers' body awareness, so that they can better understand and control their own bodies With the training method of Point Motion, dancers can wear the device on any part of the body that they want to practice, and start point movement around this part. They are able to see the path that the dynamic point travelled through the system.

Xuechun Ni

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Royal College of Art